Marga

Don Quixote

It seems to me that the whole point of the fouettés in Swan Lake is to provide a final, mesmerizing, exclamation point to the seduction of the Prince. After those spiraling spins, he should be completely hypnotized in order to truly believe that Odile is his beloved Odette. That is why I also think that 32 straightforward single fouettés is the way to go. You just can't cast a spell if you keep interrupting the rhythm of the turns! The doubles and triples and other tricks should be reserved for Don Q where they are appropriate.

What wonderful news! Congratulations to the lovely, talented Ms. Kampa. Let the barriers continue to come down!

I was 11 in 1958 and had been going to the NYCB Nutcracker for years by that age. I certainly remember it existing in the productions I saw with my mother each year. Being as young as I was, it was likely something I paid close attention to as I always had a crush on each year's nephew of Herr Drosselmeyer.

The only thing I know is that he was the long-time boyfriend of Ashley Bouder, starting before he even became an apprentice, if I remember correctly. I've only seen him in a few video clips and he looks very good in those.

I thought you wrote a very interesting review (you are Tom Phillips, I assume?). Your comparisons (and contrasts) are well-explained. Without having seen Ratmansky's version, it sounds close to the original Russian in its main elements, as was Baryshnikov's. Balanchine's I've seen dozens of times and it will always serve as THE one to compare all others by. I like your wording in this statement. As a Nutcracker viewer, I prefer the "pleasure of anticipation" as Act I comes to a close. Serenity over chaos sits well during the season of peace. I've never liked the depiction of unruly children - or adults - in a Nutcracker. In the National Ballet of Canada's Kudelka version, there is an awful food fight which makes me cringe. The brother-sister duo of main child characters fling vegetables across a long table at each other - truly unruly. Balanchine intelligently keeps to the morés of the time period making his Act I stately and respectful.

Seeing the one clip above (thanks, cinnamonswirl) I think that Ludmilla Pagliero is a sumptuous, mellifluous ballerina. I think the same about Myriam Ould-Braham. I can see how public opinion can fall into two camps. However, I challenge the age-old practice in ballet: why must one dancer be pitted against another as if there can only be one winner?

I watched Little Mermaid a few hours ago and was awestruck. Yuan Yuan Tan was exquisite, excruciatingly so, and I was happy to see her dancing such an extraordinary part. Tiit Helimets was outstanding as the prince. The mermaid costume designer, a genius. Mesmerizing is the best way to describe the first act introduction of the mermaid and the sea. Yuan Yuan Tan's use of her arms was the most spectacular aspect of her characterization. The underwater feeling was totally accomplished. Odette must be a piece of cake for her after the choreography for the arms Neumeier gave her - I've never seen anything like it before! Tan is exceedingly bendy - every last inch of her - and she was able to put this facility to the utmost balletic use in order to interpret the character of the mermaid on sea and on land. The scene showing her struggle to feel free in a physical 'room' erected on stage was heartrending as she made us experience the loss of hope when she realizes there is no escape while trapped in a human form. She and Helimets together made the ballet something very special. Kudos to PBS for televising it!

About the Chemiakin production, also from Wlkipedia: I guess it was meant to be just what you saw, Bart. At least one has a choice between versions to see,

I guess I'm a free rider then, as I stopped vaccinations on my oldest children when they were little and refused to have the remaining children vaccinated (for reasons that are very sound to me - and very researched). I used to publish a magazine called Nurturing that was a proponent of homebirth, breastfeeding, and natural, gentle mothering. I ran articles against vaccinations. (Feel free to hate on me now.) Since we're wondering, I take Mme. Hermine's supposition seriously.

This competition is positively mesmerizing. I missed it somehow, but am glad to have 'found' this thread today. I've been watching clip after clip in utter fascination. Osipova as we've never seen her before, performing to Christina Aguilera in "Burlesque" (she opens with a pole dance!)! Julia Makhalina dancing so out-of-the-box. Farouk, as team leader, looking strange in his dyed blonde, untamed hair. Perren, exquisitely beautiful, dancing so lyrically. I've saving Obraztsova for dessert. Thank you for posting this, Natalia! Going back for more...

