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zerbinetta

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Posts posted by zerbinetta

  1. 11 hours ago, nanushka said:

    FWIW, in Repertory in Review Reynolds lists under "other casts" Farrell, Mazzo, McBride and Paul for the women and Bonnefous, Blum, Clifford and Mitchell for the men.

    Jorge Donn danced Bugaku during his short sojourn with NYCB. With Farrell, shortly after her return.

  2. 2 minutes ago, lmspear said:

    The roles were created on McBride and her husband, Jean-Pierre Bonnefoux (not sure of the spelling).

    Thanks fo this.

    I guess I remember Bart and Sally so well because they were so very funny. And did it for years. No one else, IMO, has ever lived up to their performances.

  3. 9 hours ago, California said:

     

     

    9 hours ago, California said:

    I heard a pre-performance talk once about it; they pointed out that no other company has ever performed it, partly (at least) because it requires 74 dancers and few could muster that many, even drawing on apprentices and advanced students. A funny tidbit we were told: the semaphores in the last section were learned by looking at a tape and someone realized quite belatedly that they were using mirror images, creating an entirely different meaning. Legend has it that Baryshnikov performed the middle music hall section on short notice, thus giving rise to the name "Ballet alert" as balletomanes spread the word. (If you were there for that episode, please correct me if I'm wrong on this.)

    https://www.nycballet.com/ballets/u/union-jack.aspx

    I remember seeing Baryshnikov do the role, with McBride I think, but weren't Sarah Leland and Bart Cook the creators of the roles?

    And, yes, they were hilarious. Even the 9th or 10th time.

  4. Martine's Giselle also crossed my mind when reading these later posts. Like Murphy, Martine had some difficulty persuading that she might be in fragile health.

    Nevertheless I wouldn't have missed her Giselle for the world. So beautifully danced; so exquisitely musical; so steeped in the style. Gorgeous.

  5. 9 minutes ago, vipa said:

    Martins was truly one of the greatest of his generation, but you don't hear about that much. Unfortunately I never saw Hubbe in T&V. Ib Anderson was wonderful.

    Princes all.

    Peter was also a great James, which he did at the Met when the Danes guested. Also a dazzling Albrecht in a Giselle he did in Toronto with Makarova. Amazing entrechats. This was during Erik Bruhn's tenure at National Ballet of Canada.

  6. 23 hours ago, vipa said:

    Interesting to mention T&V, contrasting a more compact style with a handsome princely style. Peter Martins isn't mentioned much as a dancer, but his T&V was an amazing combination of both. He was a tall elegant dancer who did T&V to perfection including the double tour pirouette section (doing double pirouettes as Veyette ad DeLuz sometimes did). I have noticed that some dancers walk around for the start of that music and start the sequence later. That always bothers me!

    Martins was a magnificent dancer, wonderful in a wide variety of roles including, much to my surprise, the Rhumba Boy in On the Town. Very amusing.

    Nicolaj Hubbe was also wonderful in T&V, after a disastrous first performance. As was Ib Andersen.

    Great Danish training?

  7. 1 hour ago, Dreamer said:

    Jared Longhitano’s Linkedin page shows that he’s involved with several arts organizations in NYC. Besides being a Junoir board member at NYCB, he is a member of Young Associates Steering Committee at the Met Opera, part of the Junior Council at ABT and the scariest of all, he is the Head of Young Patrons Group at YAGP.

     

    His MyLife page gives his age as 42. How old need one be before ageing out of "Junior" this and "Young" that?

  8. If I'm remembering correctly the Taylor company announced it about a year ago. They didn't make a significant point of it, especially considering there would be a year and a half gap between seasons. But apparently the weather had made a huge difference in their box office between the time they started using the "State" theater and 2017. There had been a lot of snow and transportation difficulties and apparently a lot of their audience was of the walk-up persuasion.

  9. 8 hours ago, Kathleen O'Connell said:

    My thoughts exactly. 

    I'd like to see the Taylor company hang onto its March Theater-Formerly-Known-as-State season, though — especially now that it's presenting revivals of important modern dance works by other choreographers.

    The Taylor company has canceled its Spring season and switched to the Fall due to the recent increase in inclement weather with its consequent negative impact on the box office. They will now be performing :

    "The 2019 Paul Taylor American Modern Dance season at Lincoln Center will take place in the Fall of 2019: October 30 - November 17. " quoted from the Taylor website.

     

  10. 9 minutes ago, vipa said:

    Suzanne was the first one to do the head to knee curl. She describes how it came about, in her book. Everyone who came after her has done it.

    Actually not. Sofiane Sylve refused to do it. She apparently found it vulgar. And she certainly could have done it. She was quite wonderful in the role.

  11. 1 hour ago, nysusan said:

     



    Symphony in C's second movements is one of those magical Balanchine Goddess roles. I remember Whelan in an interview (paraphrasing) saying that when she danced it she felt as if she was talking to God. Others have brought great mystery, or spirituality or transcendence to it. Hyltin was just pretty, she didn't really project any inner life and for me that is a killer in this role. 

     

     

    IMO the greatest ever Bizet second movement was Allegra Kent who was quite short. But speaking of "inner life" - GADZOOKS!

  12. 2 hours ago, Helene said:

    I'm not sure what the contradiction is:  Martins might have owed two apologies: one to Kistler for assaulting her, and one to NYCB for the bad publicity and hit to the reputation that the assault reports created.  If either happened, I don't remember them being made public. Kistler, for one, refused to press charges and took it private; both were her choice at the time.  There was no public disciplining of Martins by NYCB, no title changes, no financial changes visible on the organization 990's, or any additional layers of management added right afterwards or public announcement of new/updated/refined standards of behavior, etc. that I am aware of: perhaps other people remember public info about this?

    If there were repercussions, as far as I can tell, they remained private, which is a trade-off with public perception.

     
     
     
     
     
     
     
     
     
     
    From the NYTimes 12/6/92:
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    TWO MONTHS AFTER THE DEVASTATING HEADlines, over lunch across the street from the New York State Theater in Lincoln Center, home of the City Ballet, Martins states matter-of-factly, "I know that my reputation is shattered."

    But Martins is still himself, determined to press ahead regardless of what people think of him. The only chink in his famously stoical front is that he is smoking heavily again, after a nearly yearlong effort to quit.

    He and Kistler are together, apparently happy and still committed to each other. He is in counseling, and the two are going for joint therapy.

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