Birdsall

Romeo and Juliet! Wonderful! Osmolkina was like a blooming flower! Zuzin, Stepin, Smelalov....all wonderful!!! For me this was a dream cast! Amazing dancers....all of them! Sorry so short but I keep losing my connection and drunk and partying at a gay bar now! LOL

By the way, I took a boat ride along the Neva and some canals today, and the guide said if a person spent 2 minutes looking at everything in the Hermitage it would take you 8 years to see everything!!!! That made me laugh since this topic came up here!

Buddy, I went to the Hermitage last time and even though there was no way to see it all in one day I am doing all the things I wanted to do but didn't have time to do. I am sure I will re-visit the Hermitage on a future visit, because it is worth re-visiting!! I do appreciate the suggestion.

Just back at my hotel after seeing Don Quixote at the Mariinsky. Elena Yevseyeva was wonderful as Kitri: temperament, lovely, the "wow" factor in her technical dancing, and a demeanor of complete confidence and having fun. Kim Kimin was very impressive. I do think he looks different than the rest of the company (and I am not talking about his being Korean), but he is impressive. He seems to change slight things to the choreography. Sergeyev was amazing as Espada. Jaw dropping. He should be a Principal. The disappointment was Kampa as Queen of the Dryads. She seemed so nervous and cautious as if she were scared to death. This was the exact opposite of Yevseyeva's confident Kitri. You just don't expect a deer in the headlights approach at the Mariinsky! I was also surprised to see a fairly subdued Street Dancer. People have told me Pavlenko is a good dancer, but she almost seemed like she could be nursing an injury. When the Street Dancer lunges forward right before dancing between the knives she barely did a lunge at all. The Vaganova students must be on break for the summer because they were no where to be seen tonight. Don Quixote's dream seems sparse without them. Missed them very much!!! It is so cute to see the young "kids" in that scene. Romeo and Juliet tomorrow. Too tired but will tell everyone about the Kschessinska exhibit at her mansion "Fouettes of Fate" and the Golovin exhibit at the Russian Museum when I get a chance.

True. The news reports did say some board members felt slighted by him. I am sure mistakes were made on all sides. I had the impression from the newspapers at the time that he had a sort of unofficial successor namely Jennifer Kronenberg....and she was one of the people being considered. But I do think it is was unofficial and he had planned to carry on indefinitely until he got tired of it. So I guess she wasn't a true official successor and it wasn't a true plan. But as you say it is all done now.

Well, now we are chic and have the "Jersey Shore" filmed here... Well, now we are chic and have the "Jersey Shore" filmed here... I did not know that! OMG! That is funny! I have never watched that show, but I know who those people are (Perez Hilton is my only link to popular culture so I skim his site everyday so I can actually hold conversations with people I meet). I would not know who Jersey Shore or Beyonce or Justin Bieber is without his site. Maybe MCB will eventually stage a Jersey Shore style Giselle. The ballerina could have a Snooki hairdo! LOL I laugh, but if we were talking about the opera world it probably has already happened. Some opera company somewhere has staged a La Boheme with everyone dressed like Jersey Shore!

I think you are right about this. I do think that Villella will bounce back on his feet elsewhere though. Judy Drucker has tried to bounce back working for Florida Grand Opera for one season to present concerts, and actually tried to resurrect the Concert Association after it folded, but that did not seem to work out. I suspect donors lost faith. Even with her contacts I am not sure she could move elsewhere and start over because, for example, if she moved to NY, she would have so much competition. So there are definite differences in both their situations. I am sure Villella has much more personal feelings toward the dancers and staff he worked with and watched grow up......so he might have more pain. I have no idea. Drucker, however, has been cut off at the feet and really can't move and start over the way Villella can though. So that might be just as painful. It is impossible to know who feels more pain. But I can imagine founding something, building it, and watching it grow and then told to leave is a shock and very painful no matter what other circumstances exist. That book *How to Win Friends and Influence People* (I might have the title wrong it has been so long since I read it) said that we do everything that we do in life to gain a feeling of importance or to get sex. And often the two things are intertwined. Make someone feel unimportant and that person never forgets it. For example, notice how many people will not correct anyone's grammatical errors EXCEPT their name. I think the book said that our names are the most beautiful sound in the world to us because when we hear it, it means at that moment someone wants us, is calling us, etc. I am pretty sure that no matter what reasons the board puts in writing about why he was let go, Villella feels like the bottom line was: "You are unimportant to us! Get out and goodbye!" even if they swear on their mother's grave this is not what they meant.

