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About Shirabyoshi

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  1. Thank you for this kind response; I was worried I'd come across as the Devil's Advocate. ;) I do find criticism and technical discussions interesting, but usually I come to Ballet Alert to read that kind of thing *after* I've seen and enjoyed something. I don't like my first impressions to be clouded by, ah, carping. I'd rather have my simple fun first! And to make this post on-topic... My nomination for Most Quotable Ballerina (sorry, Cristian) is Maria Alexandrova of the Bolshoi. Herewith some favourites from my Masha File, collected from various interviews found online. "I've never wante
  2. Shirabyoshi


    I came back to answer the replies to my last post... only to find the discussion has moved far ahead in my absence, and its new direction is much more interesting! I do have something to add here, I hope not entirely without interest or worth. When I first began to cultivate an interest in ballet earlier this year, I went through a(n admittedly brief) period of thinking that I couldn't quite understand what the fuss was about Balanchine. The first recordings I saw, from the meagre selection available commercially, contained some pieces I admired in the abstract, but nothing at all to touch my
  3. Have just discovered this thread and read through it with great pleasure. I have nothing to add but this warning against the hypercritical tendency (please nobody shoot me): "I should say that a knowledge of technique is essential to the full understanding of the ballet but not necessary for its appreciation; for the latter I think that emotional or intellectual reaction to the music, movement and decor is quite enough. For my own part, the less I knew of ballet the greater was my enjoyment; too carping an attitude is a great hindrance to enjoyment and a little knowledge can mar a lot of plea
  4. Shirabyoshi


    Apologies if this is too emotional; but the thread has wandered about a bit already, so I thought it might not be a wholly inappropriate place in which to express certain miseries -- and fears. As a new ballet fan I had actual physical palpitations when I read, just a short time after my Great Ballet Revelation of 2012, that the Mariinsky would be doing "Swan Lake" in California. Then I researched the soloists whose names were on the list for the tour. If I'd been guaranteed a week of *real Mariinsky performances*, I'd have flown out there and gone to every single one, whatever the cost. As
  5. This thread is fascinating to me; but being such a novice I'm only posting here in order to bump it and perhaps attract a few more current opinions from those who know more than I. Hint, hint.
  6. Myrtha is the only role I've seen Marianela in so far in which I wasn't properly head-over-heels. I did think she was good -- her initial entrance especially enchanted me -- but, even though I'd never seen more than glimpses of other Myrthas, I felt there was a level of Wili-ness to which she didn't quite ascend (descend?). This is always happening to me; my fancy is always alighting upon performers who have too great a human warmth to do Evil very well. Take her Odile, for instance. I've watched several others in that role now and they were all notably chillier and more supernatural... And
  7. This thread, this video, this very concept, o'erwhelms me with happiness and in and of itself makes my membership of this forum worthwhile. Thank you. (I seem to be saying that a lot...) Jane, I'll definitely be doing this from now on, at least in the privacy of my own sitting-room. A la the tiddly-pom-stretch-clap in certain Hinge & Bracket concerts...
  8. Right?! Anybody could be forgiven for mistakenly, in the searing heat of the moment, proposing to marry her. Anybody. I mean, it's the sort of thing that must happen every time she steps out of her front door. Reviewing my previous post, I don't seem to have found room in it for more than about 25% of the things I like about La Nuñez. I shall have to write a sequel. The challenge will be pausing my ballet DVD marathon for long enough...
  9. What; no posts in this thread since November 2009? Wake up, everyone, wake up! Because... I think I'm in love! When I popped La Bayadère into my DVD player two weeks ago, I thought I might like Tamara Rojo. I thought she might be my first favourite living-and-active dancer; a "way in" to this intriguing art form which had recently been unlocked for me (possibly more on that later). Then, a fabulous golden creature stepped out of the wings and that was it for me. I didn't know her name, or that she was a principal dancer, or that she was playing such an important role, with a tutu and everyt
  10. My answer to this is: yes, absolutely. In the two weeks since I decided to become a ballet fan I have watched the Royal Ballet almost exclusively (on DVD and Blu-ray, not in person!), with only brief forays into the recordings of other companies. This concentration means I can already pick out most of the principals and a few of the soloists (YUHUI CHOE!), some by their faces, a few just by the way they move. And knowing who they are, connecting this performance in this ballet to that performance in the other one, developing a feeling for the company and its style and its parameters, makes i
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