puppytreats

Was Polina a soloist or principal in Germany? I read conflicting things.

(I read in an article yesterday that N. Osipova is at the Bolshoi.)

A lot of people have been talking about how thin Veronica looks, but I think she looks like she has been working out more and in a different way. Her leg muscles look incredible and so very well-defined, but differently than a typical dancer's legs. She looked great even in her awful gala costume.

Quick review of Monday night: Dvorovenko and Bolle.

Act II had another strong Myrtha from Simone Messmer. Christine Shevchenko and Zhong-Jing Fang were wonderful (particularly Fang) as Moyna and Zulma. Fang should be dancing Giselle somewhere if not ABT.

Fang's simple sigh broke my heart.

Faux pas - thanks for this nice summary of 5/21, especially your description of the Act II lift problem. I don't recall ever seeing such an extreme problem with a lift. Were the boos directed at anyone in particular? Did you hear a musical catastrophe at the end of Act I, which I saw mentioned elsewhere on the Web? I just checked the New York Times and they haven't posted a review yet for this performance.

Do you have a link?

I don't think we're supposed to discuss other sites/blogs. Still nothing from the Times.

Can someone pm me?

Faux pas - thanks for this nice summary of 5/21, especially your description of the Act II lift problem. I don't recall ever seeing such an extreme problem with a lift. Were the boos directed at anyone in particular?

Did you hear a musical catastrophe at the end of Act I, which I saw mentioned elsewhere on the Web? I just checked the New York Times and they haven't posted a review yet for this performance.

Do you have a link?

The article in the "New Yorker" in yesterday's links describes the Kingdom of the Shades scene as a "vision of Heaven". I always thought of it more like Orpheus, in Hades, I guess due to some form of dyslexia, but the dancers do descend down a staircase from an elevated plane. Most myths and stories that involve interacting with the departed I think deal with the underworld. Do any others deal with interactions with Heavenly creatures, other than angels? Are departed, temple priestesses supposed to be angels?

GI: I am still laughing at your comment. Perhaps what I wrote came out a bit compressed, combining on- and off-stage observations, in my starstruck awe. I sat almost in front of Max and Irina at the Guillem show in March. He looked a bit thin and compact, but not glassy-eyed. I could not see his eyes from where I was sitting at the gala, which was all the way to the left. Irina is so beautiful and glamorous, as discussions about her glittery gown hint at, but I do not think that description applies to her swan portrayal. I think Max's deferential behavior and love for his wife seeps into his performance, though. I can understand many interpretations of a prince, including a combination of deference and regal authority, which I believe Max displayed onstage.

abatt, I did not see the blue dresses.

I cannot imagine anyone performing the puppet being pulled up by a string step in Act II like Osipova, as I have seen on youtube. What is that step called? I imagine her whirling dervish is wonderful, too.

Does anyone have pictures of the different outfits?

Or links to the brise and brise vole, including Albrecht and Bluebird?

Albrecht's solo in Act I seemed different at ABT from other productions, too.

One last night, tonight, for "Giselle". I have been on the verge of tears all day in anticipation.

I disagree with Golden Idol about Maxim. He was one of the most protective and princely Siegfried's I have seen. He was authoritative, yet deferential, at the same time, a perfect escort for his supermodel wife.

I felt disappointed in the audience, for applauding only the party tricks. It seemed as if only fouettes garnered the audience's appreciation, leaving a lot of the artistry ignored. For example, I thought Julie demonstrated great artistry in a subtle, interior scene, but this did not move the audience.

To me, the highlights included Diana as a wonderful, girlish, energetic Juliet, Herman's joy and great form, David's beautiful jetes and hands, and Polina's amazing feet. (Of course, Roberto's tiny kisses on Julie...)

I saw Alina in rehearsal and thought she was avoiding a lot of dance steps. She padded around quite a bit. I hope she is not injured.

I am glad to read that Hee and Cory did so well in their performance. The rehearsal had moments of great beauty, but some flaws, as well, and it gave me concern about the lifts.

I saw the performance with Paloma and Roberto. Last year's performance was wonderful, but this year's surpassed it. Paloma was "in the zone". Her dancing was technically brilliant and her artistry was so very moving. Roberto left me heartbroken, in tears, and breathless. His performance was riveting. I sat at the edge of my seat and had to hold myself from standing up to applaud throughout the performance. The wilis were much improved this year, as well. Stella sent chills through my spine.

In the open rehearsal, the woman in the peasant pas was terrific. The program said it was performed by Isabella, but she told me it was not her. Does anyone know who it was?

How were the puppies, abatt? In rehearsal, one was independent and choreographed his own exit.

http://www.nypost.com/p/entertainment/fashion/ballerina_whirl_JC1BKHjrLq2okMAFAKU9XL

Trying to look like Tiler Peck?

