sandik

On 4/23/2019 at 8:28 AM, NinaFan said:

For what it's worth, Wikipedia has Ramasar as being born 1981/1982.  Elsewhere I have seen an exact birth date of 12/9/81.  Either way he is no older than 37 right now.  Interesting that in an ABT thread everyone wants to see Gomes dance again (me included).  Gomes was born 9/26/79 and will be 40 this year.  So why is Ramasar aging out, while someone two years his senior not?  By the way, I am huge fan of both dancers, and it was a joy to see Gomes dance with Sarasota Ballet.  It left me wanting for more.  As an aside, De Luz was in his 40's when he retired.

Part of the difference is about repertory -- Gomes dances a rep that includes several dramatic roles that require a more mature performer.  He will continue to develop as an actor even as his technical skills begin to erode.  Ramasar works in a rep that doesn't necessarily have the same requirements.

On 4/26/2019 at 12:43 PM, leee said:

If this thread produces nothing else but this delightfully piquant turn of phrase, it will still have been worth it.

bingo

On 4/25/2019 at 11:30 AM, leee said:

 

I just had the bright idea to check the bibliographic section of the SFB wikipedia entry. Has anyone read any of these?

I  haven't read the Cisneros, but have read the others (and own a couple of them, around here somewhere)  I recommend anything by Cobbett Steinberg, and the Ross/Ulrich text is also very useful.

Fascinating, especially the orientalist material.

I saw Oregon Ballet Theater's production last October, and it had a very authentic feel -- they built their own sets/costumes, and so I'm hoping they're keeping the ballet in the repertory.

I love Emeralds in any context, but it is especially thrilling in a rehearsal setting.  (right now you can watch the Bayerisches Staatsballett's production on You Tube -- no idea how long it will be there. It seems a bit rushed to me, but that's just my opinion)

T and V was made on Alonso, and she's taught it for years in Cuba.  She has a lot to say about it...

I remember hearing about a new production, but I must have missed the announcement about De Keersmaeker.  Interesting indeed!

And Maddie Ziegler, from all over music videos.

But this, from the end of the article, is making me wonder:   "An unrelated stage revival of West Side Story, directed by Tony winner Ivo van Hove and choreographed by Anne Teresa De Keersmaeker, is slated to premiere on Broadway in December."

De Keersmaeker?

13 hours ago, canbelto said:

I went to the Merce Cunningham celebration at the Joyce last night which featured Ballet West and Washington Ballet.

https://bachtrack.com/review-merce-cunningham-centennial-joyce-theater-new-york-april-2019

"There are many clips of Merce Cunningham himself dancing. It's not an exaggeration to say that he is one of the greatest dancers of all time. His signature movements – raising one's foot on high demi-pointe while extending a leg forward and balancing in sculptural stillness, the astonishing array of direction-changing jumps, the deep squats into the floor – those are moves that when danced by him and his amazing dance troupe look as natural as breathing. "

I heard Douglas Dunn speak recently -- he described Cunningham's dancing as that of an "elegant animal." 

I dipped in and out of the live stream, and am looking forward to filling in the blanks over the next few weeks!  It's such a bracing repertory.

On 3/31/2019 at 6:32 PM, cubanmiamiboy said:

But in all fairness...I have never quite "got" the whole Balanchine production.  I think Act Ii is a bit awkward and out of context, and sort of erases the main Titania/Oberon/Puck/Lovers story.  Which is why I much prefer Ashton's "The Dream", with its more dancing-oriented approach and focusing.

In a way, I think that Balanchine was making a little bow to Petipa's structural development of the 3 (4) act ballet, where the story is all tied up in a bow before the final "happy ending" act. 

2019 is the centennial of Cunningham's birth, and there have been a multitude of projects to honor that milestone -- today is the 100 Solos livestream project, where 100 dancers, in three different locations/time zones, will perform solo work by the choreographer.  These will be available for streaming on the Cunningham website for the next three months, so even if you have to tend to the rest of life today, you can dip into this amazing repertory later.

And here's a great piece from the radio show Studio 360 that includes some really wonderful interview material with Cunningham.

