Birdsall
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Posts posted by Birdsall
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I don't know. Since it is hard to find much info about these Florida performances I even wonder if they are truly his company or a fly by night operation using his name.....I can't find a website about his company and/or touring information.
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I know that Yuri Grigorovich used to be the director and choreographer for the Bolshoi, but I noticed that his fairly new company is performing Le Corsaire in Jacksonville, FL and Miami, FL in February. Feb. 9 and 10 in Miami and Feb. 14 in Jacksonville. I wondered if this company he formed is a decent company, since it sounds like it is mainly a touring company. Has anyone attended any Grigorovich Ballet performances? Are they professional and worthwhile performances? Do they perform with an orchestra or to a taped recording?
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I'm with you guys on the moving around of the SPF variation and the deletion of the male variation. But I have been able to get accounts of opinions in Petersburg about the ballet when Balanchine was still a student. Seems they didn't like having to wait to see the ballerina dance, and found the little male variation rather reedy-sounding, and not at all satisfactory as a male vehicle. When I found those things out, the changes made more sense. I still find them irritating, but now I know why they were instituted!
Mel, that does help me to understand and maybe accept Balanchine's decisions. Sounds like there might be a history of changing that up. Still I prefer leaving it intact, but I am glad to hear this. It makes Balanchine's decision sound less arbitrary. I wonder how Tchaikovsky would have felt about reordering the music. Just curious.
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I finally watched the broadcast too, and have mixed feelings. I grew up with a "based on" version of Balanchine's ballet (Alberta Ballet's in the 1980s), and as kid, we had a picture book of it, so in many ways this is the Nutcracker I remember.
i think Act I is largely superlative--even the poor filming of the Snow scene still made me think of Ivanov's fabled 62 dancers forming stars, etc. The details in the dramas with the kids go beyond any other filmed production, amazing stuff (and amazing young talents).
Act II has more problems for me, and more than I expected. I forgot that Balanchine breaks up the order of the Grand Pas. Why? I know he said "Ballet is first by default in woman" but I feel nothing is gained from having the Sugarplum Ferry dance solo, and greet Marie and the Prince without her Cavalier (be he named Whoopingcough or not). The only reasoning I can think is to build her role in Act II as the ruler of the kingdom of Sweets and give a moment of pure ballet early on--but I think it's a poor choice and I really regretted the lack of a male solo for her cavalier. If I could change one thing about Balanchine's version, that's the most thing I would change. (I would have never got into ballet as a little kid if I didn't see how stongly the men danced and a brief bit in the PDD Coda--=as well as the great candycane trepak--might not have done it).
Still I do love the production so much--it's amazing how close the set is to the original set in design and purpose, and I love hommages like the "glide across the floor in an arabesque" moment during the PDD.
Eric,
I am glad you expressed dissatisfaction with placing the Sugarplum Fairy solo at the beginning and getting rid of her cavalier's solo. I totally agree, but I thought I was the only one who disliked this. Changing the order and taking out the cavalier's solo just seems jarring after seeing other versions.
The Royal Ballet version that I just watched with family for Christmas has changes too (Peter Wright). Clara and the Prince participate in the various dances in Act 2. At first I didn't like that but sort of thought it gave a continuity to the whole story. Usually, they sit in the back or off to the side and we forget they are part of the story. I thought it was actually an intriguing touch to have them take part in the national dances. Also, the Land of the Sweets set in Act 2 is shaped like a cake that the children eat in Act 1, so that gives even more continuity to the story.
Anyway, changing things up can be positive, but I have to say I have the same feelings about Balanchine's choices.
Bart
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In any performance with dancers there are things to love, I suspect, Aurora, so I don't think Natalia meant to offend you and tell you that your taste is awful. It sounded like just her opinion on the performance. I suspect there were some wonderful things about it, but some things that bothered others.
I'm sure you are right. I'm responding to general tone and the fact that people like you are writing "thank god you saved me from watching this" after reading her review after many other people had said things they liked about it, simply because she is so vehement.
Also calling it "crappola" is meant to elicit a strong reaction in readers. It did in me. I find it offensive.
Basta.
