Old Fashioned

Do you mean a jump in a straddle position? Like the ones the male does in the Chinese dance of Balanchine's Nutcracker? In figure skating they're called Russian split jumps, and I apply the same term for it when I see it in ballet. Here shows a few figure skaters performing the feat: http://www.sk8stuff.com/f_recog/recog_sj_russian.htm

At a recent performance of HGO's Tosca, a couple sitting next to me couldn't seem to stop giggling at the beginning of the second act. They must have found something funny about Scarpia's plans to ravish Tosca (Maria Guleghina!) and ruin Cavaradossi. Oh, they were trying hard to suppress their giggles, but as you can imagine, it detracted from the overall aura I should have been getting from this scene. What I really don't understand are people who pay hundreds of dollars for a seat and end up falling asleep throughout half of the performance, as was the case with this man in front of me (my seat was fabulous- smack in the middle of orchestra- but I got a 200 dollar discount on mine ).

That's true about how he isn't getting any competition. I shudder every time I have to see Weiss skate, and Goebel could still use some loosening up in the upper body. Alexander Abt is a joy to watch along with a couple of French guys and van der Perren, but if their jumps aren't at the same level as Plushenko's, they won't be able to stand up to him.

I ditto Dirac's comments on Plushenko's basic technique, but he has such a flair so unlike anyone else that it's difficult for him not to be my favorite skater. Another thing that I've noticed about him is the way he jumps- it seems as if he's looking down at the ice the whole time. The ladies' event was dull indeed...(what competition was this that aired on Saturday?). It's good to see Kwan again, and Shizuka Arakawa looked fabulous out there. Sasha Cohen really fell apart.

Haha, yes, I've noticed that, too. Wouldn't it be neat if he wore a costume similar to that of the one in Spectre de la Rose? *dreams*

Any thoughts and comments on the competitions so far? I caught the Trophee Lalique competition on tv today just in time to see Plushenko skate. All I can say about his long program to the theme from the Nijinsky documentary is "WOW." The artistry of this guy is limitless (his technique can speak for itself). Kevin van der Perren and Brian Joubert also turned in fabulous performances, but I wish they had better taste in music. :green: I'm finally starting to warm up to Sasha Cohen. I've always thought she had this cool demeanor and "I'm better than everyone else" attitude that I couldn't stand, but I saw another side to her skating in the Lalique competition that I have not noticed before. She skated to Swan Lake (I didn't particularly like this arrangement of it, but it suited her style well) and exuded a softer quality to her skating and seems less tense than usual. Shizuka Arakawa is lovely to watch, but her long program was not in top form.

Thanks, Paquita. These photos are gorgeous. The image of Irma Nioradze in the feathery Swan Lake costume has always been one of my favorites.

Here's a link to Molly Glentzer's review: Webb leads an energized 'Nutcracker'

I heard about the drama that went on opening night. Congrats to Sara Webb on being promoted; I saw it coming. Oh wow, what a spectacular Nutcracker. The opulent sets and costumes by Desmond Heeley put me in Christmas mode early this year. I knew that this production's Clara and Fritz were danced by adults, but when they came out, I was so convinced I was watching children I thought, "Holy shamoly! Those are a couple of talented 10 year olds!" Cleopatra Williams and Ilya Kozadayev were scheduled to perform, but I believe they were replaced by Laura Richards and Firat Kazbek Ozsoy (a little hard to tell from where I was sitting). They both did a fine job of fooling me (and of dancing). Werkheiser didn't quite come across me as a "Snow Queen"; she’s a lovely dancer, but I think I might prefer to see her in soubrette type roles. I would love to see Tyann Clement as the Queen, which she was scheduled to dance in for the evening performance. In Arabian, Clement had that mysterious “air” which is very compelling. Teague danced Sugar Plum with much charisma and beauty. Walsh, as the Nutcracker Prince, partnered both Queen and Sugar Plum nobly, and he is still quite the virtuoso in his variations. Nicholas Leschke and Kim Wagman danced the lead Flowers. Leschke was a strong and masculine partner, and Wagman was as delicate as, well, a flower. That was my first time seeing Wagman in a leading role and hope I get to see more of her.

