Kerry1968
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Posts posted by Kerry1968
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I just got this DVD last week. Alas, Myrtha and the wilis are always my favorite part of Giselle. I was very sad to see that Myrtha's dances are abridged: the pas de bourrees and penchees are missing along with Myrtha's entire first solo. This really spoiled it for me
I love Semenyaka though.
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Sad to see her go although, at 95, she certainly led a full life.
I always remember her from High Society w/ Armstrong, Crosby, Kelly and Sinatra. They don't make 'em like that any more!
She made another film with Sinatra called The Tender Trap, which I like very much, and have seen dozens of times. It's an Eve Arden type performance - sardonic, worldly, having no illusions whatsoever about men.
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Is Ulyana Lopatkina extremely articulate?
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Since "Other" is an option, I'll have to go with "Other: Tyrone Power."
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The DVD looks awesome on a 55" Vizio LCD HDTV.
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I personally think she did a lovely job and if given the chance she could certainly keep developing in this role. I don't find it hard to accept someone short as O/O though (it seems some do)... people accept really tall Auroras so why not...
Not sure that I like Odette's foot on Siegfried head at 1:24 in clip 2.
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When I read the title of this thread, I thought the OP meant actual "hunting melodies," as for instance the Hunters' Choruses from Der Freischutz, and Charpentier's Acteon
Maybe someone could kindly change the title of the thread to "haunting" which is what I assume it should be?
Sorry about it, Aurora. I haven't mastered the foreign language completely.
Hey Cristian - I wish I were as idiomatic (and articulate) in ANY foreign language as you are in English
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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?. If so, I would have to include a bouncy 3/4 passage early in Act I of Giselle. It accompanies Giselle as she skips around the stage. When THAT little passage enters my brain, it's almost impossible to retrieve the rest of the Adam score, including the initiation scene which Cristian has put on his own list.
I completely agree about bouncy 3/4 passages: a little after Zulma and Moyna's variations, Myrtha returns to some really bouncy music that can play in my brain for days on end. In fact, I'm thinking it right now. Arghh!
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Have you found yourself humming over and over a certain ballet tune right post performance and for many days after...? Do you find that you can't get it out of your head...? Is it a very catchy, "dansante" melody...? Could it be that you're even able to get a hold on any Stravinsky's ballet tune...? (not me certainly...)
My "regulars" are usually:
1-Adagio from Sugarplum Fairy Grand PDD.
2-Rose Adagio
3-Waltz/duet from Chopiniana.
3-The tune that goes along the peasant cross formation-(or a single line as in Cuba)-dancing in Giselle's Act I
4-Glinka's main theme of Valse Fantaisie
5-Coppelia's mazurka
6-Giselle's "Initiation" scene.
7-Aurora's first entrance music.
8-Swan Lake overture.
I'm sure there are many others, but those are my top picks...
Which are yours...?
When I read the title of this thread, I thought the OP meant actual "hunting melodies," as for instance the Hunters' Choruses from Der Freischutz, and Charpentier's Acteon
Melodies I often hum:
(1) Le Spectre de la Rose (Weber/Berlioz - Invitation to the Dance)
(2) Giselle - all of Myrtha's music
(3) Swan Lake - grand adage from Act II
(4) Mazurka in D from Les Sylphides
(5) Swanilda's Act I entrance
(6) Pas d'esclave from Le Corsaire
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Opening Night Gala
5/14 (Evening - 6:30 PM) 2012
Thirteen Diversions (excerpts) - Riccetto, Matthews, Seo, Davis, Abrera, Tamm, Messmer, Hammoudi
Le Corsaire (Odalisques) - Lane, Copeland, Boylston
La Bayadère (Act II pas de deux) - Semionova, Hallberg
Le Corsaire (Bedroom pas de deux) - Herrera, TBA
TBA - Part, Stearns
Swan Lake (Act II pas de deux) - Dvorovenko, Beloserkovsky
Students of the Jacqueline Kennedy Onassis School
Romeo and Juliet (Balcony pas de deux) - Vishneva, Gomes
Swan Lake (Act III pas de deux) - Murphy, Muntagirov
Manon (Act I pas de deux) - Cojocaru, Corella
Don Quixote (Act III pas de deux) - Reyes, Cornejo
Onegin (Act I pas de deux) - Kent, Bolle
Flames of Paris (pas de deux) - Osipova, Vasiliev
Thirteen Diversions (finale) - Riccetto, Matthews, Seo, Davis, Abrera, Tamm, Messmer, Hammoudi
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Would it be fair to say that most contemporary versions of Giselle present Hilarion in Act 2 as holding a solitary vigil at Giselle's grave, whereas older versions of the ballet tended to present Hilarion in the company of others at Giselle's grave? And does the image of a solitary and forlorn Hilarion tend to make the character more sympathetic?