Just to explain why I said what I said: I went to yoga and part of me wanted to watch it online. As much as I love my yoga practice, I was a little sad I couldn't do both. Knowing I am about to pig out during the holidays caused me to opt for exercise over the online ballet. When I read Natalia's review it helped me feel better about not going (whether I would hold the same opinion of it or not), and I thought she used humor in her posting talking about the costumes, etc. It simply helped me feel better about missing it online. That's all I meant. Don't worry.....I am not going to avoid attending or watching things when someone criticizes it. I guess I was just throwing out my relief at hearing a good reason to have missed it, since I already missed it!!
If you think Natalia is opinionated in her reviews, visit some opera sites where people discuss operas. It gets downright nasty and horrible at times!!!! Cat fights galore!!!! LOL OMG! I thought middle school kids' fights were bad. You haven't seen a down and dirty fight until you see two opera queens fight about opera!!! LOL I suspect if this Ballet Talk forum were not well monitored (which it is, thank God) you might see the same thing! I'm talking shocking fights online!!! LOL
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In any performance with dancers there are things to love, I suspect, Aurora, so I don't think Natalia meant to offend you and tell you that your taste is awful. It sounded like just her opinion on the performance. I suspect there were some wonderful things about it, but some things that bothered others.
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I also watched. Total disappointment, especially due to the horrendously jarring music cuts, beginning with the Prologue Fairies grand pas. What on earth was that?
I felt sorry for a star the calibre of Zakharova; she must have been paid well. Sarafanov at least got to dance recognizable steps...but he still comes across as Le Petit Prince, sorry.
Did I blink and miss the solos of the Bluebird pdd? Was there a Mazurka between the Grand pdd and the Apotheosis?
And what was up with that steeply-inclined bed in the great outdoors....kiss her & she slides off?!
Something positive? The designs' colour palette was pretty. I loved the swishing skirts. However, I didn't care for the 'kinky' character to some of the costumes, such as the cats and the wolf. Yuk. Ah....but then I remembered the tastes of 'Young New Russian Biznizmen.' This may also explain the short length of time (big music cuts), to allow them to get into their BMWs and dash off to nab the better VIP rooms at the Golden Dolls Nightclub.
I give this production 1 out of 5 bananas...and I'm in a generous Holiday mood.
You made me laugh! Glad I didn't waste my time watching this after all. Went to yoga instead that evening!
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Should we connect the issue with ballet?, So let's do so. Last thursday, during my personal oddissey at the Nutcracker, I was able to see the differences between the old school and the new way to raise kids. On the audience side I witnessed a mother obnoxiously engaged in a furious word exchange with an usher related to her daughter, who was out of control in her seat. The usher finally left the scene in frustration, the mother kept watching the performance and the girl was NEVER reprimended, At the same time, on the stage side, Mr. Silberhaus was putting Fritz in his place in front of everyone by giving him a good spanking after the kid's attempt to ruin Clara's Nutcracker.. Fritz, unlike the girl on the audience, seemed to react to the punishment.
dirac, we all know to the degree to which physical punishment can be inflicted on kids. The idea is just to scare and embarras them in front of others, not to knock them out. The beatings to deaths cases we oftenly see around are an entire different animal.
And yes, Bart B. My mother is also a public school teacher for 40 years now, and the fact that as per today she has to listen to some kids calling her names and many other things with her hands in her pockets, because only touching them is considered "assault and battery" is just ridiculous.
When I was a kid I just needed to be shown the belt to know how to retract. Actually it NEVER had to be used, for what I remember.
And as per the men's fashion issue, here's my ideal and oftenly copied look...
[media]http://www.youtube.com/watch?vl_FR2dNyrSY&featurerelate/media]
You are too much! LOL I used to be able to dress like that! SIGH! Don't think my salt and pepper hair would work with that outfit now though!
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Anyone against corporal punishment has never worked in the public schools.
You're wrong about that. But as you say, back to ballet. I regret that the subject of corporal punishment was ever raised and would be delighted to drop it here.
I feel that someone showing up in shorts to the ballet (as much as I personally frown upon it) is the least of our worries as a society!!!!
I'm sure we can all agree on that! Still, whatever behavior from your fellow audience members is fair game in this thread, it's what we're here for.
Yes, I shouldn't have gone on about it. Maybe moderator can delete it. It is a hot button topic. And a tangent.
I tried to connect it to ballet, and will try to stick to ballet now. I am actually pretty tolerant of people's behavior in general. Too much coughing gets a pass since I feel that can't be helped, but inconsiderate audience behavior like cell phones going off does make me mad momentarily.
I think the important thing is that we all draw the line in the sand at different points. Some people get mad at the coughing. I don't. I think trying to suppress a cough is the hardest thing in the world.