Nutcracker season is starting soon, and I just wanted to say how excited I am about going to see my first HB production of it (I've always been out of town during Christmas, but this year I'm going early to see Nuts). I'm attending the November 29th matinee performance featuring Sharon Teague and Britain Werkheiser, both soloists, in the roles of Sugar Plum Fairy and Snow Queen, respectively, and Walsh as the Prince. I'm considering going to two performances because I'd really like to see Barbara Bears dance in one of the lead roles; I still haven't seen her this season. Tickets might be a problem, though, because I'm stingy and don't feel like paying full price for a seat (rush tics are not offered for Nuts). Even at discounted prices for off-peak dates, 2 dollars off affordable seating areas aren't that great of a difference. Oh, but a generous friend of mine gave me 2 complimentary tickets for Nov 29th. :grinning: For those of you that have seen this production, could you tell me a little about it? How does it compare with other Nuts you've seen? Granted, there aren't many Houstonians on this board (and if there are, speak up!), but I'm hoping someone out there has seen it.

My first time being in the Wortham was in the very top level- the balcony section. My friends and I were so scared we decided to stand up behind the wall that separated the rows of seats from us for the first act of the ballet. We were too afraid to look for our seats and didn't understand how the ushers could jog up and down the extremely steep and narrow stairs. When we finally found them and sat down (after clinging to the stair railing for our dear lives), we realized the row in front of us was practically beneath our feet. We felt the section was so high up, we lovingly refer to it as the "nose-bleed" section of the theater. The backdrop of the stage was hardly visible from where we sat. I have never sat in that section since (I've only been back up there for a tour I was giving; second time around wasn't so bad. Now, the balcony boxes were scary to go down into.)

I have never gone to the ballet or opera for the story alone. I go because of the beautiful dancing and beautiful music, and although you disagree, those elements can be found in story ballets (if they're done properly). It's not the death of Odette and her Prince or loss of a loved one that makes me cry, it's the way the music moves me and how well something is danced or sung that brings tears to my eyes.

I have never heard of her before. She is not with the main company. Is she a dancer of HBII or in the Academy? I wouldn't know.

I'm definitely spontaneous when it comes to watching ballet or opera because I never know if I'll have something else to do on an exact date, and I like to take advantage of student rush tickets, which aren't always available. I'll have an idea of which programs I want to watch, though.

I've always loved being the gypsy for Halloween, so guess who I'd go as.

There's an article on Anna Netrebko in the latest issue of Opera News. It could have easily passed for a spread featuring a supermodel. Her boyfriend, baritone Simone Alberghini, is also quite good-looking. I wasn't very successful in finding an image of him on Google, except for an itty-bitty one on the Washington Opera website.

I agree with Funny Face on Lucinda Ruh's spins. I wish I could see more of her on television.

Four different broadcasters will be presenting Houston Grand Opera performances, that is NPR's World of Opera, NYC area WQXR's Saturday Afternoon at the Opera, the European Broadcast Union, and Australian Broadcasting Corporation. The full press release can be viewed on HGO's website: http://www.houstongrandopera.org/press/pre...essReleaseID=15 The first upcoming broadcast on Saturday, October 18, (on NPR and EBU) is La Traviata featuring Renée Fleming, Paul Charles Clarke, and Bruno Caproni. WQXR listeners will be receiving this November 29 and December 7 for ABC. I'm very excited about HGO getting all this international radio play time!

The first time I watched Tzigane, I found it had quite a hypnotic effect.

Thanks for the report, Kyriakoula! Pleased to hear Stevenson is doing well with the company up there. If progress keeps up, then I'm sure this message board will soon have to make room for a Texas Ballet Theatre section under American companies.

