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kdubzz

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About kdubzz

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    balletomane
  • City**
    Brooklyn
  • State (US only)**, Country (Outside US only)**
    United States
  1. Does anyone know whether any sort of documentary is being made about the RB's visit to Cuba? As an earlier poster mentioned, it would make a wonderful film or television special; one hopes that someone had the foresight to film the tour itself at the very least!
  2. Being that this is choreography and not an academic class, especially since it's Balanchine, many of the moves that you see here don't NECESSARILY have standard ballet names. But I will say that there are several sissones on to pointe, into arabesque, performed by the soloist in the middle (Patty Barker), and that the corps around her, among other things, are executing bouree's en pointe (fast shuffling movements with their feet while on their toes), as well as some pas de chat jumps.
  3. As a youngster, one of the Odette/Odile's who made a strong impression on me (on film) was wonderful Canadian ballerina Evelyn Hart, in the Makarova production for London Festival Ballet, alongside Peter Schaufuss. Despite her wiry, bird-like physique, she exuded great passion, strength, and devilish charm as Odile while being a perfectly natural, quite regal Odette as well.
  4. I apologize to anyone who took offense to my initial post which began this thread, as I in no way meant to give short shrift to BRB or other smaller companies. I of course completely understand why some dancers would choose a contract with a smaller company than RB even when given a choice, especially if given the opportunity to join a wonderful company like BRB. The root of my question was partially that, being an American, I didn't know much about the current relationship (if there is one) between RB and BRB - which is why I posed the original post as a question and not a statement of fact
  5. Carbro, the reason why I cited Nutnaree as an example was because she has stated in at least two different published interviews that she was offered contracts with a number of different companies, including BRB, ABT Studio, Hamburg, and SF Ballet - but specifically never has included RB amongst them.
  6. Well, she's Cuban, we're Cubans, and we DO love extravagance and passion-(aside from great turns and balances)-perhaps more than a "perfect" style and pure line-(is there any "perfection", I wonder...BTW?). And thinking about it, we do carry our good dose of "vulgarity" with pride and humor. That, in the long run, turns to be kind of spicy and attractive for some others... If anything, let's agree to disagree. Absolutely happy to 'agree to disagree' re: Valdes! I should note, though, that I love so many of the male Cuban dancers and several of the other female ex-pats that I have se
  7. I think that NYCB's philosophy of being "non-star-driven" may partially explain why they don't follow a more European model of having separate company classes for dancers of differing ranks. There is a video on the Royal Opera House website that follows Royal Ballet first soloist Yuhui Choe around for a single 'typical' work day (the video is also up on youtube, fyi) and I noticed that in the video, the company class that Choe takes in the morning is quite small - maybe only ten or fifteen dancers tops - and seems to be comprised only of soloists (Steven McRae is amongst those in the class wi
  8. This is slightly off topic (feel free to move to a more appropriate thread if one exists), but I've been noticing for some time now that many of the most promising young dancers coming out of the Royal Ballet School - especially female - seem to NOT be getting into the main company, or at least not right out of school. I believe I read Johan Kobborg lamenting the fact that the UK loses many of its most promising talents to other companies. Most recently, for example, I was surprised to see that the wonderful Delia Matthews, a top Prix de Lausanne winner, had gone into Birmingham Royal Ballet
  9. I'll cast another vote for Bujones (also my childhood crush). Such purity of line, yet so virtuostic. We may sometimes forget that he was one of the only male dancers to rival Misha's virtuosity for many years.
  10. My first true balllerina love/obsession was Gelsey Kirkland, first after seeing her in Misha's 'Nutcracker' as a young girl, and then once I read her first book. She'll forever be the 'best ballerina that ever was' in my heart.
  11. Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... That's SO comforting to know! Isn't it...? Ha, double entendres aside, I like the 'upright' nature of the Cuban trained men when it comes to their pirouettes. Jose Manuel Carreno has that incredibly 'pulled up' feeling to him too (I won't say 'straight' - lol). For me the Cuban training doesn't look as good for some reason on some of the women, esp Viengsay Valdes, or maybe it's just a body type preference.
  12. Jonathan Cope, Edward Watson (I like the Brits:)) and I recently noticed that Jiri and Otto Bubenicek are handsome as well!
  13. Interesting -- Shevchenko joined the corps only during the summer of last year. http://www.abt.org/dancers/detail.asp?Dancer_ID=179 Yes, I was excited to see Shevchenko on that cast list! She's young and new and I've only seen her on video (clips from her performances at the Moscow Ballet Competition, where she took the gold medal), but from what I can tell she's a potential star. Incredibly strong technique and a certain regality and elegance that belies her age.
  14. For anyone who missed it, on danceviewtimes Marc Haegman reviewed Kirov/Mariinsky's UK performances (in Salford) during their Spring '08 tour and cited 'tour fatigue', as you say, as well as bemoaning in some detail the company's perplexing habit of Somova in key principal roles: http://www.danceviewtimes.com/2008/06/the-...sky-b.html#more oops meant to write "perplexing habit of CASTING Somova in key principal roles"...
  15. For anyone who missed it, on danceviewtimes Marc Haegman reviewed Kirov/Mariinsky's UK performances (in Salford) during their Spring '08 tour and cited 'tour fatigue', as you say, as well as bemoaning in some detail the company's perplexing habit of Somova in key principal roles: http://www.danceviewtimes.com/2008/06/the-...sky-b.html#more
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