Thanks, FauxPas, for drawing our attention to this exquisite dancer. I would think that in 1967 (I was 20 years old then and it was certainly not the dark ages) she could have been spared death from measles. Russia was known for its focus on good medical care. My goodness, how tragic! Such prodigious talent! Who knows where it would've taken her?

Very sad news. Mark - glebb - will be missed indeed.

I agree with kfw's post above this one. I didn't dress to the nines, but I did wear what I would to an afternoon at the ballet. So did my daughter, who wore a dress and heels, when we attended the live broadcast of Esmeralda. It would have felt wrong to wear jeans! The others in the scant audience were nicely dressed in semi-casual attire, too. No jeans to be seen. And no one took food into the theatre. I certainly could not have sat there with a snack and a drink. We had a nice lunch together at a café, just as we might were we at Lincoln Center, for example. I guess what I'm saying is, we treated it as a special occasion, and it more than exceeded our expectations. We left on a natural high, with a satisfying feeling of exhilaration and things to talk about.

Well, I'll tell you. My applause at, lately, Esmeralda and Sleeping Beauty, did not only occur at the end, but after a variation well done or a wonderful PDD, etc. - also at the entrance of David Hallberg, I was so-o excited! - just as I respond at the theatre. I could only have sat still if you'd tied my hands down (although that would leave me grunting in desperation)! My clapping joined the live applause in Moscow and was the accompaniment to my quickened heartbeat, tingling skin, and occasional cries of 'Bravo!' Several of the Bolshoi dancers I saw I have met over the years as they guested with my daughter's school. To see them performing in principal and key roles was as thrilling as ever. Their every movement was watched with my usual critical eagle's eye, and I winced at their tiny slipups, if there were any, and felt joy at their triumphant executions of steps. After all, they were performing live for me as well as everyone else watching in the movie theatres and at the Bolshoi. I was reacting live an ocean away and I don't apologize for it nor see anything amiss with it. At Esmeralda, my daughter was with me and we both let the ballet carry us away, despite the frozen non-response of everyone else in the movie theatre. I wondered about those people - why did they even bother to come if they are so unmoved by it all? The chatter at intermission gave me a clue: most were spouting platitudes to each other, like "weren't the costumes pretty!" and "she's very beautiful, isn't she?" and "I didn't care for the first part at all; it was so slow it almost put me to sleep." I understand that they may not be balletomanes in any degree of the word, but it sounded to me like the performers could have just as well been modeling fashions or doing pantomime.

I loved every quirky part of it! Thank you so much for posting it, Natalia!

It doesn't say that it was sold. It says it is 'no longer available'. That often means the seller has removed the listing. I've purchased ballet books for a dozen years on ebay and sold a few, too, and know the lingo. I've also noticed over the years that books with such a high price tag - no matter how valuable the contents and/or the edition - rarely sell (online at least).

It's the FOOT - the right foot - on the dancer in the forefront! Were that my daughter (who is a dancer), she would hate the capture. I can't look at it without the same dislike (as a former dancer). This is not a ballet foot, it's an ordinary foot, caught in an awkward millisecond between correct placements.

This photo disturbed me when I saw it and most of the photos of the Suzanne Farrell Ballet did, too, as they were in the same vein. It used to be that many local reviews were written by those with no or little knowledge of ballet; now, the photos are suffering from the same treatment by editors who have no eye for beauty in movement.

