Olga
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Posts posted by Olga
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45 minutes ago, MadameP said:
Your first photo is from the Gorsky revival. According to Wikipedia, it is
English: Photo of the ballerina Sofia Fedorova (1879-1963) costumed as the slave Hita with unidentified children in the choreographer Alexander Gorsky's (1871-1924) revival of the choreographer Marius Petipa (1818-1910) and the composer Cesare Pugni's (1902-1870) ballet The Pharaoh's Daughter.
Link to page:
Thank you.
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14 hours ago, canbelto said:
The awesome thing about the internet is that you can research.
Here are the original Petipa-era costumes for Ramze and her pageboys.
Thank you.
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There is a range of ballets on a cost continuum between a ballet like Duo Concertant and one like Romeo, and many of them are not chamber ballets. In fact, two, probably three, of the four ballets mentioned by Kathleen fall into that range. Romeo struck me as a particularly costly ballet to bring there, and since I don’t care for the ballet, I find the cost to far outweigh the benefit. But as Kathleen says, we don’t know — how the programs are set or how the fees are structured. I was struck by a photo I saw of the sets being unpacked in Saratoga, and that is probably the genesis of my comment.
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I would think NYCB could reduce its costs, and therefor possibly what SPAC has to pay them, by running ballets that don’t require a lot scenery. Or even, for some evenings at beginning or end of run, that don’t require full orchestras. There are plenty of these in its repertory. Romeo and Juliet is not one of them.
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36 minutes ago, vipa said:
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Another thought occurred to me about Ballet Now. Why did Peck dance so much on the programs? She said a number of times that she was in 6 different pieces. I don't attribute this to ego, rather to a novice's mistake. She could have imported another dancer to do Stars and Who Cares or Carousel.
I had the same thought. Dancing less and having others dance more is akin to learning to delegate, and the mark of an executive rather than a worker. It was definitely a mistake, and amateurish. A mistake i confess I made in my own prodessional life, which may be why i found it so glaring. Personally, I think it’s a mistake more common to women than men. But it’s possible there were other reasons at play, such as availability or illness of other dancers. She did mention that in the planning stages she had to drop some ballets because dancers weren’t available. I thought the director was myopic in his focus. Even if the Trusts wouldn’t give them rights to film the actual ballets, there should have been more of a sense of the larger picture. The film is called Ballet Now, not Tiler Peck’s First Director Gig. Maybe it needed a different title.
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Dances at a Gathering was magnificent, marred only by Finlay’s partnering deficiencies, particularly in lifts. He is an accident waiting to happen.
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ABT one of the top 5 world class ballet companies? No way.
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A week or two ago I read in a newspaper report, but don’t remember which one, that the Palace courtiers had advised her to invite her whole family but she refused. It said she only wanted the people she wad “close to” at her wedding.
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Thank you, Mnacenani.
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17 hours ago, CharlieH said:
Didn’t Claire Von Enck dance Pierette in Harlequinade, very early in her career?
Yes. I believe it was during the most recent run of Harlequinade.
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6 hours ago, cobweb said:
I have no idea what Dybbuk is. Can anyone enlighten me? Will be there tomorrow night to see it.
This is a link to a comprehensive article about the play as well as background info about Dybbuks.
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19 minutes ago, abatt said:
I don't blame these ticket purchasers for being angry. When ABT makes a cast change in a lead role, no ticket buyer should be charged for exchanging the tickets, regardless of whether you are a subscriber. Also, this game of forcing a contribution to the Met has got to stop. When you exhcange Carnegie Hall tickets for a lower priced event, Carnegie REFUNDS the difference to you. These ABT/Met policies, combined with inexplicable cast changes, are a great way to lose your customers.