I didn't mean to say that MCB was going to disintegrate without Villella. On the contrary, I think it is doing okay so far, although it is still fresh that Villella has left. My comments were mainly simply to wonder what his dancers think of his frank comments....if anything had a sting to it for them or if they totally understand why he said what he said. I was just wondering out loud, but I don't really think it is my business in the end. It would just be curious if the dancers feel differently than we do about his comments. The other comments about Drucker were just to mention the parallel and how both are probably very bitter. I did not mean to say that these are exactly the same situations and one folded so MCB will fold. I just meant I read that Drucker felt they took her baby away from her, and I don't blame her, but if she was always operating at a loss, maybe you can't blame the board either. And I was drawing a parallel to how she and Villella must feel sort of the same. Their "babies" were taken from them in their eyes. Regardless of whether they helped create a situation (I have no idea) that caused their "babies" to be taken away. I should have been more clear but I meant that the "feelings" both people probably felt and still feel are very, very similar and very human. And no matter how people think they are indispensable, none of us are. Even the person who builds something from scratch. I know about a case (totally unrelated to the ballet world) where a supervisor literally dropped dead in a meeting, and the replacement was chosen that same day. It made our heads turn. But it shows how we are all totally replaceable except to loved ones (hopefully)! Anyway, all of my comments were to explain that it is only human for Villella to be bitter. So regardless of whether he "should" make these types of comments we all might be inclined to make comments like that if we were walking in his shoes. But I don't expect MCB to fold the way the Concert Association did. I would be very surprised. To me it looks fairly solid. In contrast, the Concert Association lived and breathed due to "stars" (importing and showcasing them) and Judy Drucker knew that. The board did not apparently and just thought she was spending unwisely probably. They thought the local opera company provided the opera so they said in an article that they would stop getting expensive star singers for concerts. Big mistake, in my opinion. Judy Drucker is like the type of impresario (or should I say impresaria?) that no longer exists, in my opinion. One who thinks big and has a true love of what she did and who she brought to Miami and Lauderdale. Anyone who presents an open-air Pavarotti concert on South Beach thinks big!!!! And that was before South Beach was chic!!!!!

I wonder how the dancers at MCB feel about the interview. It would be interesting to know. I read articles back when Judy Drucker was ousted from the Concert Association down in Miami. Probably only due to her did big opera stars come to sing. I saw many, many more huge opera singers live in concert or recital due to her than I would have otherwise. As soon as she was ousted, there were no huge stars being brought to Miami. She brought all the biggest names to Miami. With that came a deficit also. So once the board felt it could operate without her, they got rid of her, but things went downhill fast then. I remember Drucker being quoted that they took her baby from her. And I suspect that is how Villella felt. Both people built their organizations from scratch and watched them grow to be extremely important in the Miami landscape. Then, they were ousted. In both cases the board had its reasons, but it is only human to be very bitter. I suspect both Villella and Drucker lived and breathed what they were doing.

I have a ticket for the July 26 Flames of Paris at the Mikhailovsky. I wonder if Vorontsova will dance that night. The only person they list is Vasiliev. I only know this ballet from the Bolshoi dvd that Ratmansky choreographed using the existing Vaynonen choreography. It will be interesting to see what Messerer has done with this ballet.

A friend told me that when he performed from 1963-1965, everyone at NYCB called her Clara, but he has the NYCB Nutcracker booklet which is big from around 1965 and the girl is called Mary, so this friend said your guess is very good that maybe it was changed with the design in 1964.

Cristian might be able to elaborate more, since he actually lives in Miami, but I went to high school in West Palm and spent my college days (when I visited parents down in South Florida) partying in Miami on weekends home visiting my parents (South Florida is a driving culture so driving down to Miami from West Palm to party was a normal thing to do back then especially when you have friends in Lauderdale and Miami you can crash with). Anyway, I will say that back then there was still a deep divide between Cubans and the non-Latin population (for lack of a better way to describe it). Cubans brought so much to Miami (and Florida overall), and I am in the camp that thinks it has been a huge POSITIVE influence, but there were many back then and still some today who do not like the influence. One of the first things some people complain about is that signs are in Spanish in Miami. Well, any border area in the world probably has that. But to some it means the end of the world as we know it. Once a Palm Beacher (one of the people who live on the island) was quoted in the local Palm Beach paper about some graffiti, and she said snobbily, "Probably someone from Miami!" She never said, "Cuban" but people who live in South Florida usually can figure out what she meant. I say all that to give background to the issues that exist. There has been and probably still is snobbery about the Cubans. So among people who are inclusive the trend is to include Cubans since they make up such a strong presence in South Florida. However, not everyone feels that way. I think the ABT vs. NYCB has mainly a "taste" element, although I could be wrong. I think the MCB/Cuban ballet issue is hard to peel away from social issues that exist. I am not saying anyone in MCB or anyone on this board is prejudiced. I am just saying it is an issue alive and kicking in South Florida with some sensitivity. Villella created MCB as a Balanchine company. He flat out states in that interview that the Cubans have a different style, and he doesn't want that. I don't think that is necessarily anything other than what he says, but when you know the atmosphere of South Florida you sometimes wonder why not use what is all around you to better effect when you can? I mean, on the one hand, it does seem incredible that a ballet company in Miami with so many Cuban ballet dancers passing through as they defect does not use them. But I do think, for example, Mariinsky dancers joining MCB would not have the same style as the other MCB dancers. So maybe Villella had his reasons. I have no idea. But I do know that the social context plays a role in some people's concerns.

