Birdsall

Macaulay needs to read up on Florida sea life. Seals are nowhere to be found in Florida (maybe in a zoo somewhere). I read it is a manatee head that is put on Bottom. I will see for myself during the West Palm run. The pics of the costumes look beautiful and since the choreography will be the same, I have no problem with the changes, but I suspect I will feel the same way as CubanMiamiBoy and others. It makes no sense for fairies and butterflies to be underwater. I think they should have changed them to be something else.....maybe dragonflies that skim the water in places. Or jellyfish. Not sure. I think I will like it nevertheless, but I suspect the new production is sort of half baked and not totally thought out.

Try to think of the run as a multiple city run. I sort of grew up in South Florida (8th grade to graduation and parents still live down in Jupiter which is just north of West Palm) and the South Florida culture is such a driving culture. It was nothing to drive to Miami to party or for Miami or Ft. Lauderdale friends to visit for just the evening in West Palm, etc. However, since then I have lived in Tampa where I lived in South Tampa and could practically walk to everything or take a 5 minute drive to get places and now in Gainesville it is the same way for the most part, so when I visit my parents I dread driving to Ft. Lauderdale or Miami. It feels so far. But when you are there for years it is like a megalopolis (one city blending into the next with no cut off in the concrete). So I remember the lifestyle is to drive, drive, and drive. Miami City Ballet should really be called South Florida Ballet, because it performs in West Palm, Ft. Lauderdale, and Miami (and now even in Naples, FL). If I still lived down there I would probably see multiple showings and drive all over. It is odd that more shows are in West Palm than in Miami, but I have heard there are more donors in West Palm. It is sad that Miami, which is much larger in population, can not seem to sustain a ballet company on its own.

Yulia Stepanova is once again listed as Yulia Stepanova (Yangurazova) with her husband's name in parentheses on the Bolshoi's website (both English and Russian). She has always wanted to use that name, because it is the name she is known by, so I am glad that she is listed that way once more.

I just got home after a weekend in Orlando, where I saw two DQs by Orlando Ballet. I saw the Saturday night and Sunday matinee shows. Orlando Ballet borrowed ABT's sets and costumes, and Susan Jones (ABT ballet mistress) staged the ballet. Finally they partnered with the Orlando Philharmonic Orchestra so after two experiences I had with no orchestra I was happy about this. If anyone has read my previous reviews of their recent seasons I felt a Swan Lake last season to be an artistic disaster, but this season I enjoyed a mixed bill of To Familiar Spaces in Dream and Firebird even though it was to a recording. So since my Spring Break landed during Orlando Ballet's DQs, I decided I would go down and see these performances. And I think overall it was a triumph for Orlando Ballet. I only saw 2 out of their 3 shows, but Adiarys Almeida and Arcadian Broad danced both Friday and Sunday (I saw them Sunday). Chiaki Yasukawa and Andras Ronai danced on Saturday. On Saturday the best dancing came from the Gypsy man played by Ivan Duarte. He had excellent turns and when he did turns in second he added hops up into the air which was exciting. The Kitri (Yasukawa) and Basilio (Ronai) did a good job acting and dancing, but I felt there was something missing, but I didn't really know what. Nothing they did was wrong and their acting was rather good, but there was somehow a rehearsal type quality to the performance. I left the theater thinking, "That was a very decent DQ for a regional company that has been having some troubles." It wasn't until today's matinee that I found out what had been missing. Today on Sunday during the matinee Adiarys Almeida and Arcadian Broad delivered amazing fireworks. Both seemed to feed off the other and I can't say it became competitive, but there was more electricity and a feeling of confidence. Almeida is a very musical dancer originally from Cuba, and her Cuban style schooling showed. She had a more legato quality than Yasukawa. Everything was delivered in a smooth yet very exciting manner. Her acting was totally natural as well. She showed off some great balances although she wobbled a bit during the ones that are similar to the Sleeping Beauty ones, but other times her balances were amazing. This was a Kitri who was ALIVE and loving life. During the final pas de deux when Basilio put her into position to hold a balance just when you thought she was going to put her foot down, she moved it forward before placing it down. She threw in many triples during her fouettes near the end. And during other isolated turns she would do triples. Arcadian Broad was another great turner. He would end all of his various turns in cou-de-pied holding onto the balance for a few seconds, or he would end them in something I have seen before in Russian dancers but I don't know what it is called.....when he would finish his turns the working leg comes slowly down and it looks so elegant sort of flowing....a corkscrew effect that is very beautiful. Maybe someone reading this knows what I mean and can give a name to the step, although I have asked some knowledgeable ballet lovers (who used to dance) and they did not know what it is called. He also did entrechats once while doing a tour en l'air.....it makes the legs look like controlled chaos when this is done. I have rarely seen male dancers do this except Ivan Vasiliev. I'm sure others can do it, but I haven't seen many do it. Basically, both Almeida and Broad were technically brilliant and could be compared with the best dancers in America and maybe elsewhere. Plus, they were both committed actors. The only quibble is that Broad still looks so young and doesn't quite look like the type to be a ladies' man (Basilio flirts with other women). Ronai on Saturday night was an ultra handsome and hunky Basilio and was totally believable as a ladies' man. Judging from the male corps (who were the toreadors) and the Saturday night Espada there is no starving going on in the company! LOL They danced well but I just wasn't used to this. On the street I am sure they look thinner than the average male, but on stage they were not skinny. It was refreshing to see different body types dancing (and dancing well). Like I said, this was a triumph for Orlando Ballet, and I am so glad to see that they can deliver the goods and will hopefully keep going from strength to strength. My opinion of Robert Hill (artistic director) and Orlando Ballet has done a 180 degree turnaround. Today's performance reminded me WHY people go to ballet.

