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Everything posted by Raylene

  1. From my perspective, Kobborg's Romeo was just fine. I thought the absence of pyrotechnics was totally in keeping with his depiction of Romeo as a pensive observer. His deep plies contributed to a lovely seamlessness in his phrasing and a very clear articulation of the movement’s underlying structure. Clearly his partnering was sublime. For me, it was an absolute revelation. It was extremely nuanced with amazing spontaneity and texture. I realize that the thread is Corsaire; please move as appropriate. Thank you.
  2. here's the text/review that accompanies the photos: http://www.nytimes.com/2012/06/22/arts/dance/ballet-theaters-romeo-and-juliet-at-metropolitan-opera.html?_r=1&pagewanted=all
  3. I cried, too, last night. A lot! Alina Cojocaru was so exquisite. I was totally overcome by the sheer beauty of her artistry. The way she shapes a phrase and envelopes herself inside the music. Although she fully articulates every position, it always appears totally fluid like liquid silver. And her dancing (and acting) was so full of contrasts. Delicate yet powerful. Passionate yet nuanced. Last night’s performance will resonate forever in my heart. What a privilege to catch a glimpse of heaven on earth as embodied by this great, great ballerina.
  4. This is great, thank you very much!
  5. Thank you, much appreciated.
  6. Hello, I might be able to see the Berlin Ballet in Eugene Onegin in May. No casting is posted yet. Can anyone share any current impressions of the company/of the company in this production/of any favorite dancers (other than Polina Semionova, as she'll be in NY with ABT at that time). Thanks.
  7. Speaking of Janet Shabita, does anyone have an update? Thank you.
  8. When did Fracci retire? If her appearances with La Scala in San Francisco were in 1987, she would have been in her early 50's. I can't imagine she continued to dance major roles much beyond that? Or did she? Thanks again.
  9. Sorry, I wanted to thank all very much for the responses and the info. As you can tell, I am not very savy about posting. I would try to post the press release/photo if helpful and of any interest. But this feat probably is beyond my limited skills. Thanks again.
  10. there might be a little confusion - i think the appearances in new york were their first ever in north america, but i don't know if they went anywhere else on that trip. if they didn't then the performances in san francisco might have been their first in san francisco but were definitely not their first in the united states. and it's possible that they were using press photos from the 1981 engagement in new york for publicity in san francisco, i suppose?
  11. Hello, I recently came across a undated press release/photo of Carla Fracci for an appearance with "La Scala Ballet" in San Francisco. The press release describes this as the company's first appearance in North America. Does anyone have an idea of the year? Thank you.
  12. Just seems a shame not to positively engage such an incredibly knowledgeable, loyal and committed fan base in a dialogue about future challenges and opportunities. Respectful dialogue can be healthy and energizing.
  13. What jumps out at me when I read all the ABT posts is how passionate people are about the company, the dancers, the repertoire, etc. This might be a ridiculous question. But has there ever been any opportunity for focus group discussions with ABT’s artistic management to share ideas, hopes and dreams for the company?
  14. I know this does not specifically address your question. But if he is referencing just these two performances, is it relevant to remember that this represented Cojocaru’s debut in Giselle in ABT’s staging at a relatively new venue for her as well as her first pairing with Hallberg vs Vishneva’s many appearances in Giselle over the years both with Gomes and at the Met?
  15. Sorry, was just trying to say thank you for the previous post. Wonderful to read.
  16. I've always thought that Cojocaru has a unique way to paint the music and to give it different colours, making often clearer meanings hidden inside it: she is not dancing on it but using it to make her dancing a complete art form. Yesterday evening Alina danced a sublime Manon in London (her first show with Johan Kobborg after the engagement and maybe it added something...NYC missed an opportunity, we gained it! ), and in her review of that formidable show Judith Flanders writes "a musicality so intense that it just flows through her that raises her above everyone else. ... Sometimes she allows her steps to drift behind the music, and appears to be driven by it; sometimes she is slightly in advance, and appears to be driving it. But it is never anything but the core of her dancing." http://www.theartsdesk.com/index.php?option=com_k2&view=item&id=3815:manon-royal-ballet&Itemid=27 After having been envious for a couple of weeks, I'm now looking forward the second Manon on Saturday
  17. "....to show the music to me" - I so agree. She shapes the music so that it becomes a true partner in the dance. I mean this almost literally - as in a vibrant, physical presence that embraces Cojocaru.
  18. Just to offer a minority perspective regarding the descriptions of Cojocaru "being late" and not filling a musical phrase. Not being a musician, it is difficult for me to describe this well. Cojocaru prolongs different elements of the choreography in a way that modulates the musical accent. She plays with the phrasing - often in a very risky way - that, IMO, inspires us to both hear and see things just a little differently. To my eyes, this fills out the phrase rather than truncates it. This was very evident at the gala and in DQ as well. Personally, I love this freshness and spontaneity.
  19. I found the Cojocaru/Hallberg performance positively stunning. There were many gorgeous moments that wedded exquisite technique with an enormous generosity of spirit. The love radiated from them in a testament to their art and to all who have preceeded them in Giselle. It is difficult to describe the ethereal. What made this performance so memorable? Was it the shimmering fluency of their movement? Was it their expansive shaping of space? To my eyes, their performance was so organic and alive that it transcended all technical considerations. Cojocaru and Hallberg demonstrated how exquisite classicism can be a portal to a more perfect beauty. From the sublime to the more earthbound…. I wish that Giselle’s cottage and her grave weren’t invisible from stage right sight lines. That seemed a little careless from a production aspect. And IMO, the soloists were accomplished but failed to register with any weight or consequence. And finally, I found the orchestra a little jarring at times as the music disrupted rather than enhanced the mood. Something appeared to be out of sync.
  20. Ahmen to that. Sure, it is wonderful that ABT demonstrated a deep commitment and investment in Osipova by brining in Ferri. But is this same care and attention extended to the remainder of the company? The only tangible evidence is what happens onstage. One word - "demoralized" - summed up this season for me. The energy level overall seemed lackluster and unfocused. A performance is truly transcendent when all the parts coalese into a greater whole. I just hope that ABT as an entity still has the capacity to inspire heart and passion in the dancing of each and every person onstage.
  21. I would love to purchase a complete version of the film of David Dawson's Giselle with Yumiko Takeshima (excerpts are on YouTube). My inquiries to the Dresden Semperoper Ballett were not answered. Does anyone know if this is available? I am new to Ballet Talk and am still navigating the topics, responses and search options. Please forgive me if this question has been asked and answered. Many thanks
  22. Thanks for the updates. Definitely inspiring me to pay more attention to ABT II.
  23. In another topic post, there was mention of an ABT apprentice, Courtney Lavine, performing in the corps of "Sleeping Beauty" last weekend. This might be off topic (if so, I apologize and feel free to move/delete). But I am curious about ABT apprentices (how they are selected, how often do they perform, duration of their apprenticeship, etc.). Thanks
  24. I'd see Cojocaru in anything. Have her dance the phonebook - I'm there. I totally agree After falling in love with her yesterday, I absolutely agree too. Ditto. She reminds me so much of Fracci. Once you fall in love with Alina, you are hooked for good.
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