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About MRR

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  1. MRR

    Don Quixote Spring 2018

    The hops en pointe are in Dulcinea's variation, not Queen of the Dryads. I remember her Italian fouettes being fine as Gamzatti a few years ago, but don't know if those have since diminished.
  2. MRR

    ABT 2018 Swan Lake

    Leslie Browne once said that the Don Q fouettes are physically harder than those in SL, because Kitri has two whole acts before the Grand PDD where O/O only has one.
  3. Khoreva is a jewel, with all the qualities to become a major ballerina.
  4. MRR

    Alina Cojocaru

    Yes, that was the D.C. tour in 2006, with Kobborg as Prince, Nunez as Lilac, and Lamb as Florine. Tough cast to beat.
  5. MRR

    ABT 2018 Giselle

    Just saw Osipova minutes ago outside the ROH (!), unless my jetlagged eyes were really fooling me.
  6. MRR

    Watching the Olympics

    You are referring to the 1984 Sarajevo Olympics, where Orser lost to Hamilton. Orser won the 1987 Cincinnati Worlds, beating Brian Boitano.
  7. MRR

    Mariinsky in London 2017

    I would promote both Olesya Novikova and Ekaterina Osmolkina to principal.
  8. MRR

    Mariinsky in London 2017

    Being programmed "often enough" doesn't make Swan Lake one of his most successful works. It's not been that frequently performed, even at NYCB (at least recently), and I can't think of any major companies besides NYCB and MCB who have done it. I'd be hard-pressed to find people who call it one of Balanchine's most iconic ballets, though perhaps many have not seen it. The ballet was basically choreographed as a moneymaker for the Company and for City Center, and while that in of itself doesn't mean it lacks merit, the ballet is so abridged that the narrative fades. I didn't see the work as distilling the essence of the ballet, if the essence of the ballet is indeed the White Swan pas.
  9. MRR

    Mariinsky in London 2017

    And a one-act "Swan Lake" was not one of Mr. B's most successful works.
  10. MRR

    Sara Murawski

    Has anyone here seen Sara Michelle dance, with PA Ballet or elsewhere? I have been curious about her after seeing several pictures and clips of her on Instagram. She is extremely tall and looks technically strong with endless pirouettes, but her contortionist flexibility borders on rhythmic gymnastics. That is just my impression based on short clips and photos, so I don't necessarily know how this would translate to live performance. It is very unfortunate how she was let go from PA Ballet, but I'm not surprised Angel Corella did not see a future for her in his company.
  11. Marchenkova was the raunchiest Tall Girl I have ever seen. Subtlety? Nyet! I'm not really sure what I thought about it, except that it wasn't boring. Her legs were like pistols, and she looked the audience straight in the eye: never letting them out of her grasp. She did make an effort at the style and certainly should be credited with dancing extremely big. Not even a particularly tall dancer, she certainly did everything to look like one. Krysanova/Lopatin looked like they had walked onstage in the wrong ballet. There were no technical disasters, and Krysanova in particular is very strong, but there was no sense of dare, verve, jazz....everything was very turned out, prim and proper. There wasn't the integrity of the off-balance partnering nor the turned in emphasis on many of the steps. The speed was better maintained than I was expecting though. Lopatin was perhaps an improvement over Ovcharenko in that he wasn't a prince (this is my guess, I didn't see Friday), but he was visibly pushing just to get through the ballet. The saut de basque in the men's dance were under rotated and effortful, and the consecutive traveling jumps from stage left to right had no force. Krysanova was slightly better, but overall didn't look sure of herself and phrased everything in a kind of metronomic manner. Diamonds is fascinating because for whatever reason it is the most consistently staged of the three gems. Now this is not to say that each company's rendition isn't unique. The NYCB and Bolshoi approaches to Diamonds could not be more different: if Diamonds is considered "After Petipa," NYCB emphasizes the "After" and Bolshoi the "Petipa." There is nothing in-between, but the steps are basically the same. In Emeralds there are often different port de bras, and the original (gorgeous) promenade section in the first pas created on Verdy/Ludlow has since been cut in most (all?) subsequent stagings. There are also two movements today which weren't in the premiere, and the Mariinsky doesn't even dance the Death movement. The Sandra Jennings/Patricia Neary staging for Bolshoi Rubies was so altered from NYCB's it looked like a different ballet. I assume Neary's would be closest to the original, while NYCB dances the most recent version of Balanchine's before he died? However, Diamonds is very consistent from company to company, and presumably to the original. The principal solos in the Scherzo do tend to have variations, but they are mostly the same steps. I will write more about Mearns/Angle and NYCB later.
  12. Smirnova/Chudin's take on Diamonds is quite a lot more impactful in the theater. Video doesn't do it justice at all.
  13. Agree with Nanushka and fondoffouettes 1000% on POB Emeralds. Will update more later. Fairchild was better today but Reichlen slightly diminished from Thursday. De Luz fantastic as usual.
  14. Reichlen says she is usually jealous when watching other dancers in Rubies, so perhaps that was her reaction: http://www.pointemagazine.com/nycbs-teresa-reichlen-on-the-challenges-of-dancing-rubies-2463097530.html I look forward to seeing the alternate POB cast (especially Gilbert) tonight as well as NYCB Diamonds tomorrow. At least Bolshoi Rubies will have two different dancers in the leads on Sunday: Vyacheslav Lopatin in the Villella role and Olga Marchenkova as the Tall Girl. The grass isn't always greener with a different cast, but Marchenkova did stand out to me as one of the demis in Diamonds. Krysanova I can at least picture, but Ovcharenko is so wrong for Rubies. He is a beautiful dancer who doesn't seem to project much of anything: an issue not isolated to his miscasting in Rubies. I wish all three companies got a chance to perform each gem throughout the Festival. It's a shame especially that Emeralds only has one company performing, and I would be interested in seeing POB Diamonds. Of course logistically it would be much more complicated, but the contrasts would be fascinating across multiple shows. Also can't speak enough about the genius of Balanchine. No one work of "Jewels" is my favorite, but the evening becomes something greater than the sum of its parts.