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zerbinetta

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Everything posted by zerbinetta

  1. Peter Boal is also doing a "conversation" with Merrill Brockway (a Santa Fe resident) at the Lensic on Thursday evening, a free event.
  2. I googled Danny & the last thing I found on him was an appearance at a big AARP benefit the end of June this year.
  3. The SYTYCD tour started last September, so I think you're right. This year's group should be starting their tour nowish.
  4. Yes oh yes omg yes!!! Indelible to me as well.
  5. Chiming in late: I wrote to the critic I shall hereinafter refer to as A-Mac after seeing him at the Cornejo SB & Giselle debuts to ask when we could expect a review. He replied: I/we see many more performances than I/we review. One thing is certain, this board never got as heated up over Kisselgoff/Dunning/Anderson recaps as over this one of A-Mac.
  6. I must apologize for my haste in quoting Mr. Macaulay without double fact checking--and making him sound more decadent and outlandish and absolutist than in fact he was. His whole statement was more limited in reach: Well so much for Richard Strauss. Among others ..
  7. Wednesday Mat/Thursday Eve (Reyes/Cornejo): what a difference a day makes. Wednesday was an excellent dress rehearsal; Thursday was the performance. Cornejo's Albrecht characterization is still in the sketch phase but it's a very good indication that it will deepen into a most interesting one. He will give Reyes more in the mad scene as he gains experience in the role and I hope she will revert to the way she did it with Bocca and Carreno. She took that long dangerous moment at the beginning of the mad scene upstage of Albrecht and looking at him, still coming to terms with the betrayal and then is destroyed as she sees his shame. With Cornejo she uses the fourth wall rather than Albrecht. Still beautifully effective but less so, to me, than previously. But there was nothing sketchy about the dancing. There was such a union of souls in Act I that led so inexorably to Act II. It was really a remarkable performance on so many levels, spiritual, dramatic and technical. Reyes has a quality of transparency in her Giselle, physically and spiritually. She is almost not there and yet very much there equally. She is a subtle actress (no fussy mad scenes here) who makes every step tell its story in a wonderful arc of creativity. She breaks your heart gradually. Among her many heart-stopping moments, when she goes from Albrecht to return to the grave her feather arms so clearly tell him "No, my love, you must leave me now". Another facet of this remarkable ballerina is how she includes everyone onstage in her world. This is true in all her roles. Herman .. what a dancer he is. He makes it all look so easy and natural that it's over before you realize what he's done, so wrapped up you've been in the beauty and perfection of it. Having Wiles as Myrta also contributed. Murphy seemed more the cheerleader of the Wilis whereas Wiles was truly a Queen. Murphy may do some of the choreography more strongly but Wiles' bourrees are smooth, small and way superior. And she is far more expressive in the role. In her long solo Wiles made clear that Myrta is preparing the ground for the upcoming sacrifice and not merely dancing a solo in the forest. Wiles is not merely working on her technique; she is showing imaginative growth as well. What a good season she's had after a bit of a plateau period. It's been well worth the wait.
  8. But has this not been the case for a long time? One ageing classical music audience is replaced by the next generation of ageing classical music audience.
  9. Friday was a holiday, followed by the weekend. They will probably update the website tomorrow.
  10. It's just a guess, but ABT may have asked Nina to stick around through the week in case. She replaced Diana in Don Q & Swan, so it would seem management feels she's the best candidate. And there's time to rest after her scheduled performance on Monday.
