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About MRR

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  1. I am extremely dismayed that Stix-Brunell is not cast as Swanhilda: she seems perfect for the role. O'Sullivan debuting Aurora and Swanhilda back-to-back makes her a lock for first soloist. I wonder if Corrales would have been given principal if he had danced the entire season uninjured including Basilio, but the promotion should come in a year or two.
  2. He just danced two Romeo's in London, and that is arguably a more difficult role than Siegfried. I wouldn't expect Hallberg to replace any of Simkin's performances, but at least he should honor his own.
  3. A recent video of her Diamonds (with Xander Parish)
  4. Bolshoi uploaded the cinemacast on its website (you have to register an account): http://media.bolshoi.ru/play#/vod/play/435
  5. I am a dancer in the company and words can't do justice to this beautiful artist. I stood next to her at barre every day and was honored to have partnered and choreographed on her. My tribute on Facebook:
  6. I was so fortunate to have had Mr. Frame as an instructor for weight training during SAB's summers in 2008 and 2009. I can't say I worked with him a great deal, but more than enough where he made a big impact on my approach to conditioning my body, technique, and mind. His classes were challenging, not just physically but spiritually: he always wanted you to discover your essence and purpose as a dancer. He was invested in every student and knew everyone's name the first day. Regretfully he never taught technique at the school (at least in my time there), and even in those summers I
  7. Having not seen this, it sounds very tacky. I should've remembered: Stanton Welch's production for Houston Ballet used to end with a swan exiting while a maiden entered in her place, with the maidens slowly realizing their newfound freedom during the apotheosis. Beforehand, Siegfried intends to shoot Rothbart but misses and hits Odette instead (!), so the spell is broken. I don't even remember what Siegfried did after that point. Alas, in the most recent revival we now have the classic double suicide ending, but occurring later in the music. The swans stay in tutus and bourree in formatio
  8. Hmmmm, I thought Swan Odette during the apotheosis was not a spirit, but rather a figment of Siegfried's imagination, or memory. So when he is walking downstage, he is thinking of Odette and the promise he couldn't keep to break the spell, which explains the projection of Odette in the tutu. He carries maiden Odette because now that she is deceased, the spell is broken and she can never be transformed back into a swan. If we literally apply the story, the audience never sees the ballerinas as swans at any point in the ballet except for Odette's transformation at the end of Act II. Ho
  9. Very interesting to read this as I saw Valdes twice on the recent DC tour, and was surprised to see her at all (I thought she had already retired). I was rather disappointed in her Kitri and her dancing really showed her age. Arabesques penchees went barely above 90 degrees, she stumbled on her fabled fouettes, there were steps with the corps she marked to pace herself, and overall from the first act she looked tired, nervous, uninterested, or some combination of the three. Not to say it was completely a waste....she had some great instances of comedic timing and also attempted numerous bal
  10. According to People Magazine (admittedly not the best source), Balanchine offered to take her into NYCB if Paris Opera didn't want her. Surely, given her talent he probably thought the chances of that happening were slim to none. Guillem is interesting because while she had a quintessential Balanchine body, she was not, to my eyes, a Balanchine dancer in the least. She did perform some (not a lot) of his work at POB and Royal, but I sense his choreography didn't appeal to her.
  11. Fascinating....I had no idea Balanchine was even aware of Sylvie Guillem much less tried to invite her into his company. At the time of his death she would have been a coryphee. While he might have enjoyed her dancing, that is not to say he would have definitively enjoyed her in 2nd movement of Bizet.
  12. I didn't see the cinemacast but saw it live in London four times when it premiered. Macfarlane's design for the Act III ballroom is one of my favorites: rich, opulent, and slightly macabre. Video does not do it justice. I was less enthused about Act I: the gates and backdrop are fine, but the trees are indeed distracting and even the benches looked cheap. There is a very sterile, cold feel to Act I which I thought both Scarlett and Macfarlane accomplished in their choreography/designs; it's just not how I envision a prince's birthday party. The lakeside scenes are VERY darkly lit. The r
  13. Drew, I believe it was Ramze's Act II variation with the four children that was restored from the notations, which Canbelto linked to above.
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