Some people get mad at the way people dress, and I actually do frown upon some things (like jingling bracelets at the opera), but I have to say even though I dress up for opera and ballet, I don't wear a tie, and so I might be frowned upon also. I also show up to movie transmissions of ballet and opera in cargo shorts, t-shirt and popcorn and coke. I feel it is a movie theater and a movie experience and much less like a live on stage performance even if it is live.
So my point is that we all have a different line that we draw in the sand. Some are more strict with dress code. Others don't care. I feel I tend to lean toward being strict with myself at the opera house/ballet theater when dressing but despite my inside frowning I really don't care what others wear. They are not going to ruin it for me.
Basically, what I think is correct behavior does not coincide with what the person next to me thinks. The way that person thinks will not be how many others think, etc. It goes on. No one person can decide the rules of how to behave. There are guidelines for sure. I think as long as people are fairly quiet I have no problem with them.
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Lately my level of tolerance is going sub-zero, to be honest. I wish I could just rent the entire theater and have the performance just for myself seated in the royal box...
At the very end, we're just talking about lack of elemental manners. Whatever wasn't there while growing up will have very few chances to become part of oneself. Key word: upbringing...and THAT you can easily detect my friend...
Aren't kids afraid of belt beatings any longer...? That used to work, and only getting "the look" from one's parents would get you back in control....
Oh yes, I forgot...now they're told in school to call 911 and report the parents...
Actually, most teachers wish they could still slap some kids' faces, b/c some kids can be so completely obnoxious to you as an adult in the schools (cursing you out and calling you every name in the book, running into you on purpose sometimes, etc.), and they know there isn't a single thing you can do about it, and they know when you write them up the administration just slaps them on the wrist (more like hugs them and says, "Better not do that again!") and the parents never believe their child has misbehaved. They think teachers are making it up as if teachers have the time and energy to make up a story that Johnny threw a punch at Mary. They won't come in for a conference when their child is making straight F's in all subjects claiming they have no transportation to make it to the school, but suspend that child for a week, and see how fast that same parent with no transportation is suddenly at school before the ink dries on the referral (child calls parent on cell phone to report he is in trouble even though they are not allowed to use cell phones during school time). The parent usually screams bloody murder until the administration caves in and doesn't suspend the child for throwing a desk at a teacher or threatening to get a group to attack the teacher after school......etc.
Anyone against corporal punishment has never worked in the public schools. I got out, and I am glad. Haven't missed those 13 years of sheer heck. If I had a daughter and she said she was going into teaching, I would yell, "Over my dead body!" I would rather she strip in a bar or hook on the streets than teach public school. The public schools are the worst job in the entire world. I would rather dig ditches or shovel crap than go back. I was idealistic and thought I was going to make a difference in poor inner city kids' lives. I gave that dumb dream up.
Back to the topic of ballet: the dancers who learn to dance have the discipline in their lives that is completely lacking in the majority of the kids today. I think every parent should enroll their children into ballet so they might learn a little discipline, since there is none in the homes or in the schools (and there isn't any in the schools b/c the parents don't want any there). The well behaved students are the ones who suffer b/c there is no discipline.
Anyway, I could write a book about what goes on in the schools and people will think I made it all up, but it will all be true.
So after 13 years in public schools and witnessing CRAZY things I feel that someone showing up in shorts to the ballet (as much as I personally frown upon it) is the least of our worries as a society!!!!
All this is said with a chuckle and a tear! LOL LOL LOL I choose to laugh about it all. Otherwise, you will cry.
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... in this time when opera and ballet are having trouble making ends meet I guess I should be happy that people are attending regardless of their clothing.
We will have to agree to disagree on that. Theater performance, in my eyes, doesn't start from the moment the courtain goes up, but right since you cross the entrance doors. The people beautifully dressed up, the nice conversacions around, the fine manners, the uniformed ushers, EVERYTHING becomes part of the performance. If you start taking all this elements out one by one-(which in many ocassions is just the case)-whatever happens onstage can ve seriously damaged-(the fine manners issue has an excruciating importance here, BTW). Even if one wants to concentrate and focus on what's happening up there, you're completely exposed to a ruined evening.
