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bcash

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Everything posted by bcash

  1. Yes I've noticed that as well. It's in almost all of his posts. I think many people choose to indulge him a little bit on that given his relationship with the company and the materials he's been posting.
  2. Oh Thanks! It's this Speaking in Dance thing. I didn't find anything on NYT website yesterday other than a photo of him in Scene de Ballet.
  3. I think the criterion on "success with running an artistic organization" (paraphrase) would rule her out.
  4. He's the one on whom NYT did a small feature on (with his dance partner) a couple years ago right?
  5. Wow, a lot of new works. I share the excitement over Cojocaru and Rhapsody. But I have no idea what Rennie Harris and American Street Dance Theater are about.
  6. https://www.nytimes.com/2018/08/17/arts/music/aretha-franklin-amazing-grace.html?hpw&rref=arts&action=click&pgtype=Homepage&module=well-region&region=bottom-well&WT.nav=bottom-well The track of Mary, Don't You Weep embedded in this piece is quite extraordinary.
  7. bcash

    Kathryn Morgan

    I like her from her youtube videos and I've actually adopted some of her exercise routines. I agree that Martins seems to have been a big supporter of her career and now with him gone I'm not sure she established herself enough before she left (which was very young) to the extent that no one has been able to fill her spot for all this long.
  8. If the board does care about maintaining and invigorating Balanchine repertoire as they claim to, Boal and Lopez would be great candidates. Credentials as Balanchine dancers and artistic directors of companies that dance Balanchine excellently. No distractions or questionable episodes in their tenures. I know Woeztel has an excellent track record as well and is very popular guy, with past and current dancers as well as with donors (important). His obligation to Julliard is obviously a hurdle if he is to move. I just don't know anything about his ambitions--if he considers leading NYCB the ultimate professional fulfillment or if he wants to go to bigger things outside the ballet world, using Julliard as a building step. If we are talking about people in their 70s, Thomasson doesn't elicit much passion from me, just based on what I've seen of his coaching and choreographing. I'm curious what other people think of the quality of SFB's Balanchine repertoire. Rereading an old New Yorker profile of Suzanne Farrell lately, I thought, as Acocella seemed to suggest, Farrell would make a pretty excellent director, or ballet master at the very least. The way she coaches Balanchine ballets and teaches in class, as described in the article, leaves no doubt about her commitment to Balanchine and her intelligence in coaching dancers as unique individuals. If we are considering younger candidates. I know Justin Peck is quite ambitious and bidded for Pennsylvania Ballet's directorship a few years ago. Maybe the board would be willing to take a leap and give the rein to him. But judging from that documentary Ballet 422, he really is not a good communicator with non-dancers and lacks fineness when it comes to social skills expected of a director. (A nerdy, talented dance-maker is how I see him.) Speaking about overall leadership style and innovative drive, I really think Millepied, from two documentaries on his short-lived tenure at POB, would make a great director. He might have ruffled a few feathers at POB but the decisions Dupont as the director has been making suggests to me that Millepied's vision and initiatives are actually being carried out and carried on.
  9. Will Marcelo dance in tomorrow's performance as well? (And is that one sold out too?)
  10. I thought that too when I read the "grandiose" description in the article. It's slightly archaic but more humble and less corporate-sounding.
  11. From Wikipedia: I hope they listened to a wide enough range of voices and take the "wish list" seriously.
  12. Alu seems like a good potential candidate. I've never seen him dance live but his personality and style as shown on social media suggest he might be a fit. Interesting to hear that he's not on best terms with POB's management. Does Dupont not like him? Someone here mentioned Finlay before and I thought he would be a better fit for those princely roles than his good buddy Catazaro. Looking at them side by side Finlay's superior carriage and stage presence is more than evident. Though he's prone to injuries and might not want to grind his body more.
  13. I seem to remember that the POB season lasts well into June which overlaps with ABT's Met season.
  14. I was just thinking about Vogel. North American audiences see this gorgeous danseur noble too little! Shklyarov would be a great guest for ABT. Both New York companies are kind of lacking in exciting male talent in the principal ranks lately.
  15. I remember seeing the clips Cirio posted on Instagram and found them intriguing. I definitely would love to see this in cinemas but the ENB, unlike the RB, doesn't to cinema broadcast in the US it seems.
  16. To call it "disgusting" is certainly a modern-day American reaction. I would say the make-up choice is somewhat debatable. I mean, it's not just about the history of racism or slavery, it's more about how "black-face" make-up was used in American performance culture in the past, isn't it?
  17. Wow did not expect that, with a (to me and people around here) stellar cast and quite some publicity, Tony awards and all. But yes I echo other's sentiment re. Ramasar's return. NYCB principal men's rank is very depleted at the moment.
  18. That's a very interesting take. I'm tempted to view it that way. But it's also been said that Balanchine would tell stories and give specific suggestions for what to think when rehearsing Apollo, unlike most other ballets of his.
  19. I mean, I would probably have commented on that hand too. It's just so jarring. I initially thought it was a random, casual rehearsal moment caught on camera but then the way Parish posted it and the way he responded to Macaulay made it seem like he really didn't notice the "problem"? The whole thing is a little confusing.
  20. I've always liked LeCrone's Choleric. There's a mix of angularity and a hint of seductiveness. Although she doesn't seem to be a loved dancer among some of the long-time City Ballet goers I've talked to. I'm so happy to hear that S. V-V was given another principal role after Melancholic in 4T. I've long deemed him my favorite corps dancer, smooth, fluid movement and light-hearted musicality. I hope to see him dance more senior roles soon!
  21. I remember talking to him last fall after the ABT two-week season in which Hallberg danced Other Dances, and he remarked then that he felt Hallberg had danced it with a "look at how elegant and beautiful a dancer I am" air, which felt in line with what he wrote in this summary piece(that Hallberg didn't inhabit the roles/choreography etc.).
  22. bcash

    Marcelo Gomes

    I assumed too that's what Webb meant to convey. He probably didn't mean to imply that ABT didn't follow due process. Just that from a hiring point of view he would not refuse to hire someone because of an unsubstantiated piece of news.
  23. Wow heavy duty. I have no knowledge of Todo Buenos Aires. Is it Balanchine? And, is this program in October?
  24. I agree with this view. I thought this was the case with J Peck when he was promoted, because his dancing certainly didn't improve (and imo has deteriorated since his promotion). Soloists dance less than Corps members so I thought it logical that they want to give him more time to choreograph. Schumacher's choreography seems to be well liked, so the same reasoning for promotion may apply, but interestingly he is not being commissioned a new work for the 18-19 season, and he choreographs much less than Peck anyway.
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