7 hours ago, miliosr said:

Anna Kisselgoff has written an obituary of Lawrence Rhodes in the Times:

https://www.nytimes.com/2019/04/10/obituaries/lawrence-rhodes-dead.html?login=email&auth=login-email

And this: "Dorothy Hild, another teacher, took him on a tour of state fairs in 1956."

I would love to know what that was like.

On 3/1/2019 at 9:07 AM, dirac said:

The film of Cabaret is one of the great movie musicals and it was only Fosse’s second picture as a director. The leap that Fosse made as a filmmaker between Sweet Charity and Cabaret was truly prodigious.

bingo

Thanks for the link to your Oklahoma review -- I haven't been following along with this production and it does indeed sound very distinctive. 

"what was the symbolism of all the falling boots from the ceiling?"

Not sure, but perhaps a reference to men keeping their boots/shoes on when they visit a brothel?

5 hours ago, seattle_dancer said:

Not to sound snarky, but the press release states that Foster will dance Silent Ghost.  I agree it’s logical After the Rain is programmed for her.

Press release also confirms Porretta will dance title role of Prodigal Son.  My guess is that he will dance Rassemblement since that is listed as one of his lead roles on his online PNB bio.

I have no idea what those two might dance in T&V, maybe nothing at all so they can be rested for their featured pieces.

Maybe I’m reading too much into it but the state says the line up “includes” rather than something like “will be” so I wonder if something else might be added?

I thought Foster’s statement about her leaving and giving others opportunities for roles was really heartfelt and classy.  I don’t recall any of her predecessors saying anything like that.  Nothing against them, just makes her all the more special.

Oh oops -- I skimmed when I should have read more slowly!

Honestly, I'm not sure that Porretta will do T&V if he's doing all of Prodigal -- that's such a grueling work.  (not to mention the Duato duet, if he does that as well) 

And yes, Foster's comments about making way for the next generation was truly generous.

17 hours ago, Helene said:

I hope there's a tribute to Larae Hascall, too.  She's retiring as head of the costume shop, but she also designed some very beautiful costumes during her tenure.

Oh yes, absolutely.  She's the guest for the Thursday evening Conversation on the 11th, before the dress rehearsal.  She's a very interesting speaker -- it should be a great session.

Trying to predict casting -- Foster will likely do the Wheeldon, and Porretta will reprise his performance of Prodigal.  Any other guesses?

And that is a problem that many repertories face.  As time moves forward and styles morph, we find ourselves looking at older works as examples of their period, but not examples of current possibilities.  And so those works become "vintage" or "heritage" -- a separate part of the repertory, rather than an element in a living organism.  There are a few dancers and ensembles that specialize in these older works in the modern/contemporary dance world, but ballet doesn't seem to cultivate that specialty.  Ironically enough, I think the Trocks often do the best job of performing older works as they were made to be danced.

Miliosr is right in pointing out that Graham is not alone in this.  The Limon company still manages to work as an ensemble, and does try to maintain their repertory, but has had a hard time finding works they can add to that collection.  But think of all the works that aren't being actively maintained, that we are in danger of losing -- we are indeed in a fraught position.

I knew she would be leaving sooner or later, but I was hoping for later.  Am now wondering what she'll be dancing in the Encores program...

"Caught" is a popular work -- Parsons' company performs it regularly, but he's also staged it on many different people.  Here in Seattle the Chamber Dance Company has performed it, as have several folks (men and women) at Pacific Northwest Ballet.  It always reminds me of Parsons' work with the photographer Lois Greenfield, especially in her book Breaking Bounds.  She made a very popular calendar out of images from that period -- I imagine many of us have seen it.

Dante Sonata!

Glad to see this review -- the company has been struggling with its direction ever since Graham died, and though they've managed to reclaim their original repertory, it sounds like they're still having a hard time with new works.

So glad to see Porretta return to this role!

I had another obligation last night, and so could not go to this -- thank you so much for these notes.

I wish that the company would revive the Morris "Kammermusik."  I remember some really interesting moments from it, even after all this time.

Yes, please -- show me a lovely rabbit hole I can jump into!