I can see how you can feel that way, but one of the best nights at the opera I ever had, because the soprano was on fire, was at a matinee where there were several badly dressed people and a couple of people in shorts. I wouldn't have missed that performance if I had to do it over again. For me what is on stage is 100 times more important. I do think that rude audience members talking or letting cell phones ring (despite announcements to turn off) irritate a lot. I can tolerate a lot of coughing simply because that seems like something the person can't control, but a cell phone ringing is something that could have been controlled, and they make an announcement. I always wonder, "Why didn't that person pick up his/her cell phone when they heard the announcement and turn it off?" I guess some people zone out and aren't listening. The announcement could be an emergency to get up and exit because of some threat, and I guess they would stay seated and wonder why everyone is getting up. LOL
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I forgot.....one guy at the Nutcracker I attended last Friday had a loud Hawaiian shirt and shorts. He was probably about 55 years old, old enough to know better (I am 44, by the way). What was strange is that his wife made an attempt to look semi-dressy. If I were his wife I would have made him change clothes. But everyone thinks differently about these things.
Actually, I approve of the wife for not saying anything because I don't believe in scolding or lecturing one's spouse. You just do what you need to do, hope they follow your example (to please you, if for no other reason), and if they don't, you heave a private sigh, then head out the door with all the dignity you can muster despite your mortification. That's love.
Not that I personally own any, but I confess to being rather fond of Hawaiian shirts, which I find can look quite smart if they're properly fitted, at least in a sunny state like Florida. Shorts, however--that goes over my personal line for an indoor performance. Does that make me arbitrary?
By they way, I notice that among men shoddy dressers go across all ages. Women as a whole dress much better overall, but what bad dressers there are are usually middle-aged or older; young women tend to dress very nicely indeed. I have no idea why this is.
I think young women want to look their best, b/c they are young, beautiful and often still on the market. Even if they are with a boyfriend or even husband they are young and want eyes on them, I suspect. I think you are right about women overall dressing better than men at the ballet. Men can get away with looking like slobs even if they shouldn't. I have to say that I rarely iron a shirt, even a dress shirt, unless going to a job interview. I try to take them out of the dryer before completely dry and hang them up.But if I am too late taking them out I take the attitude, "I'm a man and people will shrug it off!" Sure enough, female friends have said, "Oh, he's a man! What do you expect!" and I am always thinking, "Hurray! No need to iron my shirts!"
Unlike you not sure I would keep my mouth shut if my partner dressed in shorts and a Hawaiian shirt for the ballet though. He can have wrinkles in his shirt even casual type clothing with long pants but no beach clothing for the ballet!!! If I had a partner who insisted on dressing that way to the ballet I would buy a single ticket and go by myself. He would have to buy his own ticket and sit in another location. I am hardcore like that. LOL Certain things are my way or the highway.
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Last thursday during the Nutcracker I had a nightmare of a night. Children screeming, parents eating out of cellophane bags like maniacs, flashes going on during the entire performance, late comers pouring in at all times, cell phones texting mode in full blast. I had a couple seated in front of me who refused to stop the compulsive texting, even after several attempts by me and the usher, whom I called in. Finally, out of major frustration, I took my programme and snapped it loudly, full force on the tubing behind their heads. BAM!!! They jumped in their seats, but it worked. To each, his/her own. Still, it is getting more and more exhausting to deal with all that...
Was that in Miami? I do think Miami audiences can be the worst sometimes. I have been to so many Florida Grand Opera performances down there, and it is probably the fault of the ushers, but it seems like people feel they can walk in and out like they are at a movie. I remember being at a Traviata and it was like Grand Central Station during the Preludio which is one of my favorite pieces of music. At a recital years ago in Miami Montserrat Caballe put some people in their place as they were filing in late after she had entered and was about to start. She stared at them like, "I'm waiting for you to get seated!" They suddenly rushed. If she had not shamed them they would have taken their sweet time. But in defense of Miami I think it is getting terrible all over Florida and maybe all over the nation. I went to my local Nutcracker and there was a young girl turning on her cell phone every time a scene change occurred. I guess people can not wait for one hour (for intermission) to see who has texted them. Also, the family behind me sounded like they were very involved in the company yet they talked during the show. It is unbelievable, but I think Nutcracker does bring out the worst audiences, because you have many people who don't really care about ballet who attend Nutcracker.