They have put on Coppelia before, but I think it was not the official Balanchine version although it had elements of it.

Somova gets a bad rap. The biggest complaint seems to be her past high extensions, but she no longer does 6 o'clock from what I have seen. I think she has tempered what most people used to view as her extreme quirks. I know there are some who disagree, and they will always see the glass half empty, but I personally think they are missing out. Her greatest asset is her acting. I actually love her acting. To me she always seems to be living each emotion the character is going through as if she is really experiencing those emotions. Her Tsar Maiden is very nice and I have seen a video of her one and only Raymonda and her acting when Jean de Brienne and Abderakhman are fighting is terrific. This is a moment when most people will be focused on the fight, so many would be ignoring Raymonda at that moment, yet she gives her all to "living" the moment despite attention not really on her.

The original fairy tale The Little Humpbacked Horse is definitely a children's story that probably all Russians know, and the original ballet version was by Saint Leon with music by Pugni and then a version by Petipa......Ratmansky's is obviously much newer with music by Rodion Shchedrin and, unlike his Cinderella, I do think that his version is aimed at both children and adults. The reason most people dislike the sets is that they are very sparse and very modern....hardly can call them sets and they are more like shapes and not at all realistic. Most of the costumes are also very modern and not attractive although I do not mind the Tsar Maiden's costume. I think the sets and costumes were trying to evoke an almost comic book atmosphere. Bright colors, attempt at being whimsical.....but unfortunately it comes off as unattractive. The story and the dancing make up for what the sets lack. My impression is that the Mariinsky does try to introduce children to ballet. They have shows about ballet geared to teach children about ballet. I saw one on one trip to St. Petersburg. I forget what they call them. Also, I saw their recent Bambi ballet which I think they have embraced fully because its story appeals very much to children. When I saw Bambi this past summer I think I saw more children at that ballet than I ever see at any Nutcracker both here in the US or in Russia.

Although I hate the sets I actually like Ratmansky's Little Humpbacked Horse. I "like" it.....I don't "love" it. Personally I think it is the most successful Ratmansky ballet at the Mariinsky. I find his Cinderella and Anna Karenina boring for the most part, but his Little Humpbacked Horse choreography keeps me entertained. But Natalia is correct about the sets. However, I am so used to crazy opera productions, so it bothers me less than other people probably. The Tsar Maiden is quite a nice role for a ballerina and there are some interesting corps moments. Ivan the Fool is a decent role for a male. I have seen this a couple of times in St. Petersburg (Osmolkina and Kolegova) and have really enjoyed it. However, it is not "swoon worthy" the way Swan Lake, Sleeping Beauty, and Raymonda are. I will probably only fly up for 2-3 shows (weekend trip). Madame P. is correct that it is not a ballet that deserves a whole, long run. It really should be alternated with one other ballet on tour. However, Ratmansky is a draw for many people, so it may do well (ticket sales). No idea. If Baden-Baden's schedule looks good I might skip DC and go to Baden-Baden. I lived in Germany and speak the language and have friends not too far away from Baden-Baden that I could also visit. I am having to think up alternatives, because I foolishly promised my partner to take a break from Russia for a "few years" and already regretting I said those words! Ugh!

