Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

choriamb

Senior Member
  • Content Count

    270
  • Joined

  • Last visited

About choriamb

  • Rank
    Bronze Circle

Registration Profile Information

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

Recent Profile Visitors

1,015 profile views
  1. Thanks for the update on the Robbins program, DC Export! (I like getting reports on his part of the repertory.) Schumacher's a solid, thoughtful dancer (and I like his Puck also, Helene). The men we primarily see in the "short" male bravura roles (De Luz, Ulbricht, Veyette, Garcia, Carmena) are fast approaching or past the two decade mark. And Gordon has only been onstage about 5 years. Martins might want a mid-career dancer with experience in those roles other than Huxley in order to maintain a consistent talent pipeline. Someone with Schumacher's intelligence and stag
  2. Ashley Bouder's daughter: Ratmansky fan. (As are Katie Williams and Kaho Ogawa.)
  3. Mostly agreed with abatt and Kaysta. I do think Kochetkova is more than "blandly efficient" although she doesn't delve as deeply into a work's style or interpretation as I would like. However, I think the stagecraft aspect of her partnering--the nuanced ways that she interacts with her partners and enables them to look more engaged, too--is what makes her worthwhile. It's not just chemistry: it's a skill. And with the exception of Trenary, the other short pairings often look uncomfortable or TOO comfortable. (Kitri and Basilio should not look like an old married couple from the
  4. I was also a bit surprised not to see more listings for Hammoudi, Gorak, Scott, Royal, and Shayer. But I suspect all of the male TBAs are contingent on developments at La Scala and how Anderson casts Onegin, as that's ABT's showpiece of choice for up-and-coming men still acclimating to the spotlight. I wouldn't be surprised to see a Scott/Brandt match-up as Espada/Mercedes in that highly-visible Don Q with Copeland. Like a lot of other posters, I'm very happy that Murphy is getting her Giselle after carrying a lot of the same repertory load for the past few seasons: very well-des
  5. If she does decide not to return, I'll miss her. She never had the effortless-looking classical line of some dancers, but her energy and intensity made up for it....she really commands the stage in modern/contemporary rep. (Skylar Brandt reminds me of her in a lot of ways.)
  6. I suspect De Luz's absence this season has had Veyette doing double time. The company now has several men who can bring the appropriate technique to the Villella roles, but they're really still the only ones who can bring the appropriate testosterone. I'll be curious to see if Stanley is eventually able to project the same sort of lovable caddishness that they have. (I'm guessing Suozzi, Danchig-Waring, and Ramasar are too tall for that slice of the rep.)
  7. That surprises me too, given ballets often have make-up guides and Robbins' rep for micro-managing costumes...it does nick at the "villager" look. (Then again, if there were a DAAG character to wear bright red lipstick, the Girl in Green would be it: does Mearns wear it for her other characters too?)
  8. I've never seen Fairchild listed in the divert, Emma (but others may correct me). Glad to see Ulbricht listed for Oberon. And extremely strong list of Butterflys (although I hope Pereira appears in that role again sometime).
  9. Agreed...she looks natural in a way the others don't. (I also imagine that maintaining a pleasant expression in high heels is child's play after doing so in pointe shoes.)
  10. Congratulations to her...he's a total cutie!!! Fact: Due to the combined absence of Imler and Ashley Bouder, American ballet as a whole has moved with 12 minutes 32 seconds less velocity per show for the past 9 months. (I personally suspect that they coordinated their absences just to ensure there wasn't some sort of lop-sided continental shift.)
  11. Agreed. Alberda's photos are free publicity. Moreover, as an art director, I'd say they're better than the stuff I've seen in any of NYCB's marketing campaigns. I'm just confused why a dance company that is otherwise so publicity-savvy never asked him to work for them in that capacity. Cheers to Lincoln Center for playing a better game: they began using him as their resident Instagram photographer several weeks ago: https://www.instagram.com/lincolncenter/
  12. Bouder has said in interviews that she plans to be back by summer (albeit babies honor no one's timelines).
  13. The arms and the placement...thank you, artsong.
  14. The names of the dancers and choreographers in my list are much less elevated. But they all did the hard work of making art, and I wouldn't be the balletomane I am without them: -- James Sewell's Winter performed by The University of Tennessee Dance Theater showed me that ballet could be funny and human. -- A routine Chinese variation from The Appalachian Ballet's Nutcracker performed by Claire Barratt showed me what an exciting world an intelligent dancer can create on stage. -- A solid mid-century Swan Lake as performed by Indianapolis' Ballet Internationale was my first choreographic pro
×
×
  • Create New...