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About Michael

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  1. Michael

    Veronika Part

    You should know all the same Bart, in reading Wolcot, that he's a huge personal fan of hers - he and his wife Laura Jacobs are a virtual cheering section at her performances. I may be wrong about this, and if so, I apologize in advance - but a few years back wasn't Jacobs calling for her to dance Kitri in Don Q, and then reviewing the performance or writing about it in Dance or Pointe magazine as the greatest Kitri ever? and actually, she was a pretty damn good Kitri contrary to all a priori limitations. But certainly not the greatest ever. But pleasant in the role; and for all the tall s
  2. Elle est très très belle
  3. She could certainly gain some attack in her chainés and other similar elements. Get off center a little more comfortably. Though Nutcracker pas isn't somewhere you'd necessarily see that.
  4. Nice jumps in the coda - didn't know she could jump like that
  5. The ballet is dead or dying argument is a bit ridiculous and lacks any real foundation. The argument that Gottlieb makes in his review is aesthetic - it's that no good new ballet is in his view being made, no one has appeared who is the equal of Balanchine or Ashton. Even if true - and I think he underestimates the contemporaries - you can't base historical extinction on aesthetic features. On the contrary, there are a lot of companies right now, lots of tickets being sold, lots of schools, dancers, students, and interest and literature too. There's no reason to think this is a dying art fo
  6. That definition is very wide dramatically, however, wide enough to accomodate La Bayadere, Raymonda, La Fille Mal Gardee, Don Q, Napoli and many other works. The tent of classical dance accomodates a great deal of theater and a great deal of drama. It's an important point to make because the argument that ballet is not "realistic" is easily distorted or easily trends into the view that it is therefore "idealized" and "abstract" or something like that by nature and that is not true. I don't think that anyone advocates for the view that ballet is by its nature limited to the idealizations of
  7. While we're at it, did anyone else see Jones' "Last Supper at Uncle Tom's Cabin" at Fall for Dance last week? (I didn't). From the description Tom Phillips' gives of it, ending with "The Last Supper as a Lynching Party"[,] the term "Victim Art" does not seem inappropriate. Forget about Croce -- Phillips seems to have found a good example in the plot of this dance. If you have a narrative art that centers on displaying the suffering of a protagonist, and the moral, ethical, religeous, or emotional lessons to be learned -- either by the audience or by the protagonist him or herself (it mat
  8. What use, if any, has been made of the ballet music from Tchaikiovsky's The Maid of Orleans? David Brown, in his critical biography of the composer, says of it: "Of course there are some positive things in The Maid of Orleans - even some fine ones . . . [The] ballet includes some worthwhile music, the dance for pages and dwarfs making a sudden retreat towards the eighteenth century for another of Tchaikovsky's rococo stylizations, while the final tumblers' dance, vigorous and characterful, provides by far the best instrumental movement in the whole opera." The "another of [his] rococo st
  9. Very well put Farrell Fan -- A lyrical and expressive voice too in this repertory -- Which allowed him to grow in a very different way -- Actually, this is off topic, but I'd really also like to see him be given the chance to Direct some Balanchine or even some Bournonville at this company. They give everyone else the chance to choreograph but Hubbe has skills as a director that are related to his skills as a teacher (he does I believe give good company classes on occasion and has also taught at SAB) and wouldn't I love to see a Sylphide on this company with Janie Taylor and Ashley Bouder a
  10. I agree -- Good examples are on the CD of La Sylphide with Nikolaj Hubbe and Lis Jeppesen. The batterie is very clear and I wouldn't say it's small either. The movements are very large yet effortlessly done. And it's not just entrechats either, it's every kind of beat, especially the big closed beats to the ankle done with the entire leg. Hubbe is a different dancer on this CD than what he became. Age and injuries to his knees took their tole of course. He gained stardom but lost his technique in NY. This is an amazing view of him, he was an extraordinarily fine dance actor too and tha
  11. Most ballet choreographers tend also to be/have been professional ballet dancers. Almost anyone who has spent ten to twenty years training and performing ballet can string together a dance in a way that looks very nice to an audience, that looks like "ballet," and that looks really good when performed by the likes of these dancers. Almost any company member at NYCB, given a good live string quartet and Ashley Bouder, Sean Suozzi, Wendy Whelan, Maria Kowroski and Albert Evans, would make a dance that the audience would respond to as professional and be happy to see. Me included. A frame o
  12. Exactly. So why does he insist on essaying this classicism? Wouldn't it have been much more interesting to see what he did with a full length Sylvia on his own company? That I'd pay to see.
  13. On Wed. night, I thought Yuan Tan very impressive. Lovely feet, beautiful beautiful line, deep positions, and dramatically alive. Act II of the Ballet is the best. Morris had an original idea there and worked in his own idiom and Yuan Tan and Possokhov were most interesting. The final tableau was quite uplifting. As for the rest: Morris is not a ballet choreographer of great skill by training or experience. He is a great choreographer in his own material but ballet isn't his metier. His ballet here, the enchainements and staging is rudimentary and thin and at times amateurish. A big
  14. Reyes Wednesday also brought out the best in Corella. It is a superb partnership because they have a similar value, key or tonal range, specific gravity, something like that. Were they trained together in Madrid? They look like a couple who have danced together for a century. As for his handling of Vishneva: Partnering Vishneva is like Wrestling with an Alligator
  15. Kathryn Morgan is a superb young dancer and will do well as Juliet. My comment was not a comment about her. It was totally a propos of the institution. On the other hand -- We should not underestimate the institutional "pull' towards keeping the girls in the corps "in the corps." You are first rehearsing and now performing Swan Lake, for example, dozens of roles, leads in every national dance, plus a large corps de ballet. Rosemary Dunleavy (the ballet mistress who does the corps de ballet there) in such a context is probably going to resist having anyone important taken out of her mix,
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