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MarzipanShepherdess

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Everything posted by MarzipanShepherdess

  1. Given the tightening restrictions just announced in the UK last week performing to live London audiences in December seems VERY optimistic, but good luck to them!
  2. At this point I will be shocked if ABT performs at the Met in the spring. Even if they COULD perform there to a live audience due to gathering restrictions being lifted, I have trouble imagining a large enough percentage of their audience (which like opera’s skews older) would be willing to attend to make it worthwhile. I miss live ballet so much, but can’t envision attending a performance next spring myself with everything we now know about indoor aerosol transmission.
  3. Very happy to see this crop of promotions! I am not a Lane fan at all, but I do feel sorry for her fans who won’t be able to give her the send-off they surely wish to.
  4. Yes they have had one for at least ten years if not longer. The proceeds from the sale of the dancers’ autographed pointe shoes and slippers fund it. I don’t recall them ever publicly fundraising for it in the past, but recently Isabella Boylston and James Whiteside have been encouraging those watching their live-streamed classes to donate.
  5. Skylar and Irina and Max could definitely be “liking” it to say “hey you jerk we saw this”. A like is not always a like. For someone who self-professes to be such a woman of faith and virtue Sarah sure seems to sling a lot of mud at her colleagues and have some pretty hateful heroes.
  6. Wow. I don’t follow lane on Instagram but went to look at that post after you referenced it here. Posting a long caption beginning “the greatest examples are those who have the courage to live in humility, who do not need to be puffed up...” on the day of Herman’s big anniversary extravaganza certainly seems like some serious shade directed at her former dance partner. Have to say I don’t think that was very classy or gracious of her, regardless of the current state of her feelings towards Herman.
  7. Wonderful tribute to Herman tonight. I know that his physique doesn’t make him an ideal Apollo, but I enjoyed him in the role. I think he performed it adroitly and confidently—for me, it worked. Misty, Skylar, and Cassandra were all good as muses. The tango with Erica was short, but high on charisma and panache. It was a lot of fun to see Herman dance tango, especially with Erica and especially knowing how sentimental this piece is for him (he first came to ABT to perform it with Erica at an Argentinian cultural event and asked to take class with ABT, this kicking off his connecti
  8. Yes, I think Hoven and Ahn are similar heights. I don't think lack of a suitable partner is what is holding Sarah back. It seems like her problem is more that she isn't a favorite of Kevin's or in demand as a partner (at least from the male principals like Cornejo who have influence on who they dance with). She seems to have similar issues to those Veronika Part had--not broadly liked by her peers or by management, and it certainly seems to impact casting.
  9. I'm pretty excited for this season! Last season there were no ballets I wanted to see multiple performances of, due to casting, but this season there are several where I'll definitely attend multiple performances. I'll be heart-broken to see Stella retire, of course, but I'm glad she's going out properly feted and getting to dance some great roles like Giselle and Juliet. Hopefully we'll also be graced with a Lilac Fairy and some appearances in the mixed bills and in Of Love and Rage. I'd have loved to see her one last time in Ashton's Cinderella, but oh well. Very much looking forw
  10. That’s wonderful news!! Well-deserved. She danced wonderfully this tour.
  11. Saw the matinee today with the divine Tereshkina! A few last minute changes: Yekaterina Chebykina performed act I as Christina but then Maria Shirinkina subbed in for the last two acts. Maria Illiushkina also subbed for May Nagahisa in the act III pavlova in king candaules variation. This was my first time seeing Paquita and I was nervous I’d be really disappointed I’d made the trip down to DC after reading people’s reactions here! Though it’s not my new favorite ballet, I really enjoyed it for what it was. Would I rather have seen La Bayadère? Yes. But opportunities to see the Mariinsky
  12. Had the pleasure of seeing Maria dance the “pavlova” solo from king candaules in Paquita act iii today! She subbed in for May Nagahisa. Maria definitely seems a star in the making. To me, she gave the strongest performance in that sequence of variations after Tereshkina. Lovely, lyrical, beautiful lines and balances. Will look forward to seeing more of her!
  13. Ugh, it absolutely does! Do we really need another ballet about a woman hundreds of years ago being abducted and rescued by her dashing hero? I appreciate that Ratmansky is passionate about ballet history and unearthing overlooked pieces of Petipa archive, but why pick such a musty, well-worn narrative when he's working on an entirely new ballet?
