sz
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Posts posted by sz
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>....they'd have us do very slow pirouettes and then we would
>gradually increase our speed. I think it's just more important
>to be able to exercise precise control rather than just whipping
> around in the hopes to get as many turns in as possible.
Excellent training for turns; slower is better in learning control
and gaining strength.
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I studied with a ballerina who is in the guiness book of world records for turns...
Ok, I'll bite. Does this ballerina have a name?
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>when the best works are danced the best, I believe
> that even the most uninformed audiences immediately
> know the difference.
Of course.
I think part of the reason there are such passionate voices out there regarding Peter Martins' Ballet Co., and how Peter is handling the majority of Balanchine ballets, is that it is still, without debate, absolutely possible for his company to do better.
There are plenty of ex principals, soloists available who learned Balanchine's ballets from Balanchine. There are plenty of such Balanchine dancers who can and want to coach/teach. Years and years from now that will not be.
As someone wrote earlier on this post... in many ways most NYCB dancers are better technically today; they just aren't, for the most part, as interesting, individual, committed.
Yes, NYCB still attracts many fine dancers, and they are eagerly watched by audiences. Under Peter, the men do seem inspired, better than ever. Now they need better inspiration for the females, as well as better care of Mr. B's choreography. There is no good reason, yet, that Balanchine's ballets shouldn't be danced as well as they were 20-25 years ago.
And the story about not putting heels down in plies. Balanchine taught us that a piece of paper should slide under our heels in plies. In other words, don't put your weight so down on your heels that a piece of paper wouldn't slide beneath.
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>>Would a dancer coached by Marie Jeanne in Concerto Barocco fit >>into NYCB's current-day production?
First, BRAVO to dirac, bart, carbro, perky and Helene...
You're all right on target! Loved Jillana's article too... though it saddens me.
Peter Martins' Ballet Co. (aka NYCB) is his company, and Peter chooses which ballets are important (to him) to rehearse/coach well, and which ones will receive the minimum. It's a very poor reflection on his directorship to see Balanchine's ballets at the bottom of Peter's priorities. Some new ballets are necessary, yes, but why the heck isn't Symphony in C on NYCB's opening night(?!!) not alone Tarantella?!!.... And why are many of the best, new choreographers, out there, not invited to work more often (or at all) with NYCB? Ask Mark Morris!
Problem is who will do something, and what can be done. As long as people show up to mediocre performances, and Peter receives lots of money, he'll continue doing what he does. I don't think thousands of letters protesting would help....
Perhaps critics writing for newspapers and dance sections in magazines ought to speak out about this situation constantly... That ought to affect audience attendance.
As for whether or not Marie Jeanne's coaching of Concerto Barocco is fitting to current-day production -- Nothing ever is word for word, step for step. It's about ideas, experience. Naturally it depends on the dancer, what he/she needs from who and when. However, I don't know anybody, without the wrong type of pressure, who would have turned down any opportunity to learn something from either Marie Jeanne or Gelsey or Suzanne or Tani, etc., etc.... Watching films of their dancing taught me more about roles than any ballet mistress did. Ballet mistresses rarely danced the roles they're now teaching. Ditto Peter Martins of female roles.
Seems the Ballet Trust (Balanchine's) does a better job at providing the best teaching/coaching to other, outside, companies.
Very sad...
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Regarding Kent, I seem to recall reading in Kirkland's first autobiography that she had wanted to be coached by Kent for Sonnambula, but Baryshnikov demurred, saying "She's too kooky" or words to that effect......
She is kooky... but Kent also has much to teach. Gelsey is/was pretty kooky too in her way... So is/was Misha... Doesn't mean great artists have forgotten the details and heart/soul of the roles they danced and learned from generations past. What needs encouraging, etc. Nobody owns a role, but there are tremendous guides still available today who have something very valuable to share.
Film is used a lot in this generation for teaching/coaching - saves time/expense - but my gosh film is awfully flat in comparison to the real thing.
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Kent notes that " ... the ballet mistress was upset. Even though the part was created for me, she felt that my presence was unnecessary. Heather Watts sensed this and never asked me to help her again."
Pity. That's a terribly bad sign...
Allegra has so much to offer... if you've ever seen her in that role...
