Mazurka

On the subject of 19th century i often wonder how these ballets were experienced by men and women then Their erotic aspect was very different given long dresses etc. while bosoms were exposed in evening ball gowns All those legs! This erotic content is obviously there esp at ABT (see Manon) it is just worked differenly - Then there is Nijinsky sending shock waves dancing Afternoon of a Fauns sans underwear.. He would be fired today...

I do not think sponsorship today means getting a sugar daddy as it did in the 19th century if anyone is aware Of how this works perhaps they could write I do not think the social position of a ballerina today - rather exalted position of an artist - is that of a 19th century one where it was a given that they had wealthy "friends" And were not accepted in mainstream society-similarly to actors. But I would be worried about impact on free expression or additional pressure a sponsorship may entail unless it is Like a fellowship grant We should not censor ourselves because someone or other may be reading the posts. I am sure that people frequenting this forum are capable in reading the posts in the spirit in which they were given.

Perhaps it would be better to write Vogue to follow up Ratmansky inerview with article on Abrera Or even a photoshot with her as model...

Are the understudies for O/O and main roles in general always principals?

Here is Cojocaru dancing while it rains ! What a great setting against the lake,,,

There is so much criticism for Semionova and so much praise for Seo that I wonder how those who saw the two performances would rate them. Was Semionova worse? I am not a little concerned that the management will continue down the slippery path of promoting for political reasons rather than merit and talent. Especially if we the public buys it because we are to nice to point to the obvious.

I will, grudgingly, admit there were moments I liked. Hee does not have that uniform beauty of each line that for an example Marcello has it in spades. I sometimes wonder if Marcello's attention to perfection in every move has something to do with his training in Paris - I mean the culture of movement in the 18 and 19th century costumes true to period has survived in French theater,as it did in the rest of Europe as well, so perhaps it is also more pronounced in the ballet - although I have never seen the Paris Opera ballet. When he gets up from the desk to dance with Manon he has that melting 18th century poise. Maybe they could make Von Rothbart go jump in the lake and Odette and Siegfried could walk into enternity a la Cinderella and her Prince a week ago ;-). Was the music off yesterday? I found it lacking.

Oh Gillian! Hee Seo will never fill your shoes! You are not just the sum of your fouettes! Unfortunately the sum of Hee Seo's pretty poses does not add up to more than the parts. Yes they should do something with the ending though Marcello looks splendid jumping in - it just devolves into pure kitch. Why not try a happy ending?

This was the first time I saw Cojocaru - don't get me wrong I loved Vishneva/Gomes when she did the hops en pointe and traveled all the way across stage a foot at a time and then pointedly made the last circle from the knee so very emphatically as if to say yes I can! my neighbor and I both sighted in audible delight. There were moments in Vishneva performance that gave me goose bumps. As for the mad secne however I thought she died three times, Alina fell to the floor differently each time you had no doubt when she was dead. So no question if you analyze step by step Cojocaru will have weaknesses however her musicality, accessibility, pure love of dancing is to me just gripping. I feel as if Vishneva in all perfection and languorous movements- so beautiful - dances from her sensuality, she luxuriates, sometimes maybe too much even - Alina dances from the heart, she is tender and lyrical I just do not know how to define the quality of her dancing - i doubt you could say one is better than the other - they are just different both great artists. I felt so very very privileged to see both of these performances...

I quoted the first sentence in previous post from Batsuchan's post but I did something wrong and it did not show as quote. Sorry.

She still has great balances, but sometimes I feel like she shows them off in a way that distorts the musical phrasing.Macauley in 2011 observed that "And, whereas other Royal dancers in this role tend to dance on and into the beat, Ms. Cojocaru tends to arrive, with Romantic responsiveness, after it. (By contrast Ms. Vishneva, unlike many Russians, danced a few steps on the beat, pingingly.) Ms. Cojocaru doesn’t fill a musical phrase to the brim." Perhaps that would explain it?

The place was packed tonight and the audience went wild at curtain time. Not surprisingly. Cojocaru was the definitive Giselle, absolutely natural, without affectations, or exaltation so ill fitting a young girl - her portrayal of a spirited unguarded in her first love and innocent young girl was perfect. In the second act she was loving and protective of Albert - a true heroine - the fact that with the size difference she was able to pull this off is a testimony of her talent. The PDD was unbelievably lyrical. The second act kept me at the edge of seat it was so moving and convincing. I did not like Hallberg before but thought him perfect tonight - there was palpable chemistry between him and Alina. I hope they are paired together again. Hallberg replaced Cornejos who I heard has a kidney problem. The brises looked mighty fine and expressive to me. (I sat on right side thus saw Hallberg almost like Myrtha) The mad scene was measured and touching. Stalla Abrera was stellar - I want to see her paired with Marcello! I saw Diana and Marcello last Monday - tonight was just as magical if not more. De gustibus non est disputandum...

