Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

MRR

Senior Member
  • Posts

    165
  • Joined

  • Last visited

Posts posted by MRR

  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. 12 hours ago, fondoffouettes said:

    Right. I think it will be a miracle if Hallberg dances his one Swan Lake.

    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. 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 remember wanting to take from him because his insights on dance were so remarkably keen.  However, he watched our ballet classes religiously and was always willing to help with a step or something you were struggling with.  Truly, he wanted everyone to succeed.  Even when students were sitting the halls waiting for their next class, he would be the first person to say hello:  Peter was warm, engaging, with no pretense whatsoever.  When I arrived for my second summer he instantly remembered my name and wanted to know how I had been doing.  I will never forget how generous, radiant, and physically perfect he was: he always looked a solid decade younger than his age.  

    For anyone who is friends with Jock Soto on Facebook, he had the most beautiful tribute to Peter.  RIP to an uncommon man and teacher.  

  4. On 8/8/2018 at 10:15 AM, volcanohunter said:

    Yuri Vasyuchenko's production in Odessa has the corps swans remove their feathery headbands as the apotheosis music plays and drop them on the floor. Makes the point unequivocally. Obviously he had to ensure that none of their choreography in the final scene was so strenuous that the unpinned headbands would come off early. And the dancers put the feathers back on before the curtain comes up for bows.

    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 formation until the curtain falls.  

  5. 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.  However, Odette, Big Swans, Cygnets, and the corps are still in swan tutus, which represent the spell they are under even while they're in human form.  So Odette in her maiden nightie in the apotheosis made sense to me because while she is dead, effectively so is the spell.  It is an awkward juxtaposition, however, against the corps who are still in swan tutus even though they are freed.  But there is no practical way to have all the corps women quick changing while Siegfried retrieves Odette's body to show all of them in maiden form, so I accepted the ending for what it was.   Of course I prefer the double death ending, and for an alternative ending I enjoyed the RDB's which had Siegfried marrying Odile in the closing seconds.

    The political plot got out of hand though.  It never made sense to me how, for all of Rothbart's presence in the court, nobody noticed he had a daughter!  And his curse for Odette almost seemed independent of his plot to take over the kingdom.  During the closing of Act I, Rothbart wants Siegfried to go back to the palace, while Siegfried refuses.  It's as though Rothbart doesn't want Siegfried to go shooting for swans, or find Odette, much less fall in love with her.  But then, if Siegfried doesn't meet Odette, how does Rothbart know he will fall in love with the "real" Odile at the ball?  The whole point of him of his infatuation with Odile is that she is transformed to resemble Odette.

  6. On 7/8/2018 at 9:06 PM, cubanmiamiboy said:

    Valdes has NEVER been an elegant ballerina, and her promotion was just based on the sudden defection of ALL her contemporaries-(particularly the Feijoo sisters). Until today the Cuban balletomanne community look upon her with a Skorik/Somova criteria. I myself have always avoided her performances, which is why I didn't even bother to go see them in DC.

    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 balances--including one spectacular arabesque held at least 15 seconds where she was practically a statue--but those were isolated moments throughout a three-hour evening.  However, much to my shock I loved her Giselle.  It wasn't exceptionally acted, but it was like in the span of three days she became a decade younger.  Her variations were so free and generous....the Spesivtseva was a master class in control, and her stage presence was unforgettable.  Act I was quite a bit better than Act II, but even in Act II you believed the generosity of her spirit saving Albrecht.  She didn't indulge in any balances or pyrotechnics and didn't need to.  I was shocked that in such a lyrical role, she could be so captivating even if not in the traditional mold for a Giselle.  The Kennedy Center roared for her in that performance in a way they didn't for the opening night (with Sadaise Arencibia in the title-role).  

  7. 1 minute ago, Helene said:

    I have no idea if Balanchine tried to recruit Guillem, but he was, apparently, crazy about what he saw of her as a teenager.  Based on that, I was very excited to see her, but was sorely disappointed.  I think she was in her early 20's when she toured to NYC (Met Opera) with Paris Opera Ballet in the '80's, and that would have been after he died.

    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.

  8. On 8/3/2018 at 1:37 PM, Helene said:

    Lots of people didn't like Suzanne Farrell.  Balanchine thought the world of the teenaged Guillem, and I was put to sleep by her 2nd movement in Palais de Cristal.

    You don't have to love the museum: choreographers aren't infallible gods: they're inspired by what they're inspired by, but no one else needs to be.

    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.

  9. 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 return to the corps in swan tutus is welcome, but the long skirts were the least of the previous production's problems.  It cannot be overstated how hideous the Sonnabend designs were....as a 7-year-old I hated them.  

    Marianela Nunez I previously saw in the Dowell production in 2011, and she is still one of my favorite dancers.  At 36 her extension and back flexibility is declining, so the exposed adagio in Act II was not her strong point.  But her Odile was wonderfully glamorous--a true Belle of the Ball as she seduced her Prince--and Act IV poignant and tragic. Sarah Lamb did not have the strength or security technically of a Nunez, but she had incredible detail in the mime, with her entrance scene performed about as well as I've ever seen it.  Her Odile wasn't sensuous but rather sinister, calculating, and manipulative, and Act IV, like Nunez, was her stronger of the two white acts.  There was something truly grave about her predicament in those final moments before her suicide.  Akane Takada received much praise on the balletcoforum, but her O/O left me stone cold.  Perhaps as a result of her Bolshoi training, she had some unmistakable Russian qualities in the ballet: sinuous rippling port de bras, high extensions, and even the Russian "non-whip" technique to her fouettes.  But she didn't have the pathos, grandeur, or distinction the dual role deserves, though I found much to appreciate in her technique.  Her performance in the pas de trois was dynamic, but while she has nice feet her there is something awkward about her right shoe (I believe to accomodate an injury), and in spite of a great jump she didn't even attempt entrechat six.  

    Anyway, the production is no masterpiece, but I did enjoy it more than most on this forum.  Rarely (ever?) does Swan Lake get every aspect of the music/designs/choreography/dancers right, and in comparison to Houston Ballet's production which I saw recently that got just about every aspect wrong (despite some fine performances), with the Royal's I felt like I was seeing Swan Lake.  Given the vast number of unwatchable Swan Lakes out there, I'm just glad I don't have to add this one to the list.  

  10. 1 hour ago, fondoffouettes said:

    Yes, that’s Trenary rehearsing Queen of the Dryads. Part danced that role last year in a performance where Luciana Paris was Mercedes. My best guess would be that Trenary is dancing the role in the two Don Qs that feature Abrera, since they are both cast with short dancers. Also, there’s that sequence of hops on pointe, so if Abrera is still having issues with those, as she did in Giselle, it makes sense that perhaps she’d want to avoid Queen of the Dryads. Plus, others have noted the overall diminishment of her technique. I’m not sure how she’d handle the Italian fouettés, as we didn’t get to see a Gamzatti from her this season.

    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.  

  11. 4 hours ago, fondoffouettes said:

    Maybe she'll attempt the fouettes in Don Q, if she feels less scrutiny/pressure in that role. I also wonder if the ballerina has more gas in the tank, for lack of a better phrase, at that point in Don Q (not that that pas de deux is any walk in the park). 

    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.

  12. 17 hours ago, California said:

    Don't see Osipova. She performed at the Royal Friday night and should be arriving in NYC soon. 

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

  13. 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. 

     

     

  14. 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.  

  15. 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.

×
×
  • Create New...