I saw the fall rep at Bard last Friday and Saturday, except for Seven Sonatas and Company B, which they didn't bring there. Everything was wonderful with some stellar pieces among them. I wrote a few notes in my program immediately after viewing, mulled over how I would write my review, but haven't had the time to write during my whirlwind visit to NY. Too much family to see, too many soups to cook, etc. Short notes: Garden of Villandry with Kent, Bragado-Young, and Zhurbin is a whole different experience than with the Reyes cast. Now I wish I could see it tonight with Veronika for more comparison, but I don't think anyone can portray the bespectacled suitor better than Bragado-Young. The chemistry between him and Kent was electric - best seen from a seat close enough to catch the nuances. I couldn't take my eyes off them - major wow factor. Zhurbin was interchangeable (Grant Delong the day before was the requisite tall blond), but Bragado-Young had an implicit steaminess that Alexei Agoudine, the one-in-glasses in the Reyes cast, lacked. I was seated really close and saw every slight contortion of his face, which, keeping in character, he tried to keep hidden. I saw longing, lust, brooding, simmering jealousy in Bragado-Young's face which I didn't in Alexei Agoudine's the night before (although Agoudine did a fine job). B-Y brought the character to another level. On Friday night with Reyes--Delong--Agoudine I was waiting for the ballet to end. On Saturday afternoon, with Kent--Zhurbin--Bragado-Young, when it did, I wanted more. Curiously, as we left the theatre Saturday afternoon, I overheard one woman walking behind us telling her friend, "That Garden of Villandry was SO boring!" I wanted to turn around and rebut her observation; how could she say that after seeing it with Julie Kent and Julio Bragado-Young?! It was anything BUT boring - it was exciting, provocative and stimulating! If she thought that cast was boring, it's a good thing she didn't see it the day before. Volpi's Private Light was brilliant. I know that some reviewers may not think so, but I see genius in that young choreographer. He's feeling his way into something big. He was able to invent some new movements for the ballet lexicon using heads and toes that I haven't seen before. I thought his manipulation of lined-up dancers near the beginning was a clever twist on a teacher going down the assemblage of dancers at the barre, making corrections. It'll be interesting to see if Volpi finds his style and then his niche. My only quibble is that for the bulk of the ballet, the lighting was too dark for my taste. Oh - let me not forget to mention the music...Christian Kiss right on stage with his guitar playing pieces from Bluegrass to Villa-Lobos, was a definite highlight and a great asset to the choreography. The choice of music, with Kiss's arrangements, was perfect. I'm sure the bluegrass ending was as uplifting for the dancers as it was for us watching. Natch, Isabella (Boylston) was fantastic in it and so was Joey (Gorak), whom Volpi used for his foot and line in a tricky solo. Tricky in that Joey had to stand alone in the center of the stage and do a slow developpe (showcasing the arch of his foot and the height of his passe) to begin his section. That was followed by slow rondes de jambe, tendus (again the foot), arabesques (line) and a lovely soundless leap or two. Junk Duet (Known by Heart) was sheer perfection as danced by Maria Riccetto and Marcelo Gomes. I was so happy to see Maria up close and alone (with Marcelo) onstage. She has gotten really good! Her dagger-sharp technique and real ballerina quality had me thinking she was truly a principal in the making. I'd love to see her Giselle again now, nearly three years after I saw her dance it in Ottawa. Maria's positions were pristine, with luscious line. She reminded me of porcelain, but instead of delicate, her porcelain-perfection was strong and unbreakable. With technique so solid, she made all she did look natural and effortless - the mark of an accomplished ballerina - showing that she is reaching a degree of eminence in the heirarchy. Marcelo was his completely perfect self - such a joy to watch - bonding with his partner through many comedic bits, both subtle and showy, and displaying the sheer charisma for which he is beloved. Both were uber-bravo worthy, with faces, bodies, and limbs so expressive, isolations rhythmically sharp and pronounced, their gorgeous, sculpted bodies adding a whole other dimension to the pleasure of watching them. I don't feel I'm missing anything by not seeing Gillian Murphy and Blaine Hoven dance this (as they are tonight) - I've seen the best and love returning to their performance in my mind. Thanks go to fate this time, in giving us this particular duo on the day we were there. When I ordered tickets months ago I had no idea if I'd even catch Isabella, much less any of the others I really go to ABT to see. In the Upper Room - what can I say? It WAS a religious experience by the end. Its consistent development to the final frenzy was every step a thrilling journey. All the dancers were on their game, contributing to a fast-flowing buildup of a stage-full of passion. Seamless transitions between sections and Tharp's incredible facility with creative choreography made for a piece you need to see at least twice in order to catch everything that's going on. I need to see it more, because whenever Isabella is dancing, she's the only one I watch, and so it was with Upper Room. She was a standout, of course, and others who particularly drew the eye were Misty (as in Copeland) and Sascha (Radetsky), Kristi (Boone) - who opened the ballet with Gillian, and new-to-ABT Luciana Voltolini who captures your attention with her height, beauty, and gorgeous line. Black Tuesday heads up: Misty, Gemma, and Herman! Each soloed in the last three songs in the cast I saw and each was terrific! Misty was phenomenal in "Black Tuesday". She danced as part of a group - standing out above the others in it - but in her own solo, ("The Boulevard of Broken Dreams") she let it all hang out, to my delight. That girl can just stand there and you feel like you've seen a great performance! Gemma Bond became a new favourite as she cavorted in "(I Went Hunting) and the Big Bad Wolf was Dead". What power in a tiny body! Reminded me both of South Pacific's 'Honey Bun' and Ray Henderson's 'Five Foot Two Eyes of Blue' as Ms. Bond flung herself around in clothes too big, but with spirit and pluck to fill the entire stage. Herman's solo at the end ("Brother, Can You Spare a Dime"?) was dynamic, danced with some of the same mood he brought to his solo ("One for My Baby") in Sinatra Suite, tempered with the pathos necessary to interpret the iconic song. Memorable lighting moment: at the very end, Cornejo advances to the edge of the stage and brings up his outstretched hand, joined by the rest of the male corps who line up both sides of him, stretching out their own hands, palms upturned. This is where the lighting guy has his/her moment: Each hand - and only the hands - is illuminated by a glowing light to emphasize the poignancy of the scene. I've never seen this Paul Taylor piece and was nearly brought to tears by feelings of empathy. Before I go, I must hold up the ever-astounding talent of Isabella Boylston. She's a friend, so I'm biased, but she's an utterly riveting dancer who is deservedly getting acclaim from many who know good dancing when they see it. She is every inch the material for future principal, and when that happens I will be proud to call her ballerina. I'm sorry I didn't get to see her Duets. That was Saturday night, and we left after the matinee. I read that she was superb in it. This is all I have time for - sorry! I hope everyone enjoys the fall season as much as I did.