Couldn't imagine anyone wanting to dance Bugaku without lots of Allegra's coaching / suggestions from experience. Ditto Allegra's other very famous roles. While a ballet mistress can teach the skeleton, Allegra has lived with the meat, the fat and all the flavors.
But... where there's a will, there's a way.... I'll not name names, but someone else I know, recently learning the Bugaku role, did seek out Allegra's coaching.
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Pharaoh's Daughter.
I saw Zakharova in the lead of Pharaoh's Daughter. She was absolutely gorgeous. As was Alexandrova in the secondary slave role. But all I clearly remember from that performance was the underwater maidens. Twenty or so minutes of bubbly, inventive choreography. Reminded me of Mr. B's Ballo a little, Wheeldon's mermaids in Carnival of the Animals a little, but with much Bolshoi scenery/costumes and flair that resembled being inside a glass of freshly corked champagne. So charming. My favorite section of that ballet.
Also loved the grand (very Bolshoi...), elaborate processions of the second-act Court scene. There must have been hundreds of finely costumed dancers, supers, parading with such elegance and arrogance, all looking absolutely fabulous!
Back to turns, fouettes.... Alexandrova's were far less spectacular in Don Q (3rd act) than I was expecting. In the 1st act, she surpassed any pre-reviews I had been given. Those jumps(!), her bold, sexy power(!)... a strong, womanly fire of a Kitri! But Alexandrova's 3rd act, avec grand pas, variation, then fouette section ended up being pretty bland, and she executed those fouettes in the punch out style -- not the gorgeous ones you were describing earlier. No doubles. Nothing flashy flirty with her fan either...
Sorry, I missed Alexandrova in the lead of Pharaoh's Daughter. I would have gone just to see those fouettes you were complimenting!!!
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Back to the Russians, though.
One of the more enduring images of their recent visit to the Met was the fouette sequence performed by Maria Alexandrova. Her first rotation was almost a pirouette a la seconde, as she drew the leg in for the rond de jambe very late. Each succeeding turn (all of them solid) changed the phrasing minutely, so that bit by bit, by the end, her rotations were almost entirely in retire. It was a very beautiful effect.
Yes, I love those fouettes too where the ballerina's a la seconde is gorgeously emphasized before the passe. Takes much more control, strength and turnout than the other style we're often seeing. Was this performance, you're referring to, Alexandrova's Kitri in Don Q?
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Cubans have a secret:
They cheat.
I took a master class with Laura Alonzo during which she told us not to relevé until we were halfway around our first pirouette...
Btw, Eglevsky and D'Amboise (NYCB) also cheated this way with their turns.
That cheat method however wouldn't work for Cuban females turning on pointe shoes... and they are some of the very best turners I've ever, ever seen. It's a muscular, alignment thing too, plus the shape of their feet -- square toes, duck feet, helps a lot with balance/turns.
Marnee Morris (NYCB) was perhaps the finest, most interesting, turner I've had the pleasure of watching. Mr. B choreographed the turning solo for Marnee in 'Who Cares?' Her cheat method could hardly be detected unless you knew exactly when/where to look. Marnee's secret was the ability to hop ever so slightly while still turning, while still on pointe. So she was able to accomplish several fouettes or turns in any position without ever coming off pointe!!! I adored watching her in class taking this secret to extremes! Marnee often used her special trick on stage as well, when necessary. Balanchine loved it, but didn't encourage it -- I'm guessing too circusy for his standards.
Oh, Joyce Cuoco (Stuttgart) also used this same Marnee trick. Joyce's feet/pointe shoes were very square at the toe. And she was sliver thin. She could balance on one foot/leg for hours!!! Though I wouldn't have wanted to see Joyce dance 'Who Cares?'... Marnee's trick was nothing compared to her lovely, sexy, giggly, charming, womanly style.
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>>.... it is sad to see The House of Balanchine turned into
>>The Apartment of Martins
>>Last year's opening night program, "Ballet Four Ways," reduced
>>Balanchine to one of a choreographic quartet. This year he's gone
>>altogether. Despite season statistics, the symbolism of this is terrible.
If only the audience would boycott opening night...
Peter Martins should be ashamed.
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There are so few Balanchine ballets that when "Tarantella" was pulled -- undoubtedly for an excellent reason -- it would have been impossible to find a substitute
Alexandra, you're a hoot!