It seems like Lourdes Lopez is cleaning house. First, Mary Carmen Catoya and now Kronenberg and Guerra.

Amy, I have always wondered why the Mariinsky dancers choose changements or entrechats. I always wondered why it was okay to change things for that moment but not other moments, and you explained why! Thank you for saying this, because it has always been a mystery. I wondered if changements were correct or if entrechats were correct or if both are correct. It sounds like both are correct b/c one is notated, the other was done by Legnani, who originated the role. So one was done in practice. The other is actually notated. That explains why Mariinsky ballerinas are allowed to choose one or the other to do at that moment. Thank you for this information!

I believe entrechat deux would result in feet switched when landing similar to changements. Entrechat quatre result in same foot in front like when you started. Entrechat quatre: 1) jump 2) switch 3) switch back 4) land

Entrechat deux is like a changement. Entrechat quatre is two crosses.

Here is a video showing entrechat quatre: https://m.youtube.com/watch?v=zajs4vuNI88

This video looks wrong. Maybe the British have a different numbering than the Russian school because entrechat deux and quatre look wrong but six looks correct in the video.

In the video I posted Kolegova is doing entrechat quatre changing feet, calves, and knees but it is so fast so difficult to see so the video then slows it down.

Didn't mean to post twice but don't know how to delete using phone. I think the angle where we sit can make things look like hops.

https://m.youtube.com/watch?v=YyfCYX23fPw

https://m.youtube.com/watch?v=YyfCYX23fPw

I sat in row H, J, P and Q and liked P and Q the best. Q is the last row on the side section before the passage and the middle area ends in P.....P and Q are far enough away where no heads are blocking any view. Close up in H and J the head in front of you is in the way (despite being on the aisle).

Tone is difficult in writing. I was not being argumentative in a mean spirited way, just saying I believe I saw entrechats. I saw Skorik do changements on her two full performances (Kolegova took over during Skorik's final show so Skorik was already gone at that point in the ballet). I believe Kondaurova and Kolegova both did entrechats, but I could be wrong. Kondaurova's did look more like simply hopping but someone else said she did do entrechats. On videos of every Mariinsky ballerina who currently dances Raymonda they all either do changements or entrechats. Lopatkina always does changements apparently from what I have seen both live and on video. If all they did was hop downstage I find that really unusual. But maybe you're right. Anything is possible in the crazy Mariinsky world. It doesn't really matter and I am not saying all this to argue. Not saying any of this in a mean spirited way. Just saying what I think happened but I could be wrong. I enjoyed meeting you and many other BA people and loved all the Raymondas even with problematic moments. I doubt I will ever get a chance to do a Raymonda marathon again in my life!!!! It was fun!

After 8 Raymondas (counting the open rehearsal) I could still see it again! Did not feel that way about last year's Rite of Spring/Paquita/etc. Side note: a Ballet Alert member Kristen gave me the most wonderful tip about a restaurant in DC called Zaytinya...Mediterranean cuisine tapas style (mezze)...we got the "Chef's Experience" and "Beverage experience"....I thought I died and went to Heaven!!!!! Amazing! Amazing! Amazing! But I probably gained 20 lbs. just on that one meal.

Natalia is totally right about Osmolkina. Glad to hear she was great as usual.

I didn't mean to correct, rather I was explaining a reason. I follow the playbill of the Mariinsky almost everyday and there were lots of tributes planned even at their home theatre. I just want to be clear that I was just saying what I thought why the Mariinsky did a Plitsetskaya tribute.

I think the Mariinsky flies by the seat of its pants a lot of times. I think they spread themselves way too thin touring both NY and DC at the same time plus shows in 2 theatres at home. They probably meant for the BAM shows to be better thought out but then it never happened. They ended up throwing it together. Just a guess.