  11. Cornejo's SB Prince was a (not unexpected) marvel, giving the lie to those nay-sayers who claimed he could never be a prince. As noble a prince of any size onstage today. His variation after the Vision scene was so full of joy and exuberance to have found his True Love, both powerful and endearing. Lane had a very promising NY debut but I might have been more impressed had I not attended the remarkable performance of Xiomara Reyes the night before (yes, I chose to see this rather than Damian's farewell and don't regret it). The aspect above all that so impressed was Reyes' refinement, as though Tchaikovsky and Petipa were whispering into her ear. Nothing overdone (or underdone) here. No big grins or falling out of triple pirouettes. Style, musicality, lyricism, joy (but not glee), connecting with everyone else onstage, from start to finish an Aurora comparable only to that of Amanda McKerrow in recent years. If I had to compare Reyes' Aurora to another performance it would be to the Don Ottavio of the late tenor Goesta Winbergh, a perfection Mozart could have wished for. Carreno was ardent, noble and, it goes without saying, The Perfect Partner. I thought Lane had more success in the Grand Pas than earlier in the evening. In Act I her back leg had a tendency to lag, and I noticed the line in her upper body tends to tilt forward. The Vision scene had more of a channeling of Nikiya than Aurora. But by Act III she seemed to have settled down and finally began to enjoy herself and that finally reached me. On Monday Paloma danced so very small. She doesn't always; certainly her Kitri is bigger. Corella did his usual bouncing around (with glee) but it did lift the somnolent mood. The best reason to see Monday's performance was the Real Lilac Fairy of Veronika Part. Oh my! There is So Much Lilac Fairy in this production (why does she have to act as Mistress of Ceremonies in the last act?). But I'll never complain of too much stage time for VP. Wiles was quite a good Lilac on Wednesday. She has really worked to lengthen her neck, drop her shoulders and ginch out at the hip to lengthen her line. Her Swan this year was much improved and, after a plateau period of a couple of years, she is turning into a real ballerina. I found Riccetto miscast. Again small; one of the fairies, not the boss. Why Kristi Boone wasn't cast here is a mystery (and as Gamzatti when ABT is bringing in a ringer for two performances). Boone was a seductive Countess, a lush Fairy and the sexiest White Cat in memory. Nancy Raffa was glorious as Carabosse. A Wow, in fact. This is what I expected from Gelsey last year. Venom dripping from every pore. You wouldn't think such a poquita could stand up to the magesterial Part, but Raffa did. Hoo .. vicious! As for the production, most of the changes are welcome but why do the Courting Princes look so alike except for their chapeaux? These are exotic Princes here; they shouldn't look like they wandered in from the nearby countryside in their Sunday best. And that odious stage in Act III looks like a Vegas reject. Using it for the appearance of the happy couple might work if the warm-up acts weren't also presented there. Some other quibbles but, on the whole, a much improved version over last year. And Barker conducted wonderfully.
  12. I'm afraid of getting rather off-topic here, but, briefly, from 1871 - 1961 more Irish left Ireland than were born there. In 1861 the population was 4.4 million; in 1961 the population was 2.8 million. The majority went to the US or UK. The 'age of mass migration" lasted from 1871 - 1927, which would seem to answer the Flanagan question.
  13. During the mid to late 20C there was a great influx of the Irish into the Glasgow area, mostly from the Northern Counties, among them perhaps the ancestors of James McAvoy, since he spells his name Mc and not Mac.
  14. Haroun had a great story, wonderful performances and a terrific physical production. We had a friend in the cast, a seasoned singer, who felt the music was unsingable and feared for some of the younger singers in the cast. Apparently they were suffering various problems he associated with great strain on the vocal apparatus. The Ades opera, The Tempest, also sounded a vocal ordeal to me but was beautiful music. Haroun had not a moment of beauty to redeem itself.
  15. Bart, I agree that the level of American Acting has improved enormously. There are many Juilliard grads among the best. I was impressed reading an interview with Laura Linney in which she explained that she waited to decide her accent in John Adams until she heard that of her "husband" and then she made hers a degree or two more refined as Abigail was at least a degree or two above his social level.
  16. A performance I saw recently springs to mind: Leonardo di Caprio in Blood Diamond. His Boer accent veered from Texas to LA to the Bronx to something approaching geographically correct. He probably wasn't bad in the role but I couldn't get over the accent(s).
  17. Thank you for this. I'm know many of us are delighted to welcome it back. I'm sure it's been a lot of work, arrowing & linking. It is appreciated. Now I hate to mention this, but the Forum Rules link doesn't seem to be working, no matter where I try it. It could just be me?
  18. Ah Orza, comma, Seth. Gotcha! Yes we do know who he is and we miss him.
  19. Is Korbes injured? Who is the Seth listed for several debuts? Is this Henry Seth of CB? He's not listed as a company member.
  20. I remember it as Makarova also. Haydee's interpretation was very like Wilson's. Makarova's was not, but interesting nonetheless. I also thought it was a glass of wine because I remember asking "white or red?"
  21. Didn't Aire (sp?) Hynninen stage the Tudor R&J pas for NY Theatre Ballet? She did a fine job.
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