I personally would like to see Cuban Classical Ballet of Miami do more shows and get more support. It would be great if they did the classics while MCB does Balanchine. Then, there would be two companies and enough variety to go around. I also think when MCB stages something like Don Quixote it should utilize some of the experienced ex-dancers in Miami to coach also, as Cristian suggests. Of course, there are probably issues of stepping on current teachers' toes and basically implying they can't teach or coach Don Quixote well so the company is going outside, etc. Plus, hiring outside people is often considered a luxury. I think Jayne's ideas are good ones (collaboration of some sort both in Cuba and here). However, I do not foresee MCB leaving its specialty in Balanchine. I think Lourdes Lopez has basically said things will be pretty much the same and MCB will remain a Balanchine company. I get the impression that MCB is generally thought of as NYCB South in a way. It is basically considered a Balanchine company, so it is probably going to stay close to how NYCB runs itself (heavily weighted toward Balanchine, Robbins, and new works). It is never going to be a company that does a lot of classical repertoire. I suspect it only does a classic here and there because the classics pull in a wider (not necessarily more) audience. I do know that in anything in life, you can not wait around for the establishment to include you. The only way to get power is to simply take it. Ideally, Pedro Pablo Pena would find a great marketing person who would begin marketing its company aggressively and in a way that pulls in more people. MCB is the "big" ballet company in South Florida. That makes it the "establishment" and the "establishment" always continues along its course not really caring who is left behind. It is up to the people left behind to simply take charge and organize. One of the things that would help is if scheduling became more consistent. I was unable to come down and see the new Cuban defectors due to my schedule. If the show had been planned ahead of time with more notice I might have been able to attend, and that could be the case for others, but that is a minor issue possibly, because it needs to base its support inside Miami. I have no doubt that Pena works hard. My point, however, is that he can not wait for MCB to start collaborating and include his company, etc. He or some other take charge person in the Cuban community must find a way to market and sell the classics to the public. People will come once there is huge buzz around an effort. Of course, it is very hard to get something off the ground. Cristian, I totally sympathize with you. However, I don't think MCB is ever going to be the company that you want it to be. I think the only answer is for Cuban Classical Ballet of Miami to somehow gain a bigger audience, and I don't know how they can do that. I think it often boils down to leadership. Like I said, I am sure Pena is a very hard worker and a good leader in some ways, but apparently he or his team of people are not making it happen. It needs someone who is dynamic and somehow finds a way to make it work in a big way. Surely, there are many wealthy Cubans and non-Cubans who should or could support his company if he somehow knew how to reach these people. And once it becomes a "hit" I have no doubt you will find there is an audience out there who will come and see the shows.

Just to clarify about my previous comments about nature being a draw and a competing force. When you are on a boat fishing all day or if you are snorkeling or at the beach all day, most people opt to have a casual dinner at night at a restaurant. I think there are some people who can stay at a beach for hours and then still go to the ballet at night, but I know I am the type of person that if I am going to a performance at night I prefer to have a calmer day during the day and just make it a day to run errands. The heat is just too tiring. If I stayed at the beach all day later that night I would be exhausted at the theatre and fight dozing off.

I do think Villella's comments are probably a kick to certain board members. I could be wrong. I doubt if he meant to alienate the audience he helped to build up, but he wanted to make certain board members feel very small like they are country hillbillies and know nothing. Afterall, they made him feel small.....basically got rid of him and told him he was not as important as he thought and took his "baby" away from him. That is my take on all this. I suspect he made those comments expecting and wanting the comments to reach very particular ears and didn't think (or maybe even care) about how it sounds to people he didn't mean to insult (like most MCB audience members). Whenever someone makes a comment like that there is usually a very specific reason and specific target. That is my gut reaction.