While I'm also disappointed to hear that there will be no Balanchine ballets performed at NYCB's (aka Peter Martins' Ballet Co.) on opening night... rest assured, Balanchine ballets (14) outnumber Robbins (6), Martins (7) and Wheeldon (5) in the 2006 Winter Season.
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If you want to get a look for yourself, check out the old movie of Balanchine's Midsummer Night's Dream. Ms Schorer was wonderful as the head fairy in the Scherzo.
In that wonderful film, yes, you'll see Ms. Schorer as the lead butterfly in Act 1, wearing a pale blue costume avec wings(!). Edward Velella is the brilliant Oberon in the same Scherzo. Ms. Schorer also dances as one of the Divertessment couples in Act 2. It'll be a fine opportunity for you to see much of Ms. Schorer's personality, as well as technical style.
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SusanB,
You're absolutely correct in saying that the political situation in Cuba is a complex one. I have no desire to get into any political discussions here on BA, nor am I qualified. But, the lastest embargo, under this President, is a huge reason why individuals, NBof C, Carlos Acosta's group, Tocororo, could not travel from Cuba to the USA. It was never easy to do, but it was possible. Now it is not.
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Helene:
> If I were Alicia Alonso, my heart would be broken.
The suffering in Cuba is truly far greater than ever (thank you Bush) ... I've spoken with Ms. Alonso, and what upsets her the most is seeing her youngest, all talented, students without one pair of ballet slippers to wear to class. They show up barefoot, wearing shorts and a torn pair of socks.
It would be pointless for individuals to send money or ballet supplies directly to NBofC, but, while touring abroad, dancers in the company could easily accept a gift of a lovely leotard or two, a pair of slippers or two, taking them back to Cuba in their personal luggage. Flowers are very pretty, but...
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>...we've created a situation in our visa policy, particularly now
>that cultural visits are no longer allowed for US citizens...
Not exactly true. Some US citizens may still visit Cuba, but only through a very small amount of cultural organizations/foundations. A foundation I've worked with, which will remain anonymous, still organizes limited group visits to Cuba because of their strong relationship with Alonso.
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hlvs:
>Lorna, Lorena, Carreño and Acosta do not "straddle both worlds"
>and Alicia Alonso does not say who comes and goes.
Natalia is correct. Lorna, Carreno and Acosta all left Cuba with Alonso's approval, and are not only welcomed back, but are expected to return to Cuba frequently to teach, perform, and share what they have learned from the abroad ballet world.
Lorena has not been welcomed back to Cuba, yet, as she did not obtain permission from Alonso first, before leaving. Lorena's courage is to be admired. If she had waited a few years longer, in Cuba, I doubt she'd have the same gorgeous career she's now enjoying at SFB, et al.
I was so happy to hear the news of Sarabia's defection as well(!!). Bravo to Sarabita! Such a great talent.
And, who doesn't want to make good money in whatever chosen career?! I'd consider ballet dancing to be one of the most difficult ways....
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Well, actually, I know she's at NYCB. But has she been dancing much lately? She was definitely *the* favorite student among the SAB dancers six years ago. (I cannot believe it's been that long!)
Abi had been dancing all last week, as well as Sunday's performance of Midsummer's Second Act Divertessement couples.
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In NYCB we used to sing it quite differently while backstage:
I'm a Swan Queen
You're a f__got
Stay away from me
or I will grab it!!!
Stay away....
It's a good thing we don't hear the backstage singing, or out the window would go the perfume and magic of Liebeslieder, Symphony in C, et. al. We would just think, "drunken sailors in tutus."
Rest assured, that's the only drunken sailor in tutu song I recall while backstage. Most of the time, it's pretty quiet there... Well, except during Harlequinade when the kids are dancing on stage beginning Act 2. More often than not, the birds, in prep for their approaching entrances, are backstage dancing along with the kids' choreography, being silly, getting perky. No songs! Just the irresistable fun of the choreography!
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Paul,
For me it was Arthur Leeth - of Boston Ballet, who looked for all the world like Mr. Clean, singing
"I'm a Swan Queen
You're a fairy
Run away from me
You're big and hairy
RUN AWAY!!!!!"
(But yours makes more sense. . . )
In NYCB we used to sing it quite differently while backstage:
I'm a Swan Queen
You're a f__got
Stay away from me
or I will grab it!!!
