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About Kyeong

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. Helene, I felt uncomfortable with Macaulay's "her own press notice" phrase because it seems to relate to the ethics of the professional dancer and artist, beyond the quality of the performance in question. Claiming that the dancer put his/her own personal interest over the performance is something to be told with due caution, only when he/she really did, or there are sufficient reasons to think like that. As the dancer's intention cannot be directly proved, we have to infer from what we've seen, and, to me, the Sunday performance wasn't that bad to justify his comments. Anyway, it seems that i
  2. Even if the NY times version prevails in the end, I hope to see many other voices from people who work as critic, which may help the readers like me distinguish "personal taste and artistic merit" mixed in any review, especially, in my opinion, in Macauley's. Or, I hope a tag is attached to each critic which briefly explains his aesthetic view and taste. Knowing Macauley admires and loves Balanchine and classic blond males, as written here, would have helped me duly appreciate his reviews. In his Giselle review, I also liked his mentioning "a dominolike ripple" in a "sensuous but unyielding
  3. It happened again last Saturday (for record purpose, Feb 5, 2011). I don't think I can dare to report about it, and can just say I've learned when to use the word, 'sublime'. Hope someone leave a report here about this performance - I wish BT also has a record of this great performance.
  4. I've seen five, and think I've read almost all reviews about it. In short, the quality of the performance didn't reach the height of their lastest performance, The Bright Stream in Washington DC, and they received mixed reviews - I've found London critics do always respond quite differently to any performance, classical music or ballet, so different making me realize all reviews are in its nature very personal, and in this occasion also, they were divided for almost all issues, say, who was outshined in the T&V. That being said, they seemed to have agreed at least Lilac Garden of the secon
  5. Ambonnay, you are very welcome or 'Je t'en prie'
  6. My pleasure! Hope this can be helpful - actually, at first, I felt a little dizzy at Act 2 synopsis (- too many characters coming and going). Wish to add that the actual performance was quite clear and easy to understand what was going on.
  7. Reading your post, I was reminded of Elisabeth singing together with Don Carlo and Rodrigo at the plaza. I thought Rodrigo's choice of sacrifice was made out of sort of desperation because the hope of liberation of Flanders had almost gone - the King refused to free Flanders (or made clear he couldn't do that), and Don Carlo was prisoned, staring the execution in the face due to his insane public attack on the King. However, there was still Elisabeth - sympathetic to his cause, caring for Don Carlo who, still, had the slightest chance of being a king, and having the power to give birth to a ne
  8. Here is the second act synopsis: Act II Scene 1: Evening The young people have assembled. The accordionist has taken a fancy to Galya, the schoolgirl who had danced with him so merrily earlier in the day. He whispers to her that he will soon be back and that she should wait for him. The pranksters do their costumes as Galya relays her conversation with the accordionist. To add to the fun, the tractor driver puts on a dog costume and suggests to Galya that she should meet the accordionist as proposed, but that he, disguised as a dog, will not allow the accordionist to approach her. The tra
  9. It is too belated response, but, as SandyMcKean’s question is so fascinating, I’d like to add my little thoughts. I’ve seen Don Carlos twice this season (Alagna HD, Mr. Lee live), and though those are all my experience with this opera, I, too, can’t find in the character of Don Carlos the answer to your question, why these people love him so much. So, I looked into the minds of the other people who love him, and here is my humble opinion: In short, they love him because of their own needs, to fill something they lacked in their own lives, maintaining their self-respect. To Elisabeth, Don C
  10. I attended three performances of The Bright Stream - Friday evening, Saturday evening and Sunday matinee. All were enjoyable, and, to me, the first one was most electrifying. The first day casting boldly remitted more dazzling and mature virtuoso rays, while the alternate casting looked younger and more modest. Kings and queens in oil painting vs. princes and princesses in watercolour – but, I wish to add that such lightness the alternate casting bears was something working well with this comic work. The Kennedy Center: It was marvellous. When I first saw this milk white-lit building Friday
  11. Just came back from Kennedy Center - ABT's premier of Bright Stream. Tonight, everyone on stage dazzled and sparkled brilliantly. They were all lively. To praise each member duly is far beyond my ability. I just want to say I think it's the success or, even, victory of ABT as a whole - dancing, choreography, staging, costumes altogether (Well, please remember that my ballet experience with ABT falls short of one full year, so, it's a truly personal expression. Just take it that tonight was ABT's one of the best performances since last May). Anyway, tonight I first felt and learned how thrillin
  12. Casting change: Alina Somova and Tereshkina were switched. PRINCIPAL CASTING Tue., Feb. 8 at 7:30 p.m. Giselle: Diana Vishneva Alberth: Andrian Fadeyev Hanz: Yuri Smekalov Mirtha: Ekaterina Kondaurova Wed., Feb. 9 at 7:30 p.m. Giselle: Alina Somova (cast change on 1/12) Alberth: Evgeny Ivanchenko (cast change on 1/12) Hanz: Konstantin Zverev Mirtha: Alexandra Iosifidi Thu., Feb. 10 at 7:30 p.m. Giselle: Viktoria Tereshkina (cast change on 1/12) Alberth: Evgeny Ivanchenko (cast change on 1/12) Hanz: Yuri Smekalov Mirtha: Ekaterina Kondaurova Fri., Feb. 11 at 7:30 p.m. Gis
  13. ABT Japan tour 2011 casting: - Special Don Q featuring different pairs for each act (like Alicia Alonso tribute last year); - Angel Corella in four performances (opening gala and closing gala, where he seems to perform "Caught", and two Don Qs {Act 1 of special Don Q (opposite Paloma Herrera), and the whole one (opposite Xiomara Reyes)}; and, - Osipova and Hallberg again in R&J. http://www.japanarts.co.jp/html/2011/ballet/ABT/english.htm Please note that it is not yet announced in ABT's official site, so it is subject to change.
  14. I saw Nuñez twice last year, first in the role of Masha in Kenneth M’s Winter Dreams, and then, the female lead role in Theme and Variations. In Winter Dreams, she was technically coolly flawless, but she did not end there, making the audience immersed in the emotions of Masha – her passion, pain and frustration. General view among the balletomanes in London was “This technically gifted dancer is now developing into a great actress”, and also The Telegraph said “Marianela Nuñez, as Masha, revealed new depths of drama beneath her classical reserve.” I think the praises paid to Gillian Murphy
  15. Though I didn’t dislike ABT’s new Nutcracker on the first date, I wasn’t sure whether I could enjoy it again when I already knew a little mouse would come out of Mother Ginger’s skirt, which was the decisive moment when I got to have favorable impression toward this production. And, when I had the chance to listen to the Nutcracker music (conducted by Sir Simon Rattle) after the first performance, I didn’t think Alexei Ratmansky’s choreography is well connected with the music. So, I wasn’t much excited with going to the BAM again, especially through the blizzard. However, happily, the second s
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