As for ties.....I don't mean this to offend anyone, but, in my personal opinion, ties are becoming a thing of the past except for extremely formal occasions like weddings (and you are part of the entourage standing up in front of everyone). Ties are becoming symbolic of car salesmen types and no longer part of the well dressed, fashionable or wealthy, in my opinion. Even CEOs are starting to wear sport coats, dress shirts open with no tie. When I attend the opera in NY, SF, etc. I see very few men young and old wearing ties. Most wear sport coats, dress shirts, and no tie....dress shirt open one or more buttons. Opening Nights can still have a few in tuxes and a few in ties, but even on Opening Nights the dress shirts are usually open, no tie. You might hate it or not, but that seems to be the norm nowadays. Things change. We no longer dress like people in the 1830s, and we also no longer dress like people in the 1980s. Personally, I have always hated ties. Can't stand anything closed around my neck and am loving the fact I no longer have to wear one anywhere I go. I always felt like I was choking or itchy around the neck. I always envied women being able to be dressy without anything around the neck!!!!
We all have our point where we draw the line. I always wear a sport coat and sometimes even a suit but never a tie. So to some I might seem "casual," but I think it still looks dressy. On the flip side I can't stand seeing how some of the young guys show up to opera or ballet in "clubbing" outfits. Even when I was in my 20s I would go home and change after the opera before I went out to the bar or club. I think men wearing "clubbing" outfits is the male equivalent of slutty dressing. Appropriate for bars, but not for the opera or ballet. Just my two cents!
I forgot.....one guy at the Nutcracker I attended last Friday had a loud Hawaiian shirt and shorts. He was probably about 55 years old, old enough to know better (I am 44, by the way). What was strange is that his wife made an attempt to look semi-dressy. If I were his wife I would have made him change clothes. But everyone thinks differently about these things.
Anyway, I like to be sort of dressed up for events but in the end I really don't care if others dress down. I might personally think it is inappropriate, but in this time when opera and ballet are having trouble making ends meet I guess I should be happy that people are attending regardless of their clothing.
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I agree with Waelsung and Marga in their description and evaluation of the ballet and ballerina. I think this is one of the greatest works of art I have ever encountered. As both an actress and dancer, Yuan Yuan Tan is extraordinary. I am awestruck. The only difficulty I have is with the characterization of the final scene as one of "redemption", or perhaps, the portrayal of a redemption.
I do think it has legs! No pun intended. I think it is more likely to spread as a ballet played all over the world than the Royal Ballet's new Alice. I enjoyed both, but The Little Mermaid has more dancing and is a more moving experience. However, I can't imagine anyone topping Yuan Yuan Tan's performance. I feel like she made the dvd worth it for me. I think it is going to become a real challenge for dancers to equal or top her performance in this in the future, but you never know. We seem to be living in a very good time for ballet. In contrast, the opera world has gone downhill, in my personal opinion, which is the reason I have turned to ballet. I have had a few too many disappointments in the opera house in recent years. I think opera is experiencing a decline right now, but I am happy that ballet is on an upswing.
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My review:
I saw the show at an excellent theater with surround sound, there were perhaps 30 people in the audience, the majority had grey hair, there were perhaps 5 tween age children, no young ones. Everyone was well behaved (no talkers during the performance!)
Kelly Ripa came on backstage with a clear appeal to children in her tone and presentation. It was a complete change from the sophistication of the MC of the Bolshoi broadcasts (can't recall her name at this hour). Claude Otranto led an able orchestra, though I quibbled with the woodwinds section, which seemed weak.
Onto the show: first impression was that the stage seemed claustrophobic, really small. Second impression was that the kids seemed really young, a lot of baby faces, but they certainly could dance. I admire Karinska for all of her work on this production. The costumes are a feast for the eyes, and a few show their 1950's influence (cotton balls dangling from skirts, the dew drop's straight-out-of-disney-tinkerbell-dress). The party itself was clearly aimed at the smaller children in the audience.
This was something I had to reconcile - other versions of Nut try to entertain both adults and children, but Balanchine went purely for the kids in 1954, and the first act party is all about them. The tree's growth, battle scene, and mice (rats?) were a lot of fun to watch. I really enjoyed the chaos of it all and everyone around me was also fully paying attention. I enjoyed the soldier's dance, and the columbine duo (both women, which surprised me), but the snow scene was the one pure technical ballet moment and it was pure Balanchine.
During snow, the neo-classical style really showed through - the port de bras, the lightning speed, and consequent lack of unison. In addition to (an already mentioned) dropped snowball branch, there was a slight bump in the 3rd row (stage back) between two dancers, but they quickly recovered. I enjoyed the scenery of the snow scene, and unlike other productions, it never dragged. But the Marie & Nephew characterizations began to get on my nerves, for the cloying cuteness. This too is clearly a 1950's leftover.