Balanchine, it is said, liked bunions because they made the foot look winged (especially when they made the toes go a little crooked so they angled more 'up' in arabesque, for example).

Anastassia Stashkevitch and Vyacheslav Lopatin danced Diana and Actaeon. They were superb, especially Stashkevitch! She danced like a sharpened dagger with precise rhythm and attack. Stashkevitch looked dangerously beautiful, wearing a bright red short gauzy dress embellished with gold as a complement to Lopatin's gold-embellished white 'boots' and micro-mini-skirted gauzy over-the-left-shoulder drape. Her variation was spot on and exciting. His, ditto. I was very impressed with both dancers and consider their PDD a - or, maybe, the - highlight of the whole ballet. Re: Esmeralda's "kick the tambourine" variation, here is some info from rg (Robert Greskovic, author of Ballet 101 and member of BT and BT4D) posted a few years ago on our sister forum, Ballet Talk for Dancers: Esmeralda tambourine variation for those of you who are my FB friends, I've posted some pictures of the production on my wall

I am watching the hour-long broadcast right now and am blown away by the talent! Thank you so much for posting the links. This is such a pleasure to see! Maria Seletskaja, originally from the Estonian National Ballet (from where she went to Malachov's Berlin Ballet) is coming up in a couple of minutes - can't wait to see her!

Thank you for your review, Krystin! I enjoyed reading it. Isabella is superb in classical roles. I hope you get a chance to see her one day. Victoria is a beautiful, velvety dancer! I met her in Toronto and saw her dance at age 16 when she was quite new to Joffrey. She has developed into a gorgeous principal, supple and sculpted of body, very lyrical as well as exciting. Fabrice is 6'6" tall. Victoria is about 5'4"- 5'5". Calmels is elegant with stunning lines and a flying leap. His height is stated in the beginning of this interview from 3 years ago: Fabrice Calmels: The Joffrey's French connection Yes, Marcelo choreographs, too! I've only seen the contemporary classical-like piece he choreographed for Isabella and Cory Stearns when they competed for the Erik Bruhn Prize in Toronto a couple of years ago. It wasn't really that good, although it had some nice movements. I'm eager to see how he's developing as a choreographer (how does he find the time!?). I'd love to see what you saw, "Ami", and think that having a chance to see Forster and Hammoudi try to outdo each other in a ballet fun piece must have been fantastic! __________________________________ edited to fix coding

Well put and exactly how I feel.