Coincidentally, I've been watching the Teatro Alla Scala DVD with Zakharova and Bolle (which is worth getting, by the way). Act 2 opens with Hilarion alone at the grave. Then five of what seem to be his friends enter on the other side; they appear to be horsing around, drinking, etc. They try to pull Hilarion away from the grave to join them, but he pushes them away. Then the friends seem to hear something and force Hilarion to run off with them. But Hilarion does appear very sympathetic in that scene, especially as he seemed so vindictive and bitter in Act 1. This was recorded in a live performance in 2005, with a 2011 release date on the DVD, but I don't see information on when they did this staging.
Thank you! I added it to my Amazon order, along w/ Teatro alla Scala's Raymonda (pre-order).
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Please add to the list
(1) Flamingo in Wheeldon's Alice's Adventures in Wonderland
(2) Peacock in PNB's The Nutcracker (my favorite!)
PS: @Cristian: I seem to recall from the "least favorite variation" thread that you dislike Coffee (Arabian Dance) from The Nutcracker. Warning! Peacock is the Arabian Dance!
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Would it be fair to say that most contemporary versions of Giselle present Hilarion in Act 2 as holding a solitary vigil at Giselle's grave, whereas older versions of the ballet tended to present Hilarion in the company of others at Giselle's grave? And does the image of a solitary and forlorn Hilarion tend to make the character more sympathetic?
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The ballet I've always wanted to see is Daphnis et Chloe. Ravel's most beautiful composition excepting perhaps L’Enfant et les Sortilèges. Does the ballet exist in any American company's rep?
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It'll be nice to have another Raymonda to add to our collections.
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Stumbled upon this while wandering around in Youtube:
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One of the better ballet-related resources on Facebook: Kathryn Morgan (NYCB, soloist) has an official "fan page." She updates frequently, posts tons of pictures, and even offers advise to aspiring dancers. Ms Morgan lots of subscribers, nearly 62,000 at last count, and deservedly so. This is a must-suscribe page for anyone who happens to have a Facebook account, and who likes NYCB or ballet in general.
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@ Bart Birdsall: Thanks! I'll probably do exactly what you suggest - i.e., get tickets for Russian Seasons etc., and play the 13th by ear.
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The New Yorkers could tell you more about same-day purchases. I don't know if they have a 1/2 price rush for students, seniors, etc. before the performance, but I've never noticed anything along those lines, if they do.
For an individual Friends membership at only the $90 level, you get free admission to four rehearsals and can bring a guest. It's a good deal, as they do these throughout the season Tuesday-Friday. You call a recorded number they give you in the morning to find out the time, which can be anywhere from 12-6 for a two-hour rehearsal. Typically, they are rehearsing something for the next few days, not that night's performance. You sit in the first tier, and you might enjoy those more than the scheduled performances! http://www.nycballet...p/benefits.html
I see on May 23 they're doing a new Martins, In the Night, and a new Wheeldon. The rest of the week is "Double Feature." I noticed on the TDF site that NYCB sometimes sells cheap tickets, but mainly to lemons (like Seven Sins). Still, at least you can buy those 6 weeks ahead and you can see what they're doing. The out-of-town membership is pretty reasonable: http://www.tdf.org/
Thanks....I was thinking about Liebeslieder Walzer/Brahms-Schoenberg Quartet on May 22. I arrive May 22 and leave May 27, so that is probably the only thing I have much interest in, but it is the day I arrive. I might be too tired. I hate to travel. I am also trying to fit in seeing a friend or two and going to Jivamukti Yoga during the daytime on some days. So it will be busy. I might just play it by ear and let Fate decide whether I get a ticket at the last minute or not. My partner will be happy if I don't and then we could go to a nice dinner. He is a big foodie.....is that the correct term?
I'm in almost exactly that same predicament, although I arrive in NY before you. I have tickets to the ABT Gala on the 14th, and Giselle on May 17 (Cojocaru/Murphy). I'm VERY interested in the NYCB's May 13 program (Serenade/Firebird/Symphony in C) but it's a matinee and that's the day I get in to JFK. I might just be too exhausted.
I could see "New Martins/New Millepied/Facny Free" or "Russian Seasons/New Millepied/DGV" on the 15th or 16th, but am I really that interested? It's a dlemma.
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Haha! That's a good one.
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The Princess Florine variation from The Sleeping Beauty. That music really gets on my nerves
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My first Swanilda: Patricia Barker w/ PNB in 1990.
My favorite Swanilda: Maria Kochetkova w/ SFB in 2011.
A Swanilda on my radar: Misa Kuranaga, Boston Ballet.
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Personally, I'd rather see the entire Peasant pas de deux deleted than one particle of Act II. Act II is sacrosanct!
Short or long tutus for lakeside scenes in Swan Lake?
in Aesthetic Issues
Posted
Definitely pancake tutus for Swan Lake.