Stay away....
Mime is wonderful when done well, at the same time nobody I know goes to NYCB for the mime, do they?!!
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Oh I'm so happy to hear that Sarah Lane performed beautifully!! After watching her and Herman's rehearsal ( I am a student in the JKO School at ABT) I was anxious to hear how the performances would go. She is so beautiful to watch in rehearsal, on stage, and in class. I hope to see her more in soloist and principle roles here in NY!
I'm overjoyed to see that Sarah is cast again to dance Theme and Variations with Cornejo while ABT's at the NYC Met. A big mover, she'll be thrilled to do Theme again and on the Met's stage which is much larger than the one in KC...
KC's small and narrow stage might have been the reason the corps and demis looked a bit ragged at times. I was there both nights, and caught several moments when dancers had unintentionally (I hope) kicked and tripped each other especially in the 26-dancers-on-stage sections of Theme.
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NYTimes: "While the ballet students were enthralled, the performances were a bit rocky."
What wasn't mentioned here is that the City Center / YAGP Gala stage was frequently danced on with sweaty bare feet and nearly bare bodies. While sitting in the orchestra, you could see the stage becoming more and more wet and oily after each modern piece passed. This alternating with ballet works in pointe shoes -- yikes -- a dangerous combination. Stages are prepared quite differently for each style of dance; bare feet and satin slippers. To place them back to back was a bit scary to watch. Pointe shoes prefer a stickier floor while bare feet handle just about anything without splinters. Still everyone made the most of this celebratory evening.
It was a delightful evening full of passionate dance lovers, both on and off stage. Although the only disappointment was that Lorena could not attend to dance DonQ pas, her sister, Lorna, gave a bold, womanly, and full of rich, gorgeous Cuban training performance. And Lorna's tutu was the most gorgeous thing I've ever seen for this pas de deux.
Carreno and Richardson were both in top form, seemingly inspired by the loving responses and cat calls from the female audience...
And the ever-charming, all-sparkles, dare-devil, Alexandra Ansanelli made a surprise visit and whirled her way through the extremely difficult turning girl solo from Balanchine's "Who Cares?" Full of surprises all the way. Brava!
Roberta Marquez for the Royal Ballet's "Cinderella" was radiantly beautiful, and she gave a warm, strongly feminine approach to the less interesting choreography. I'm looking forward to catching Roberta again soon, perhaps in a piece more suited to her expansive style.
While Ashley Bouder and Joaquin De Luz of New York City Ballet took some liberties with the choreography during Balanchine's "Tarantella," their flamboyance and technical fireworks was thrilling. Hey! This was a gala! I think the youthful energy of the YAGP competitors, watching and dancing, drove the overall high, wild energy of the performances. This was not a subscription night...
What the NYTimes didn't mention was the brilliant performance by Momix, nor the out-of-this-world, fascinatingly eccentric Wendy Whelan with Peter Boal of NYCB in a piece choreographed by Liang (also of NYCB). It was so lovely to see Liang's modernish piece developing with such style and feeling since its earlier 2005 debut in Boal's gig group. Peter, and especially Wendy, showed this YAGP, NYC, dance world just how sophisticated and elegant, while at the same time eccentrically raw, a fine dancer can become in such a modernish piece. Absolutely astonishing.
So, yes, it was an over-the-top evening, especially by the professionals, but this delightful event ended all too soon, and nobody left without a huge smile!
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"Yes, it looks like Tewsley, Neal & Woetzel are all missing the Japan tour. "
Anybody notice that Bouder, although cast, was absent from all or part of the CA tour?
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“Tchai Pas is not meant as a DonQ, BlackSwan "showstopper" piece. Maybe this is why its easier to watch dancers from NYCB dance it rather than those in ABT…”
And then there’s Irina Dvorovenko’s Tchai Pas…..
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"I go in seeing how it's going to look on each individual dancer less than how the dancer will mold him or herself to it. I can think of plenty of people I've liked in the role, but nobody "owns" it in my head."
Bravo! Exactly! And what a fine way to observe any dancer in any role.
ABT @City Center, Fall 2005
in American Ballet Theatre
Posted
Curious, what exactly about Ethan's dancing made you see Stanley's training?