I believe the vast majority of people who settle in Florida are mainly there for the sun and beach and outdoor activities, not to go inside and watch ballet or opera. I am saying this as someone who likes to go inside and watch ballet and opera and who has lived in Florida most of my life. So I am not knocking Florida and certainly not knocking the arts, which I love, but I am explaining what I think the problem is. The arts in Florida have to compete with the enormous draw of sun and surf. How can anything win over Mother Nature???? And even a ballet lover can't help but love it. My parents live blocks from the beach in Jupiter, and it is hard not to love it. I even do yoga on the beach when I visit them. Of course, at night people should be willing to go to the ballet! But maybe they are tired from all the sun. LOL Anyway, it is a different culture completely, as people have said above, and it is actually sort of normal. Yes, there should be room for both arts and fun in the sun, but the emphasis has always been on fun in Florida, I believe (with both pros and cons to that issue). The South Florida culture is a sporting (fishing, swimming, surfing, snorkeling, diving, and drinking) culture.

Ringling Brothers has most certainly not gotten better and actually, as I understand, to train elephants for the kind of life they lead with circuses (which, for them, is horrific) requires that they be mistreated--that is, beaten. And of course the trainers run risks, because...well...they are training elephants. I love seeing elephants, and was taken to the circus once or twice as a child; I don't blame Mr. B. for not knowing much (or anything) about this issue...but, yes...I think we should leave elephants and other wild animals in the wild or in sanctuaries. Indeed, elephants need closely guarded sanctuaries because of the poaching problem. The elephant ballet is a notable or, at least, oft noted episode in Balanchine's career, but good for Seattle that it doesn't permit this kind of show anymore. Sad! I can't imagine wanting to harm these animals!

Cristian, just a reminder: it was Vishneva who cancelled that time. Osipova danced (as Gamzatti) as planned that time.

That Ring really should be taped. I can't believe they can't find enough money for that. Surely, some billionaire Ring lover would foot the bill! Somehow money is found for Ring Cycles that do not deserve a recording, but they can't find money for this one. Unbelieveable.

I think it is unexpected and sort of funny. I really do suspect the person who created it might be like my mother. When I saw it, however, I turned to my partner and said, "My mother could have made that! I bet they gave the person a lot of money for this literal junk!" LOL

Is that the chandelier with empty water bottles and rubber ducks that you are talking about? That made me laugh, because my mother could have made that! She is sort of a hoarder and then creates artwork that she hangs all over the house, and I keep telling her she should start going to art shows, because she makes things like that chandelier just to amuse herself and have some use of the plastic containers she won't throw away ever.

It is funny how it looked like she was holding the flowers, but then I saw the other person holding the same poster.

The flowers are in Tsiskardze's hands in the photo on the poster she is holding up. She's not holding a flower. There is another copy in someone else's hands and you can see that the flowers are flowers that he is holding in a picture.

That is great they can sell out the Mariinsky 2! I have to say that when they finally listed the program for that Opera/Ballet Gala I thought it was a disappointment. The opera portion looked like a bunch of no names singing various arias and then Carmen Suite which is not the best ballet. Lopatkina saved it, but they billed it as almost like HER gala so you expected maybe various pieces featuring her. Oh, well.... I personally would have been upset to have a ticket for that when Kolegova was dancing Swan Lake at the historic theatre the same night. But you were probably all Swan Laked out and needed variety! LOL

Drew, thanks for your beautiful reviews of the ballets you saw! I totally agree that there is something so imperial about the Mariinsky. I actually think their upper bodies are the main key. It is like stepping back into time and being in Imperial Russia when you see them in their home theatre. It is magical. Of course, it is probably the imperial ballet as filtered through Vaganova, but it is still so different than what we see here in the United States, in my opinion. I believe the two Spanish dancers were Maria Adzhamova and Maria Shevyakova, at least according to the cast list from the website for the movie transmission. You are probably referring to Adzhamova. She looked incredible in the movie broadcast, if I am not mistaken of which was which. Unfortunately, I think she has been assigned as a character dancer (she is listed as such on the website), so she will be stuck there for the rest of her career. I sometimes think the Mariinsky is missing out on a guaranteed sell out gala by not doing a performance of Swan Lake with Lopatkina as Odette and Kondaurova as Odile. I know this is not the normal thing to do nowadays for Swan Lake, but it would sell tickets like hot cakes. I tend to think those are the roles each one does better. I feel the same way you do that Kondaurova is very earthy. I thought she was a good fiery Carmen. I watched the Carmen w/Lopatkina on YouTube before it was removed, and I didn't think on paper she would work as Carmen, but she actually did fine. The ice queen is capable of some fire. I think she is better in things like Odette however, but I was pleasantly surprised by her Carmen. I am very surprised the opera and ballet gala which featured her Carmen was comprised of what it was. I thought it would be divertissements.