  14. Saw Saturday's Jewels matinee, what a great start to the season! I felt Abi was really miscast in Emeralds. She doesn't have the exceptional port de bras or lush quality to her dancing that Emeralds requires. I didn't enjoy watching her and Amar at all and couldn't wait for them to get off stage and make room for Unity and Ask, who were great. I also really enjoyed Georgina. And a shout out is due to India Bradley, who has much refined her dancing since the spring. In the 15 years I've been attending City Ballet performances I've never seen someone do Rubies better than Sterling. She
  15. Ogawa has shared on Instagram that she’s had three ankle surgeries, the most recent of which was in February. Seems that her ABT career, like Waski’s, has been negatively impacted by injury. I’m sad to see Paulina leave ABT too but I agree she didn’t seem to be on the same soloist promotion track after injury, as @LadyBubbles noted. Hopefully she will get more opportunities with Boston Ballet. It could be a great move for her.
  16. I agree. In addition, Stella is obviously favored by Ratmansky, more so than Veronika was. She seems like one of the most beloved dancers within the company while Veronika was candid about how ABT was not the easiest place for her socially: I think Veronika’s relative distance from the company in that way made it easier for management to treat her as badly as they did. We were denied so many years of seeing Stella as a principal, it would a travesty to force her out when she is obviously still capable of performing with such great artistry.
  17. Saw Lane and Cornejo tonight with a surprise Lilac Fairy sub from Stella! Stella just owns that role. Stunning execution of her tricky prologue solo and the most exquisite port de bras all throughout. Crystal clear mime that was by turns funny, tender, and regal. I want her as my good fairy! Cornejo also shone—obviously the Prince doesn’t have much to do in this version until his Act III solos but he was stunning when it counted, such perfect batterie and princely mien. Lane was excellent with Aurora’s intricate footwork and her turns. Beautiful elevation, particularly in her
  18. I have a single orchestra prime ticket for Swan Lake tonight (with Shevchenko) that I won’t be able to use. Does anyone want the ticket? TBC, am not selling the ticket, happy to give it to anyone who wants to see what promises to be an exciting performance! Any takers, message me directly please. I will update this post if/when the ticket is claimed. EDIT: TICKET HAS BEEN CLAIMED.
  19. I found it to be a disappointing performance overall. For me, Stella and James outshone Hee and Roberto. Their act II “drunk” pas de deuxs were the absolute highlight of the night for me (caveat: I left after Act II). As @FauxPas noted, it was clear from Roberto’s first big act I solo that his technique has eroded significantly. There’s a bit in Act I where Des Grieux performs a diagonal series of leaps and he was barely getting off the ground at all. Looked really leaden and stiff throughout. I actually left after Act II because it just wasn’t how I wanted to remember Roberto’s dancing,
  20. What a night!! Fantastic ABT debut from Brooklyn Mack. He was a wonderful, swaggering Conrad who had great chemistry with Skylar. I was so impressed by his technique and stage presence. Great elevation (like he’d been shot out of a cannon in his last pas de trois jump), gorgeous leaps (two particularly impressive splits in the air in act III), quick turns, strong lifts and attentive partnering: he was the full package. I’ve had the privilege of seeing Daniil’s incredible Ali before but he really outdid himself this time. As @tutu noted, he did a type of manège in the pas de trois a
  21. It’s printed in the program. @California Ali is still listed as “the slave”. The main change I noticed in Act I is that there is no longer that part where the “bazaar women” (did they used to be called slaves in the program? Can’t remember) are being flogged. Instead, they bouree together as a little cluster, hemmed in by a group of Lankendem’s lackeys. I -think- they may have had new, less revealing costumes but I could be wrong. Curious if anyone else who is here noticed anything! Also, I recall hazily that at the end of “Old act I” the pirates seem to be literally carrying off t
  22. Am at tonight’s Corsaire and ABT has inserted a note into the program stating that they recognize the Ballet depicts “challenging subject matter” and “disturbing social norms of bygone eras”. They say they’ve adjusted certain scenes “in tone and character out of respect for those whose lives were marginalized” but “there may still be images some find offensive” and viewers should take them as a “reflection, not validation, of life in those times”. Very curious to see how the ballet has been tweaked! Will report later.
  23. I honestly can’t think of one! Curious if anyone else can. For those not familiar, the Bechdel test refers to whether or not, in a movie, two or more female characters (with names) have a conversation together that is not about a man.
  24. I agree with JMcN that a lot of it may be down to expectations from US audiences and critics vs English ones. From what I see (as an American who travels to Europe a few times a year and sees ballet when I’m there), European companies more often break from classical idiom and present more experimental work than American companies generally and certainly ABT. I think of the ENB’s “class war” version of Giselle for example, or Matthew Bourne’s New Directions productions which blur the lines between theater and ballet and takes direct inspiration from pop culture. Or POB, which commissions avant-
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