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About bobbi

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    Bronze Circle
  • Birthday October 17
  1. Cubanmiamiboy, I too enjoy the lakeside scene the best. Is it any surprise that Martins said it is based on Balanchine's 1951 one-act Swan Lake? If you ever get a chance to see that, I would highly recommend it. I lucked out in my subscription series, as I have tomorrow's night's Peck/Gordon Swan and am very much looking forward to it.
  2. My favorite feature of male dancing was on display at NYCB last night: light landings. Anthony Huxley (along with Sterling Hyltin) was his usual elegant classical self in Scotch Symphony. It was a debut for Harrison Ball (along with Indiana Woodward) in Valse-Fantaisie. After one misstep, they both turned in a lovely performance. The highlight of the evening for me, however, was the eye-opening and stunning performance of Taylor Stanley (along with a glamorous Megan Fairchild) in Sonatine. Taylor Stanley never disappoints but the choreography fit him like a glove and he was mesmerizing.
  3. For me, the highlight of the festival so far is San Francisco Ballet's rendition of Divertimento No. 15. It was just wonderful dancing of a gorgeous ballet given the deluxe treatment.
  4. Yes, Mira Nadon was in Diamonds last night. I too was so impressed by her Workshop performance in Scotch that I have been on the lookout for her ever since. She is still listed as an apprentice.
  5. Other debuts last night of note were Taylor Stanley in the male lead in Emeralds as well as Joe Gordon in Diamonds. I am happy to report that Taylor was excellent partnering a luminous Tiler Peck. The famed "walking pas" was well done by both Adrian Danchig-Waring and Unity Phelan. Emeralds, my favorite section, was the highlight of the evening for me. In Diamonds, Joseph Gordon brought out aspects of the male solo I had seen in a very long time. He turned in a bravura performance partnering an always riveting Sara Mearns. I was a bit disturbed, however, by how much fudging of the choreo
  6. Well said, Royal Blue. Tomorrow night is my Jewels and I'm so looking forward to it.
  7. So glad, Royal Blue, that there is another fan of Goldberg Variations. I remember the days when it was performed on a harpsichord and with a note slipped into the program asking the audience to wait until the end to applaud. And, of course, the audience started to clap at the seeming "false" ending and was quickly hushed. Quite frankly, I was quite amazed that today's audience was able to sit through it at all as well as they did.
  8. Nanushka, although I have no info on video clips on Le Tombeau de Couperin, I hope your seat is in one of the rings where you can clearly see the patterns unfold. I hope you enjoy it.
  9. I totally agree with the accolades about last night's performances and just want to give a shout out about Le Tombeau de Couperin. If I ever doubted the genius of Balanchine, this particular ballet -- where its incredible inventiveness just keeps on coming and coming -- should be counted as one of his masterpieces. And this current crop of NYCB dancers did it justice. As much as I'm looking forward to this same program on Sunday, I especially look forward to this piece. Although it may not be show stopper for newbies, last night's audience seemed very attentive to its charms.
  10. Vipa, this is just to say "ditto" to your post about last night. I just want to add an extra "shout out" to Taylor Stanley who gave some particularly exquisite dancing in the Summer role.
  11. DC Export, I was too thinking about Meditation, which Suzanne also owns. I think its over-the-top display of emotion just might appeal to today's audience. It was met by much squeamishness "back in the day." Glad you enjoyed it, and I also wish it would come to New York as well. And, by the way, I think Means would "eat up the stage" in Tzigane along with Amar as her partner. Alas and alack, it doesn't hurt to fantasize about casting....
  12. Suzanne owns the rights to Tzigane, which was always great fun and I'd love to see it again in New York.
  13. Ivy, I would call Ashly and Sean's effort a nice first effort together. He was an attentive partner. During the first two variations which, post-McBride -- the turns into arabesque penchees -- are now taken so you can see the mechanics -- were taken at an extremely glacial pace. Sean was a bit too far from Ashly, She did not come to grief but it was more on the side of "white knuckle" than "great drama." But Ashly has lots to her dancing that I like, that is, musicality, good attack, and she knows she is performing. At the very end of the entire variation she almost ended up face down bu
  14. BalanchineFan, I was at yesterday's matinee with my family and am happy to report that Roman Mejia did indeed "kill" it as Tea. His jumps were spectacular and garnered a hearty round of applause. We have much to look forward to in his future performances. And Teresa Reichlen was a lovely Dewdrop.
  15. All of the dancers in last night's program were just fabulous and a joy to watch. The program was Wheeldon's Carousel; Binet's The Blue of Distance; Martins' The Infernal Machine; Ratmansky's Pictures at an Exhibition; and Peck's Year of the Rabbit. All of these ballets had the same thing in common: in addition to using some of the standard ballet canon, all the ballets had the dancers on the floor and/or using gymnastics moves. In Peck's piece, there were even yoga's one-legged chaturangas (gorgeously executed by the way). In Carousel, dancers were used as pieces of furniture.
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