Kelly Ripa had more fun during the intermission, both in live interviews with Megan Fairchild (Sugar Plum), Daniel Ulbricht (Candy Cane), and the young Maria & Newphew (who were real sports). The best part, however, was Kelly's pre-taped session of ballet, going under the Mother Ginger skirt, and crowded by the young dancers, piping up with information.
Then we were on to Act II. And I nearly went into diabetic shock. I saw this production about 20 years ago, and have seen many others since, both in Seattle, San Francisco and other places. I forgot how super sweet and child oriented the 2nd Act really is. The scenery is a 1950's doily candy wrapper, literally. First of all, the two protagonists sit at a table weighed down by sweet treats. Many of the dancers are sweets related. All are sweet in their dancing. There is no shading, no story line, no danger, no interaction in the 2nd Act. It's just a divertissement festival. But only a few of the dancers get to show their chops.
Before I forget, I worried about Marie's crown falling off in hte 1st Act, and didn't understand why she wore a 1st communion veil in the 2nd Act? Can someone enlighten me?
Megan Fairchild was crystalline as Sugar Plum and it was a pleasure to watch her solo. During her ppd with Joachim, I noticed that her smile was through pursed lips - was she in pain? Joachim de Luz looked smiley and relaxed, he had a beautiful spin series that was well centered and controlled, but while Ms. Fairchild's dancing was technically excellent, her facial expression seemed wan.
Ashley Bouder was everything everyone says she is, and more as Dewdrop. A winning smile was icing on the cake. I could watch her solos over and over and never get bored. She made that role the principal for Nut rather than Sugar Plum - in other words, I thought she stole the whole show. Granted - Mr B gives this role the most technically to work with, but Ashley made it look 2nd nature. The Flowers just faded around her bright star.
Theresa Reichlen was bendy and sultry as Coffee, but I felt the bells and hair piece distracted from her performance.
Tyler Peck & Corps made Marzipan fun, and Karinska's tutus are a technical feat. But I didn't think the steps really showed Ms. Peck to her greatest advantage.
Daniel Ulbricht seemed to have fun with Candy Cane, it doesn't seem to be the hardest of roles, and the crowd loved his back up dancers.
I'm missing a few other performances, but by the end, I felt like I was craving something savory instead of sweet - more adult fare, or at least a storyline to follow. After all these years, what entertained me as a child, sends me into diabetic shock as an adult. I may need listen to a good honkey tonk show to bring my sugar levels down. Unfortunately I agree with NYT's Alastair Macauley's comment a year ago - Mr. B's Nutcracker is not one of his best works, or the best Nut out there. I'd like more dance content for the adult roles and more light and shade for the story line. But for that, I may have to one day venture out on my own Nutcracker marathon.
I pretty much agree with your assessment. Act 1 already has so little "real" ballet dancing in it even in other productions, and then Balanchine took out even more by giving so much time to the children. In one way I am sure it made it more fun as a family affair, but I think your assessment of it being diabetic shock is on the mark. Too sweet. Nothing savory! LOL That was a great metaphor to use for your review.
Btw, Daniel Ulbricht is amazing in other things (not that he wasn't great last night as Candy Cane). I saw him do Tarantella, and he blew me away! He is a very athletic dancer. Although the hoop trick Balanchine has the candy cane do is fun, it isn't as exciting as some of the more Russian looking dances I have seen in other productions. To me the music sounds so Russian, so I like the dancing to have a more Russian look to it.
Kelly Ripa got better later, but at first it sounded like she was trying to have a non-descript European accent or something. It was strange. It was like she was trying to pronounce things very carefully or something. I did think some of her questions were good though.
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p.s. about the performance that I attended (Kennedy Center Sunday night):
I don't know how I failed to mention my utter admiration for the lovely blonde corps lady who gallantly coped with a 'Wardrobe Malfunction' during the Waltz of the Flowers. About 3 minutes into the number, the white lower ruffle of her petalled skirt ripped-off about three-quarters of the way around the hem! While other ladies' skirts ended a couple of inches below the knees, this flower's hem dragged just about the floor. It's a miracle that she did not fall! Near the end, when the four 'darn bees' lift each flower one by one, our lady in distress gave us the widest smile imaginable -- there was no place to hide! -- and danced gloriously to the end. A perfect example of the old motto: "The show WILL go on!"
