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cobweb

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About cobweb

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan & avid balletgoer
  • City**
    NEW YORK
  • State (US only)**, Country (Outside US only)**
    New York

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  1. Wow, what a shame! I mean, good for him, but as an audience member I will miss his noble and generous presence. I've also been listening to the podcast recently, and as everyone has said he has a great voice and a great personality for the podcast.
  2. I missed the Met Opera At-Home Gala when it was first broadcast, but I heard from friends that it was surprisingly great. So my partner and I are tuning in to the re-broadcast. I think it's up on the Met's website until tomorrow evening. It's a lot of fun seeing everyone at home, like Peter Mattei's summer home with a Swedish lake in the background, the adorable children of Diana Damrau and Nicolas Teste, and Gunther Groissbeck's statue of Wagner wearing a covid mask. (I was baffled by the art in Jonas Kaufmann's space, though, like the abstract painting - a chess pawn? - and the odd face on the floor.) Yannick Nezet-Seguin is a great presence, and I hope the Met can capitalize on that. I'm ready to get back to the opera!! ETA: Wait, on further thought I'm not at all sure it was Kaufmann with the strange art. Maybe Rene Pape?
  3. Stella Abrera is a dancer that I have enjoyed watching since I first began my NYC ballet-viewing... back in 2002. I have seen and enjoyed her in many, many performances, everything from Afternoon of a Faun to In the Upper Room to, of course, Giselle and Lilac Fairy. Her suppleness, musicality, and luminosity make her a treasure. One time a few years ago, I spotted her on the Plaza on a summer evening, holding court (so it seemed) with some well-wishers. In a flowing long sundress and with her hair hanging down her back, she was the picture of beauty and elegance, as she is on the stage. Best wishes in your future adventures, Stella.
  4. Thanks for posting this, Dale! I gather it was posted by NYPL. If they really don't know it's online, I wonder how long it will take them to take it down, now that they know we know.
  5. Something about the photo of Topia reminds me of Monotones. And which makes me wish Sarasota Ballet would post a video of their Monotones, as they did it a few years ago at the Joyce, with piano accompaniment.
  6. The corps looked great. I was impressed with the opening movement.
  7. Wow this was a terrific performance, BEAUTIFULLY REHEARSED!! Thanks Jack Reed for posting the reminder, I would have missed this otherwise. So glad I caught it.
  8. I have found the ballet offerings to be a tremendous source of relief and replenishment during times of massive unrest. I will miss the workshop performance and look forward to seeing it soon, I hope.
  9. I waited till the last hour to watch the final NYCB "digital season" clip, and went straight to the Taylor Stanley solo, which I had not seen before. The whole thing is mesmerizing, a perfect marriage (as noted up-thread) of dancer, choreographer, and I'd add, composer and costume designer. My only question is, who was the understudy? I can't imagine anyone else dancing it anything like this, and I pity the poor guy who has to go on if Stanley is out one night.
  10. I enjoyed the group-choreographed piece featured on NYCB homepage, A Part of Together. I'm assuming each dancer choreographed his/her own section, and IMHO Peter Walker gets the prize, inventively using the interior of the home (rather than using some scenic outdoor setting as a backdrop) and finding movements that more effectively reflect the music. I could do without Carousel, the ballet. Maybe they needed the wingcam and skycam to make it more interesting. There is no development of feeling to the music or structure, it's all just there. The best part was reviving my memories of the recent Broadway production of Carousel, which I loved. I liked Liturgy better than expected. My first thought is there's no dancing, it's all complicated lifts and posing, but despite that I found it quite compelling, and Kowroski of course looked fantastic. I'll have to watch again.
  11. Pherank, thank you very much for taking the time to write out such detailed thoughts and analysis. I am learning so much from this discussion of Diamonds and the various performances that have been linked to and referenced. Next time I see it, there is much more nuance that I can look for and absorb.
  12. Watching the Mearns-Janzen Diamonds again, I don't know if it's the way the music was recorded, or just how it's coming out through my computer speakers, but I find the balance of the sections off. The grandeur and mournfulness of the music, as heard in the brass section, seems muted, while the strings are more prominent than I've ever noticed in the theatre. If they do a digital season that's planned as such, I hope they give proper attention to the music.
  13. I think if you Youtube search for "Lopatkina Zelensky Diamonds," the video comes up in 2 parts. I compared the versions years ago, and I think this is a different performance than the one that appears on the Mariinsky DVD.
  14. This is a very interesting discussion, allowing me to appreciate some nuances that totally escaped me otherwise. Pherank - could you elaborate about your comment here, what do you see Mearns trying to bring clarity to, and how do you discern that, along with her discomfort? Thanks for any further illumination!
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