DanielBenton
Senior Member-
Posts
285 -
Joined
-
Last visited
Content Type
Forums
Events
Blogs
Store
Everything posted by DanielBenton
-
Time permitting I like all three times because you get to see the evolution of the performance that way (my experience is with NYCB). If I had to pick one it would be middle or end because at NYCB the first performances of many works are a little ragged (including, and sometimes especially, the orchestra).
-
Ballet Initiative Podcast featuring Balanchine dancer, Carol Sumner
DanielBenton replied to 32tendu's topic in Heads up!
A great series of podcasts, shedding light from different sources on Balanchine's work -
Where in the theater do you like to sit?
DanielBenton replied to sasark's topic in Discovering the Art
At NYCB (what we used to call the State Theatre) I sit in the Second Ring, as away from the stage as the $26-$29 seats go (AA10 or AA 11 - the higher up the number the closer to the stage and the more you lose of the side you are on). For those of us with old eyes it is good to be this close to the stage and I alternate sides on a regular basis. You can get these on a subscription. -
I agree with you about Allegra. She was one of the great dance artists and she is very articulate in her book about who she is and what she did. Even when her "external" life was a mess she knew what she was doing on stage.
-
Justin Peck named resident choreographer
DanielBenton replied to Amour's topic in New York City Ballet
Very well said, Kathleen O'Connell. I think NYCB missed an opportunity to become artistically less insular, by their own choice -
Justin Peck named resident choreographer
DanielBenton replied to Amour's topic in New York City Ballet
Amour, do you have a source for the details of the NYCB offer to Ratmansky? Thanks -
Justin Peck named resident choreographer
DanielBenton replied to Amour's topic in New York City Ballet
bravo Justin! Parenthetically, how short-sighted of NYCB to make an offer with such restrictions to Ratmansky. What a bad idea that was. -
Volcanohunter - thanks!
-
I know someone can help me: how to pronounce Petit, as in Roland Petit. Thanks
-
She danced tonight; I thought she had an authoritative presence in the role.
-
Alastair Macaulay in the NY Times has written an excellent review of the May 14 program (Davidsbundlertanze and Union Jack). I especially appreciate his discussion of Schumann's music and the music-dance interaction in Davidsbundlertanze.
-
I agree Megan is not a smiley face in a tutu. I look forward to hopefully seeing her in Agon and Four T's next year. In a video clip available on YouTube she talks about how she was inspired by Agon.
-
NYCB is doing Harlequinade in the upcoming winter season
-
OK, it was up and now it is gone again!
-
I think the whole schedule is now on the website calendar
-
I think Orpheus is certainly different from the typical Stravinsky/Balanchine collaboration: the music is static and often seemingly without momentum, and hence so is the movement - more like a musical drama with movement rather than the type of ballet we are used to seeing. I think the music is one of Stravinsky's greatest scores and quite beautiful.
-
In the one of the video series of Balanchine dancers (of the 1940s-60s) coaching more recent dancers (which seems to be available to libraries mostly) Maria Tallchief mentions that although he did not produce Giselle, Balanchine knew every part in it and taught it to her and other dancers. I don't recall what the time period was. As Jack Reed says. and Solomon Volkov reports, he would have done Sleeping Beauty if the funds and time were available to do it right.
-
The Duty of Artists To Speak Out Against Injustice
DanielBenton replied to abatt's topic in Everything Else Ballet
I greatly appreciate all these comments, esp. Birdsall, for providing a lot of food for thought. -
The Duty of Artists To Speak Out Against Injustice
DanielBenton replied to abatt's topic in Everything Else Ballet
I find Tommasini's logic muddled and dislike his tendency to give his opinion as if it were fact (Gergiev..."major musician of our time"). I sympathize with Dudamel having to defend himself and reminding us he is a musician, not something else. Some of the political issues discussed in Tommasini's article have (at least) two sides to them. For instance, many progressive people supported Hugo Chavez' policies, and it is well-known, although underreported in the western press, that significant elements of the Ukranian groups which conducted the coup there are ultra-nationalist right-wingers with neo-fascist leanings. Tommasini reports as given truths nothing more than what one can read in a typical American newspaper or television broadcast. This does not condone Russia's anti-gay stance or what is currently going on in Crimea and Venezuela but he should at least show some respect for different perspectives and the nuances of political realities.