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About Allegro

  • Birthday 10/06/1984
  1. Just wondering if anyone has seen NBT's performance of David Nixon's I Got Rhythm. I recently saw it at Sadler's Wells and was none too impressed by it. I can elaborate on this, but would like to see if anyone else had any insights before I go start... What a funny flashback I am having right now, I haven't posted on Ballettalk in about four years, as my ballet days ended and I went off to college. Now I'm in the UK studying and have had the great opportunity to take a ballet appreciation with Clement Crisp and am seeing some beautiful performances.
  2. I agree with you, Major Mel. Ballet is supposed to look easy, and sometimes I think it is almost a diservice to the artists. "If it looks easy, it is easy." But since everyone sings in the shower, perhaps singers are given more credit. After all, who causally attempts foutte e'lair or a double tour as a matter or course?
  3. I was very interested by a piece on NPR about how punk rock fans are becoming quite attracted to the opera. It made me think a lot about the whole "phenomenon" but ended up with some questions regarding/relating to ballet. They mentioned that Opera is the only classic art where the audience demographic is actually getting younger and younger. So why is that? One would think that with the relatively young dancers that make up the art (relative to the older opera singers) ballet would be very attractive to a younger generation. And with the love of atheletes and athletics in our country, why wouldn't a partially physical art do well? In contrast to opera, which incorporates much less movement(except for the vocal cords ). And the other question comes from the commentator's remark that since Opera deals with such strong and pure emotions, many of these punk people are being drawn to it. (the idea of an individual's fight and struggle against the world was also mentioned) My question is: Since ballet obviously deals with love, hate, desire, joy, jealousy, etc etc, why isn't it attracting the same crowd? (if you want to buy their theory) Is it because it offers a subdued version of these emotions, or is it because ballet is too esoteric, or what? I would be interested to hear other's observations on the piece or on the mentioned questions. Please understand that I have the utmost respect for opera, so none of this is said in degredation of that art!
  4. I found the autobiography of Alexandra Danilova to be quite interesting. The name of it is "Choura," and although the first half of the book goes into detail about the Maryinsky, Balanchine figures an importaing part in the rest of the book. Intersting are her insights to the early times of American ballet. (Not the American Ballet, but American ballet in general).
  5. the Debeers diamond commercial music was also choreographed by Thom Clower,for Alabama Dance Theatre. It was beautiful, but a killer for the dancers. Ifelt so sorry for them.
  6. Has there been a ballet to anyone's knowledge choreographed to this piece of music? It is so glorious, someone is bound to have done it, but I would like to know who, when, and where, if at all possible!!! thanks ~Allegro
  7. I think good choreography is put together in the same way or idea that good essays and poems are put together. So yes, essays and poems are two TOTALLY different types of literary works, but that just illustrates my point even more. Good writing has a good point (or if abstract, a good abstract lean), with a strong vocabular (steps) which are put together in a coherent way, with the right tone (music). Of course, I am all for the experimental stuff, choreography to silence, etc etc etc, but I guess that even that stuff can be likened to literature. There are classics: Shakespeare, Milton, Cervantes, Homer--that can be compared to Swan Lake, La Sylphide, Coppellia, and there are also new works of equal worth but less time tested: Balanchine, Tharp, etc.
  8. Ok, I guess I will have to say a lot on this topic, mostly because it is so relevant to what I am doing in school. I just finished reading a book by Joseph Campbell called The Power of Myth. The whole premise is that we are constantly re-living and re-evaluating ageless myths. So that is possibly what you are getting at...I think ballet is a story with almost mythological implications. Underneath the story of Swanilda, Clara, Odette/Odile are myths that repeat themselves over and over. So anyways, I think that is why the classics are so modern.
  9. I must say that the risk of giving birth to eight polichenelles is risky enough. Just ask the mother of octuplets. It would be enough for any company to refuse to insure them!
  10. I was going to say "Seabiscuit" but it has already been raved over. I read, besides my stupid summer reading book, and interesting biography on Jackie O, called "Mrs. Kennedy." Very good, but also very eye opening and depressing. And I am re-reading the Anne of Green Gables series. I always feel like it in the summer. And for the ballet side of me, the autobiography of Alexandra Danilova. Fascinating stories about the Kirov Academy (not called that then).
  11. Yes, yes! Thank you! that's it. We have been having some intensive Coppelia rehearsals this weekend, and my brain is fried! :eek:
  12. I would like to see the NYCB branch out a bit and perform works outside of the "Balanchine genre." Maybe that's not the point of the NYCB...I know a lot of their greatness come from keeping up wiht the Balanchine repetoire. However, if other companies like ABT, SFB, etc etc can branch out and do works by Balanchine, perhaps the NYCB could start dancing some of the more classical works (not the re-made ones like the one act Swan Lake and Mr. B's Don QJ) and works by choreographers that do not seem to be as influenced by Mr. Balanchine. So that's what I would like to see from them. And in anticipation of some future comments, (or in self-defense to my small knowledge) that just might contradict what the NYCB stands for. And I love them for what they do, but I still would be interested to see if they could/should do some stagings in the style the ROyal ballet (classical classical: Petipa, Ivanov, etc.)
  13. [Note by Alexandra: I split this thread off from the Diamond Project jewelry thread, which explains Allegro's introductory comment.] The title of this thread was misleading to me, because I thought it would more be a discussion of The Diamond Project itself...so I got a comment in my head in my head that I wanted to share, and then it turns out to be a discussion on the marketing... However, I do want to share. I liked the evening of ballet, but I felt that all the choreography was too much the same. I know it was the NYCB, but you would think that they could try to dance in styles less reminiscent of Balanchine. DOn't get me wrong. I love his choreography, but it was too homogenous. After a while it bored me. Anybody else? I was a little distracted during the program, so maybe my evaluation of the choreography as being "too Balanchiney" is wrong.
  14. IT's all right, Farrell Fan. A dancer that amazing deserves gushing. And I, too, am vindicated in my love of Diamonds. I really thought that no-one else would know what the heck I am talking about. Unfortunately, I don't have that video anymore. I borrowed it from someone, and then after about 2 years, my guilt overcame my love for it, and I just had to return it. OK, here is favorite ballet moment #2: And also from Jewels. I think it is because I love the music so much, but during the Emerald's pas de trois, there is this really cool echappe pas de bourree thing (but it isn't really just that: they do a cool switching thing with their feet, and then their arms float in and out of second arabesque...hard to explain.) that the two girls do. Again, I think it is the music, but I really do like the step. #3, I like the feather on the headband of "the guy" (sorry can't remember his name) in La Bayadere. It just cracks me up!!!!!
  15. Definately off topic, so delete if necessary. Anybody read her autobio? I found it fascinating, not just for the NYCB history, and her own history there, but because of her introspective narrative. I think it would be almost as interesting to anyone interested in psychology, or just a good biography, as anyone interested in her as a dancer.
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