Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


  • Content Count

  • Joined

  • Last visited

About kahoyo

  • Rank

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
  • State (US only)**, Country (Outside US only)**
  1. It's just that they knew what constituted good ballets, what moved the audience, even with diffrerent musicalities. I can at least say MacMillan's Manon, performed by the Royal Ballet in 2005 at Tokyo was fairly impressive. The girl sitting next me was shedding tears when Manon died in Act 3. The question I want to ask is, for instance, did Ashton or MacMillan ever allow thier company to perform with recorded music, as Neumeier frequently does with his Hamburg Ballet? Does Neumeier really know the good from the bad concerning music? For the record here is why I didn't like his R&J (per
  2. Last evening I watched Neumeier's Romeo & Juliet by The Royal Danish Ballet at Ueno, Tokyo, and I was really disappointed. The sets were unique and silhouettes were beautiful, but his use of music was simply that of the plotless contemporary dances; the ballet was far from persuasive compared with R&J of John Cranko. Having also watched his Die Kleine Meerjungfrau, I've come up with the conclusion that Neumeier simply doesn't understand music as Ashton and MacMillan (and maybe Bintley) did. I hope somebody tells him that fine sets and bunch of "contemporary dances" wouldn't make goo
  • Create New...