Your comments about the wardrobe malfunction at ABT reminded me of something tonight. I just came home from the NYCB Nutcracker transmission into movie theaters and I noticed that one of the snowflakes dropped her fluffy snowball hand thing. I was worried one of the dancers would slip on it or something so it was hard to watch the dancing for the remainder of the snow blizzard scene. Maybe it is soft and would not have messed anyone up if someone had stepped on it but you never know. I was worried for them. I kept thinking if one of the snow flakes stepped on it just right it might cause the dancer to slide. Luckily, that didn't happen.
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Bart, I still can't picture the MG...but I think I remember what you mean. Aren't the 'beaters' white-garbed commedia dell'arte figures, polichinellos? Italian Commedia dell'Arte (despite the 'comedy' in the name) could actually be quite brutal - slapstick brutality. Just as the Three Stooges of AmericanTV (I'm dating myself!) punched and slapped one another, in the Commedia dell'Arte manner. I took the polichinellos episode of Chemyakin to be a hearkening to Commedia dell'Arte. The polichinellos were trying to get their baby brothers to shut up & stop crying. The 'kids' in the Chemyakin Act I party scene were also quite nasty, except for Masha.
Eureka! I just realize that that's another connection that Ratmansky has made with the Chemyakin-Simonov version (which was originally his own first version): 'spoiled-brat kids' who stomp their feet and are quick to fight (see Act I party children of ABT...not at all the demure little darlings of traditional versions, with the exception of Clara/Masha).
p.s. I'm open to minimal sets...in new ballets. My favorite Ratmansky ballet -- Bizet Variations for the Georgian Ballet -- is danced against a plain backdrop. I love Ratmansky pdds and one-act works, in general.
Oh, I thought the men in white were butchers or bakers or something. Didn't think of them as Pulcinellos, but maybe they were. So maybe you all are right that it is a Commedia dell'Arte derived scene. I wrote in the other thread that I didn't think it looked like it. I will have to go back and re-watch it.
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The Diaghilev troupe's ballet Chout ("Buffon"), by Prokofiev & Massine, is similarly derived from commedia dell'arte (via a Russian fairy tale)...and similarly brutal. In Chout's case, the leading character kills and dismembers seven wives. http://en.wikipedia.org/wiki/Chout
Also, as someone recently pointed out in a thread about Petipa's Harlequinade, at one point in the scenario, Harlequin is thrown off a balcony and breaks into little pieces, eventually put back together by the Good Fairy. In other versions Harlequin is thrown into a bag & beaten up...that's Commedia dell'Arte for you!
The polichinelles who beat-up the crying babies in the Chemyakin-Simonov Nutcracker are following in the 'glorious' tradition (ahum).
I guess so. Somehow it did not seem like Commedia dell'Arte or Punch and Judy. But I guess it is derived from all that. Overall I found the Chemyakin Nutcracker fun and interesting except for that part. I didn't mind Harlequin being pulled apart and thrown off a balcony in Harliquinade even though it surprised me, but somehow punching and killing babies is too weird for me! LOL And that is funny b/c I spent 13 years in public schools and can complain about kids worse than the average person, so you would think I would like seeing them get beat up! LOL But I don't.
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Natalia, I like luxurious sets too. I am open to minimal sets or avant garde ones too, if done well, but luxurious is almost always eye pleasing.
In the Chemyakin production Mother Ginger is like a flat cardboard cut out (nicer than cardboard, but I don't know how to describe it otherwise). She's not a real person. Then, all these men come out from under her skirts holding dolls that I assumed were babies, and they beat up on the babies. It was the most confusing moment in the entire production, and I did not "get" it at all. I was hoping someone could tell me what it meant.
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Bottom Line: This is the 'Wal-mart Edition' of the Mariinsky's luxurious Chemyakin Nutcracker. I applauded for the dancers...and for Tchaikovsky.
Natalia, I asked this question under the topic "Nutcracker choreographies" but since you brought up the Chemyakin Nutcracker, I wanted to ask you if you knew what the Mother Gigogne and children scene means in the Chemyakin. To me it is as if grown men come out from under her skirts and start beating up on little babies they carry in their arms. What in the world does that mean? Overall, I found the production fascinating and different and loved the green snake during the Arabian coffee dance, but the beating up on babies and then tossing them was a bit much. Maybe you understand it, and I hope you could explain what that meant. Does the ABT Nutcracker you describe do this too?
