lmspear
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Everything posted by lmspear
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Who Would Be on Your All-American Ballerinas List?
lmspear replied to pherank's topic in Aesthetic Issues
I just wanted to add Amanda McKerrow and Christine Sarry to the list. -
That was my experience exactly. I also know Ashton's Wedding Bouquet only from pictures.
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Cakewalk by Ruthanna Boris and Lichine's Helen of Troy
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I've been told that there are copyright concerns with photograhs of scenic design elements, i.e. creating unauthorized reproductions of the set. The ushers have no way of knowing that the snapshots are going to be tucked lovingly into a personal album. If the pictures show up on a blog or website they can be used by anyone for any purpose.
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How viable is the ROMANTIC/CLASSICAL distinction today?
lmspear replied to bart's topic in Aesthetic Issues
I disagree, Michael. If you were talking about the average person who doesn't listen to classical music or know that much about it, that would most likely be true. But I have to believe that most people who care enough about classical music to subscribe to a series of concerts would have knowledge of the development of 'classical' music and would know that Tchaikovsky is a romantic composer and an example of the 'high romantic', for lack of a better description. On the ballet side of this discussion, what may be less clear to casual ballet-goers is the difference between romantic ballet and classical ballet, which doesn't correspond to the development of what is termed 'classical music'. I agree with your earlier post, and Dirac's, that the terms are confusing. There should be an easy way to explain that not all classics are classical. -
So you really think that driving a few miles to the Metro station, parking in a free parking lot, taking a 15-minute train ride, and getting dropped off a block from the theater is a better plan than driving on crowded streets with a traffic light every block, circling around for 40 minutes looking for a place to park, spending $15 to park, and walking (or, in my case, limping) a half mile to the theater? Alas, the reason why the parking at the Silver Spring Metro station is listed as costing $0.00 is that there isn't any. There is municipal parking in Silver Spring within walking distance of Metro. It is free on weekends.
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When visiting back home in NY I'm notorious for driving into Manhattan being my first choice of transportation over the Long Island Rail Road.
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As a DC area resident I can't recommend Metro enough. Harman Hall is smack in the middle of downtown, near museums and a sports arena. The only time I would drive there would be on a week night when the no-parking spaces used for loading spots and in front of business entrances become available at 6:30. If you decide to see the Washington Ballet at the Kennedy Center, there is a free shuttle bus that runs every 15 mins. from the Foggy Bottom Metro station.
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What have we seen live onstage?-(XIX Cent. Ballet Poll)
lmspear replied to cubanmiamiboy's topic in Everything Else Ballet
Can we add Elliott Feld's Papillon http://www.nytimes.com/1984/04/24/arts/ballet-feld-s-papillon.html . It was really delightful. -
Gelsey Kirkland, in Balanchine's FIREBIRD, 1970
lmspear replied to rg's topic in Ballet History and Music
Thanks for the confirmation, dirac! -
Gelsey Kirkland, in Balanchine's FIREBIRD, 1970
lmspear replied to rg's topic in Ballet History and Music
If I'm remembering correctly Jacques d'Amboise spent some time discussing the creation of the Kirkland Firebird in his fairly recent autobiography. The gist of if was that Balanchine resented the individual success that Maria Tallchief had with his first version of Firebird. Balanchine seemed to be working out some kind of psychodrama on Kirkland. According to her book, Kirkland disliked the music as well as the costume. -
Or they could offer some kind of pay-per-view option.
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Other reasons for mikes besides amplification include recording the performance and transmitting the sound to any monitors that are displaying what's going on in the theater.
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Words On Dance: Edward Villella Monday, March 11, 2013 6:30 pm ET New York I just stumbled across this, http://www.paleycenter.org/2013-spring-words-on-dance-edward-villella. In Person Edward Villella The San Francisco–based Words On Dance interview series returns to New York in this newest collaboration with the Paley Center. Join us for an evening of conversation and television and film clips as the legendary dancer and artistic director Edward Villella talks about his extraordinary and unique career. In 1957, Villella joined the corps de ballet of Balanchine's New York City Ballet at the age of 21, and weeks later was cast as the star of Jerome Robbins's Afternoon of a Faun—subsequently going on to have unparalleled success in a series of classic Balanchine ballets including Prodigal Son, A Midsummer Night's Dream, Jewels, and Apollo. After retiring from the stage Villella segued into the role of Artistic Director. In 1986, Villella founded the Miami City Ballet, and led it to international success for over twenty-five years. Among his distinguished honors are the 1997 Kennedy Center Honor, and the National Medal of Arts, the 38th annual Capezio Dance Award, and the National Society of Arts & Letters Award for Lifetime Achievement. The interview will be conducted by his daughter Crista Villella (the ballet mistress of Miami City Ballet) and clips from Mr. Villella's career will be shown, including rare film footage from private collections. Tickets on sale to Paley Center Members now. General Public: Wednesday, January 9, 2013, at noon.
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Irina Dvorovenko to retire from ABT on May 18
lmspear replied to mussel's topic in American Ballet Theatre
I hope the open slot gets filled with one of the soloists that have been undeservedly stacked up in a holding pattern for so long.