I know I am being unfair, but I saw no extension, no ballon, no elevation... even though the stage was small. Nothing seemed complete.

I felt that way about Kristy Boone, too, in the character dance, although in "The Dream", I thought she was wonderful, a standout. Hee Seo was charming, as always. I can't wait to see "Onegin."

I don't mean to be mean, but after seeing yesterday's Guggenheim Works and Progress presentation, one can understand why ABT management would seek to bring in male dancers from outside. Then again, maybe they just didn't want to go all out for an audience of older people carrying free tote bags.

I have decided that Nina A is a bird. See her "Firebird" on the Bolshoi dvd. It is even more impressive than her "Dying Swan."

Well Estelle, all I can say is that Communism was my word.

Perhaps he said government. I will admit to my memory being a bit foggy but others who were there remember him saying similar things. :shrug:

The main idea that came across to all of us was that it was about the control the government had over the people, and the helplessness they felt. For example, the picture of the magician in Petrouchka's room. That was the symbol of the government. He shakes his fists at the picture, yet doesn't rebel directly against him.

He falls in love with the ballerina who symbolizes freedom.

I am sorry but I don't remember much more about it. What I can remember of his stories did have a strong impact on me.

Clara

I have a hard time understanding how the ballerina could symbolize freedom as she is portrayed, unless one defines "freedom" as lacking control or knowledge (and the associated pain or struggle of decision-making). Some define death as freedom, due to the release from physical pain and mental and emotional strain. However, the ballerina is a puppet, kept in a closet, held up on pegs or fixed to a pole, and then taken down to entertain others. She has limited freedom of movement, or freedom to move in certain manners and between certain boundaries. She is perhaps happy to be an object of affection, admiration, or desire, which gives rise to certain freedoms, as well as certain restraints. She seems happy in her "Garden of Eden", and does the limitation of knowledge render her free in a desirable way? Is this the kind of freedom sought by the Clown? Are you suggesting that the Clown and the Moor seek or abuse freedom, including political freedom and the expression of political will, without understanding its risks and rewards?

I could not tell if the bear in the Bolshoi production was real or not - the costume was that good.

I had the same response to the one in the BRdMC production I saw here in Chicago in the mid-50s. I think today the way the dancer inside the costume moved is due some credit for achieving that little mystery!

Yes, of course.

The Joffrey production had a lot of detail to it, including a working carousel, and the best damn bear costume that money could buy. It was a wonderful thing, and made the wearer sway and waddle like the animal is supposed to naturally. I oughta know - I was inside it on at least one occasion when glebb saw us do it.

I could not tell if the bear in the Bolshoi production was real or not - the costume was that good.

I wonder if there have been many objections to the racist portrayal of the Moor? :eek:

Of course, you could say that about many ballets [Raymonda, anyone?] but Petrouchka is more obviously so. Not that I necessarily agree, either...I can see both arguments.

I was shocked when I first saw, "Excelsior", and then I saw "Nutcracker" and I wondered about the difference between reporting accurately, making an homage, and making a racist statement. Is it racist to report that certain cultures were portrayed in a certain way in a certain time, given the context? Is Fokine and his co-creators (including Benoit) commenting on the character and/or treatment of the Moor and the Clown by his portrayal? Are we too precious to observe without having a p.c. censor intervene? I don't think every presentation of caricature is per se racist, or should be forbidden, if they are not allowed to be used for detrimental propaganda, but rather, are viewed within context or as part of the whole.

I showed the video of Petrouchka (Paris Opera Ballet does Diaghilev) to a class (adult education) recently

Where did you teach this class? Are other classes of this type generally available? I tried to take one at Juliard but it was canceled.

The "Video Dictionary of Ballet" seems to define fouettes differently. Has anyone viewed this and can anyone explain this?

Yesterday's link said she grew up in Cherry Hill. I thought the movie/lecture said she grew up in Philadelphia. Is it beneficial to create a rough and tumble image as opposed to disclosing a likely upper middle class childhood? I think being brought from an orphanage and being black in a white family and neighborhood is dramatic enough, without the embellishment, although I don't know which report is true.

The violin solo in Act II, White Swan scene

The piano solo in parts of Camellias

Several parts of Giselle, especially Act II entrechats

bart said:

"Am I right in thinking that "haunting" melodies can include those that drive us mad, taking over the auditory memory and pushing out almost everything else?."

Sometimes the visual remains, and sometimes it does not.

"Drive us mad?" - no, to tears

I stopped watching TV and paying for cable altogether years ago.

How do you watch sports? I am trying to get Mr. PT to drop pay tv, and cannot find a valid alternative for him.