New York Times interview 2009 http://www.nytimes.com/2009/03/24/nyregion/24entry.html?_r=0

I read that Gorak followed up the double tour with a pirouette thus increasing the difficulty - This was of course lost on me since it is perceptible to the initiated, however that would indicate a lack of fear about difficulty.

It was interesting to read that Joseph Gorak danced the Prince because Cory Stearns had an injury and that it was not only a debut for him but also for Devon Teuscher. Marzipan Shepherdess - playbill mentions the fact that oranges (and citrus in general) were delicacies certainly before the 20th century in the non Mediterranean parts of Europe. Growing up in a communist country (could be called a Soviet colony) I can tell you they were rarities that appeared until at least the 1970ies for Christmas and Easter only, causing huge lines since they were in short supply. I would be surprised if this was any different in Moscow or Petersburg. Prokofiev wrote Cinderella in 1940-44 - the war ended in 45. I missed it during the ballet, but in the story Cinderella receives the 3 oranges from the Prince as part of ball refreshments and gives two of them to the sisters - thus it is a way to show her kindness.

Yes in too wish the part would give the Prince and Cinderella more dancing.

I found the performance yesterday delightful. The music was wonderful (Barker conducted) the choreography and music and dancing all came together! The waltz too! Youth served Gorak well, I love how weightless his jumps are and his elegance - I am not going to miss his performances in future. It would be interesting to see him Saturday without the pressure of a debut. Xiomara was charming and i concur with Ord's review on the loops, i think this role suits her well and they made a convincing pair together. I saw Aaron Scott as Golden Idol in Bayadere and liked him enormously, no I did not see Corella nor Cornejos in the role but would be happy to see Scott again. He has the ability to make his characters very appealing. I found the same appeal in the jester - light on his feet, lovely jumps, witty, good natured, connected to others on scene . I found Teutscher melliflous. The scenography was lovely after the initial obligatory kitchen, costumes and the color palette beautiful. The sisters reminded me of 19th century illustrations to Thackeray's The Rose and the Ring a fable set in the 18th century. It felt as if Ashton brought to life his favorite characters from a childhood book. I am beginning to understand his delicate choreography and am now going to see the Dream. Iin all it was a light sweet and poetic evening.

My impression of last night's performance is in tune with Basuchan, except I really did not like the very bland Kent interpretation nor dancing, and I thought the ugly sisters were relishing in the roles and brought much needed life to the performance. I loved them. The darkly ominous, almost wild and wonderful waltz was a disappointment - the choreography seems to sabotage Prokofiev's music and made it so one dimensional. I think Kent failed in the third act reprise of the waltz theme-as if she never lost herself in reverie. At the risk of being unkind, I think I will want to miss her future performances even if they are with Marcello - what a waste. For the rest I thought that it was the corps de ballet who did not really feel this music, and since I am a newbie I do not know if it was the choreography or the dancers. It felt under-rehearsed. It felt like going thru the motions. I have no doubt that the Royal Ballet does credit to this choreography - seems that nuance is the key. Some of the images were very beautiful - the dark starlit sky, the summer feries(?) in front of the gates. I also thought Ms. Giangieruso danced beautifully. Ms. Copeland was wonderful in Stravinsky with Tomm, she just does not rise to the same height in classical fare. Going to see Gorak Reyes tonight - let's see what Xiomara's temperament does to this. Looking forward to see Gorak.

I wonder if anyone has seen Rolland Petit's Proust - Skips Between Heartbeats, since the book is from an age of passion I am curious about this ballet and the films on youtube are interesting.

I saw Part in the Nutcracker at BAM with Gomez. Magic was missing and she was not particularly graceful, indeed she was quite heavy though striking perfect poses. I see her in modern ballet where angularity may be a virtue but would never go to see her as Tatiana or Juliet,. Nor sure that technical prowess is dancing.

Stearns as Odile:

I love the Ratmansky Nutcracker- much more satisfying than the sugary New York City Ballet version - Yesterday's performace was a delight even though I did not love the pairing of Veronica Part and Marcelo Gomez. It is the first time I saw them together, and first time I saw Veronica Part, but since there is so much lifting in the choreography I just could not help but think of how strenous it must have been -sorry - she is almost his equal in size perhaps I was to close at mezzanine front? I thought her beautiful but perfect for modern dance and not necessarily for this role. I would still go and see it again - it will be a long time till May when they come back.

Gomez danced so much better with Kent than with Seo - Kent is just a joy to watch - Seo executes and lacks emotional connection - Kent truly dances and inspires her partner. Will not miss the two of them dancing again!

I was sorry that there was not more chemistry between Gomez and Hee Seo. After seeing him dance with Vishneva, Seo seems a little cool.