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tomorrow

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About tomorrow

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan
  • City**
    London
  • State (US only)**, Country (Outside US only)**
    UK

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  1. Underwhelming indeed. I'm not a big fan of a lot of mixed bills in general, they don't seem like a great way to introduce new people to ballet. And Forsythe... seriously, I don't think I feel bad about his departure from the POB. He's *everywhere* and will probably have several of his works performed by other companies touring in Paris anyway (he usually does). As for ABT, why? I'm surprised La Scala weren't smart enough to restrict ABT to touring it in the US.
  2. Josua Hoffalt doesn't hold Millepied in high regard - or Lefevre, unless I read that wrong. Not sure which tone to read the last line about Aurelie Dupont in either! http://bit.ly/1oa2c8y Karl Paquette and Stéphane Bullion have also spoken out. http://www.lemonde.fr/culture/article/2016/02/04/benjamin-millepied-va-t-il-quitter-l-opera-de-paris_4858949_3246.html I also read a (French) article somebody tweeted I can't seem to find right now about Millepied being massively miscast and the Ministry of Culture having concerns about his ability to balance his career creating with directing. I'll t
  3. There's an interview with Benjamin Millepied up on Vulture about it. http://www.vulture.com/2015/09/millepied-on-one-year-at-the-paris-opera-ballet.html It doesn't sound like it'll be all that focused on dance. :-/
  4. Really captures what ballet dancers do without relying on cliches. Can we have a hardcover book of Daniil Simkin's backstage photographs instead please? :-)
  5. Isn't Urin to blame for some of these things? He took a pretty strong stance on productions he felt were difficult to stage and seemed to feel the Bolshoi's coaches weren't capable of newer works (which, IMO, is rubbish. It is standard practise to bring in outside coaches, particularly towards the end of rehearsals, to work with a company's existing coaches). http://www.ismeneb.com/Blog/Entries/2015/1/31_Urin_admits_hes_become_conservative_at_Bolshoi.html
  6. English article: http://news.yahoo.com/russias-bolshoi-theatre-ditch-acid-attack-ballet-chief-104620415.html?soc_src=mediacontentstory&soc_trk=tw Anybody else concerned about the level of control Vladimir Urin wants - and already has - over the ballet? Sergei Filin's successor won't have the same responsibilities, for starters.
  7. I don't think there's any official casting yet, just what's passed on to Dansomanie.
  8. Just wondering what people think about Wendy Perron's review (a dissenting view amongst critics?)? Food for thought. http://wendyperron.com/a-new-sleeping-beauty-but-why/
  9. I don't think so - he has always been a big fan of the POB school, especially the Nureyev generation, with Laurent Hilaire and Sylvie Guillem being his favourite dancers (explains his leg...). It might have been different in recent years? Part of his bid to take over the Mariinsky or Bolshoi though, no? Very 'Putin' ;-).
  10. Laurent Hilaire, Alessandra Ferri, Deborah Bull (her cross-cultural expertise)... just about anyone interested in creating new narrative ballets and finding a balance between homegrown talent and guests ;-). I don't think it will be an easy company to turn around though. The board don't appear to have any problems with how McKenzie runs the company - probably because ADs of major cultural institutions are always puppets.
  11. In an interview Ismene Brown recently translated, Claude Bessy accuses a trade union of making false allegations. http://www.ismeneb.com/Blog/Entries/2015/5/18_Paris_ballet_schools_iron_lady_speaks_frankly.html Whilst I don't think ALL of the accusations thrown at Bessy's era are false (David Hallberg and Dorothee Gilbert don't speak highly of their time there), they clearly believe Bessy is fit to be around minors or they wouldn't continue inviting her to teach classes. I doubt problems at the ecole under her direction will ever be addressed anyway. Aside from the fact the Opera director at
  12. Which of the dancers could be considered part of the 'Millepied generation' though? There is Leonora Boulac, who isn't receiving great reviews from balletomones lately, her Paquita in particular. Dancers like Park, Alu, O'Neill, Bourdon and Marchand were already on their way to more regular casting, which should be credited to Laurent Hilaire, who pushed for a shake up of distributions when he succeeded Patrice Bart - Myriam Ould-Braham being his biggest success here. I haven't heard much of Juliette Hilaire, Aubane Philbert and Charline Giezendanner? Maybe not suited for principal roles but
  13. Regarding Homans, Mark Franko's (Professor of Dance, University of California, if you're unfamiliar - edit: not sure he is still there actually...) review of Apollo's Angels and his criticism of her views on ballet (issues of morality, for example) is well worth the read. http://nybaroquedance.org/wp-content/uploads/2015/04/Apollos-Angels-review.pdf
  14. I'll try saving up for Mur-Mur - would have liked to have seen 'La Reine mort' but I didn't get chance to.
  15. Sure, but I'm not sure why, when there is increasing pressure on all subsidised mixed rep majort arts orgs to support as wide a circle of artists as possible, both amongst critics, the public and the Governments, ballet gets a get of jail free card because of its history. Funding is drying up and there are ethics now which weren't there then.
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