What do you Aussie's think of him? He recently performed with the Houston Ballet in Sleeping Beauty as part of the "artist exchange program" between the two companies. I didn't go to the performance where he danced Florimund (I wish someone who had gone would find Ballet Talk and write a review :rolleyes: ), but I saw bits and pieces of him as one of the princes at Aurora's birthday party and in the pas de quatre of Act III. It wasn't enough for me to formulate an opinion about him, so I would like to know what you guys think. Also, please inform us on Sara Webb in La Fille mal gardée. I'm not sure when that'll be, but I know she's going down there to dance with AB.

Ms. Leigh, I had the same thought when I watched Houston Ballet do it!

Don't worry about sounding ignorant! The only way to learn is to ask questions. Rush tickets are tickets that are discounted for students or seniors. These are the "left over" seats that no one has bought at full price.

Oh yes, I'm pretty sure all of the performances for SB were full because they simply refused to give me student rush tickets. The Houston crowd isn't familiar with contempo ballet, I guess. I see what you're saying about Webb. I saw her (at least I think it was her as Odette/Odile...back then I wouldn't pay attention to those things) in Swan Lake (was it two years ago?) awhile back, and although I don't remember her much in that ballet, I don't think of her as much of a "dramatic" dancer. She's great in roles like Alice, Aurora, or Swanhilda, like you said.

The casting changed a bit. Sara Webb replaced Barbara Bears as Aurora. Hmmm, I hope Bears is okay; she didn't perform on the 20th, either. I wonder why Phillip Broomhead has been doing so many mime roles lately (he's listed as King Florestan throughout all the SB performances, and I remember him miming in Alice of last year). I was really hoping to see him dance Prince Florimund. Guest artist Robert Curran of the Australian Ballet replaced Simon Ball as one of the four princes in Act I at Aurora's birthday party. During the Prologue, the biggest disturbance was the squeakiness of the fairies' pointe shoes. They must have really caked on the rosin. Lauren Anderson danced the part of the Lilac Fairy. There is something very appealing about her stage presence; her technique isn't perfect, but her dancing commands attention. I can't quite describe the effect she has on the audience. Nicholas Leschke made a strong partner for Lilac. Other cavaliers were Lucas Priolo, Barry Kerollis, Caleb Mitchell, Randy Herrera, and Carl Coomer. Kerollis is a joy to watch; he seemed to be enjoying himself onstage. Tyann Clement suited Carabosse perfectly. She was fierce, tall and leggy, and she had very strong technique. She pulled off the role flawlessly. I was impressed with the corps in the Ist and IInd acts. Everything was together and uniform. They were well rehearsed (and the squeaking disappeared!). Webb was perfectly believable as the naive 16 year old Princess. Although I was disappointed I didn’t get to see Bears dance, Webb did a terrific job. Her technique was precise and her balances were rock solid. She has a charming and radiant personality on and off stage. I wonder when she’s going to be given a promotion; I think she has definitely proved herself worthy of principal status these past couple of years. Walsh danced Florimund, and everything I’ve said of him in the past held true. His technique may be diminishing slightly, but his bravura feats are still an audience pleaser. Jaquel Charlesworth, Kelly Myernick, Curran, and Coomer danced the pas de quatre of the last act beautifully. Puss-in-Boots (Caleb Mitchell) and the White Cat (Clare Miklaunus) were wonderfully witty. When they came out, a boy sitting in the box next to mine exclaimed “It’s Puss-in-Boots, ma!” The kids loved them. Leticia Oliveira was Princess Florise and her Bluebird was Ilya Kozadayev. It was the fist time I saw Kozadayev dance, and he made a great impression on me. His tours e’lair and other jumps were explosive yet subtle in landing. I’ll have to keep an eye on him. Has no one else seen Sleeping Beauty?