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theo, what did you think about the grown men punching or killing the babies when they came out of Mother Gigogne's skirts? That surprised me. I still don't understand what the point was. Everything else was okay as something different. I found it fascinating, but I don't think it should be someone's first Nutcracker. There were things I liked and things I didn't like. I really didn't like the men abusing the babies. It was the main thing I really did not understand. Why would they do that in the land of sweets? It made no sense. There was a dark element to this production but harming babies is way too dark for Nutcracker, in my opinion. Or did I misinterpret this? I wish someone knew what it meant and could explain it to me.
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[MOD beanie on] I've moved this post from "New Performances" and merged it with the ongoing Program I thread. bart[MOD beanie off]
Jeanette Delgado's performance in Square Dance last night (Dec. 9, 2011) was my favorite part of the evening. She seems to truly enjoy and love every second she's on stage. I am much more excited about story ballets, but when a dancer has this kind of exuberance you don't need a story! Renan Cerdeiro seems like a very lyrical dancer, very impressive in a totally different way. At first I was disappointed that Carlos Miguel Guerra wasn't dancing the faun in Afternoon of a Faun, but Yann Trividic and Patricia Delgado were so wonderful portraying young attraction. Not sure Liturgy will ever be one of my favorite pieces, but Guerra and Kronenberg made it a piece I'm willing to see again. In the Upper Room was fun too, but I find it frustrating b/c you don't know where to focus since the minute you focus on one dancer, you've missed something else that another dancer is doing so it is good. Still a great finale for a series of ballets. I think these 4 works provide a varied, yet smooth repertory program. I wish I weren't meeting a good friend today and leaving tomorrow or I would catch the other cast!
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I didn't mean to start arguments or anything. I think people's differences make the world interesting. I will applaud at performances where performers are in person but probably never will at a movie presentation no matter how much I enjoyed it. I will dress up for opera/ballet houses but not movie theaters. I will always want popcorn at the movies!
With that said I will no longer wonder why people applaud or dress up at the HDs. They are making it a special occasion for themselves, and that is great. That is their prerogative. Life is rough and depressing at times, so I can't fault anyone for making something in life more fun and exciting by making it into a special occasion!
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Concerning popcorn and sodas and casual clothes, I have to say that I consider the HD movie transmissions more like a movie, since it is in a movie theater. I would never smuggle in food or drinks and chomp during a live performance in an actual opera/ballet house, but I always buy popcorn and coke for the HD transmissions. I think it is a much more casual experience than an actual opera house experience, and I do not dress up like I do when I go to the actual opera house. I think different people will have different opinions about this, because an acquaintance of mine dresses up for the Met's HD transmissions. He thinks I am terrible to show up in cargo shorts and t-shirt, but it is Florida and a movie theater. I personally think it is odd to dress up for a movie theater in this day and age even if you are going to a ballet or opera in the movies. With that said when I am in the actual opera house I am not thrilled to see people sometimes show up in t-shirts and jeans. So I am a bit conservative about how to dress for actual live ballet and opera but I think casual clothes for the HD transmissions is common sense personally.
In fact, when the Met did Tristan und Isolde, I put up the arm rests and laid across a few chairs near the front while watching. Most comfortable experience of Tristan und Isolde I ever attended! LOL And opera where hardly anything happens and goes on and on (don't get me wrong, I love Tristan und Isolde). Wagner was probably rolling in his grave, and I LOVE Wagner's operas. I would never lie across three seats in an opera house, but the movie theater, yes.
I tend to sit close up where less people sit when attending the movie HDs, but I still make sure I'm munching popcorn with mouth closed (unlike some people), and during Wagner I pick strategic times to munch! LOL Most Wagnerites are a little more picky, I suspect. In contrast noises at the ballet do not bother me quite as much since my main focus is on the dancing. I like to hear the music also, but even soft whispering that makes me see red in a movie or an opera actually bothers me much less during a movie transmission of a ballet. I think it is because the best part is silent (the dancing).
Grigorovich Ballet question
in Everything Else Ballet
Posted
Thanks, Natalia! I have been trying to find more info. From what I have found online I think the "Legends of Russian Ballet" is being performed in Miami as well as Corsaire.... 3 Miami performances (1 Legends and 2 Corsaire), but in Jacksonville there will only be a Corsaire (one night only).