I don’t disagree but wonder to what extent this policy is dictated by the Met or by ABT. I am not that familiar with the Met Opera policy but suspect that exchanges by non-subscription holders may not be permitted at all. The forced contribution is particularly cheesy and very annoying. To some extent ABT is hostage to the Met. I was surprised how sparse the ABT promotional material was over there in comparison to the opera. But again, ABT seems to have serious in house problems also when it comes to promotional or even descriptive material.
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With all due respect to Marcelo who is a wonderful partner, he would not be up to the technical demands of this role, and hasn't been for a few years. And with all due respect to Tyler Angle, he was pretty terrific in it yesterday.
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An inspiring dancer, teacher and choreographer, and a pioneer. Rest in peace.
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16 hours ago, its the mom said:
Maybe, for once, Kevin saw into the future. With Cornejo winding down and three smaller women on the rise (Lane, Trenary and Brandt), they can use him. Who knows if he will stay long enough for us to find out. He danced a lot more in Boston and at ENB.
Cirio could certainly step up and step in if there is a levelling off of Cornejo and Simkin’s casting. Assuming he is still there, and I did get the impression from his effusive if not fawning Instagram thank you to ENB that he is looking to move on. But it’s the shorter men who really need the shorter women, not the other way around.
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It’s one thing to have them bring in an RDB dancer of Lendorf’s experience, standing and talent. But Cirio was in a different category, imo. But Gorak’s partnering.... There is no way to know.
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41 minutes ago, Helene said:
The NY Post reported in their Real Estate section that von Aroldingen's apartment is for sale:
https://nypost.com/2018/03/01/inside-a-prima-ballerinas-multimillion-dollar-home/amp/
Wow!
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1 hour ago, fondoffouettes said:
I couldn't agree more. Sarah Lane's Giselle was miraculous by any standards, but the fact that it was a debut made it even more remarkable. It was a fully realized interpretation.
Her Swan Lake showed that yes, she has something to say artistically. To me, that's more important than a technically flawless debut (and so few debuts aren't marred by some technical glitch or other).
Yes, her Giselle. Her acting in Act One of Giselle and the beginning of Odile was impressive.
We will feel Marcelo’s absence. I agree that Hallberg is looking elsewhere for opportunities and obviously Simkin has found one. I have to think Cirio is too. It’s a miracle Cornejo sticks around. Is Lendorf still injured? Sorry, but I don’t see anyone of the stature of Marcelo or the particular magic of Hallberg coming up through the ranks. I’m hoping there is a Russian male principal who wants to relocate to NY. I hope NYCB gets a great director or it will really be depressing here.
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Yes, it is disappointing Sara Lane didnt get a Swan Lake. It was a very good debut, marred only by her reaction to the fouettes, and hindered by the lack of prep time. If by some chance she gets to do another one this Spring, I would go. Not casting her is an issue for several reasons, one of which is their lack of understanding of how to build not only dancers, but fan loyalty. Unfortunately, I have my doubts about Forster.
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5 hours ago, fondoffouettes said:
This season is, for the most part, pretty boring in terms of casting, so I wouldn't mind a guest artist.
I really wished the company could have mustered a more exciting lineup of Swan Queens. I do look forward to revisiting Teuscher and/or Murphy, and seeing Shevchenko in her premiere. Maybe I've just been going to ABT for too many years, but it just feels like too much of the same old, same old.
It IS pretty repetitive, other than Ratmansky. But if the Fall season is the judge, even non-repetitive is a problem for ABT. Actually, I think the right adjective is unimaginative. Boring is also good. I always enjoyed the guest dancers; it seemed an integral part of this latest incarnation of the company, and an exciting one. This season does not excite me.
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1 hour ago, abatt said:
By someone who isn’t staying in New York to see the whole season.
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So do I.
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5 minutes ago, aurora said:
Could you explain how so?
I think I did. To bring up a thirty year old event with no corroborating evidence ( my recollection is the person claimed to have “seen it” did not actually see it in full) and then to think her allegations would not be seriously questioned? Come on. And even corroborating evidenxe wiukd be seriously questioned. The company also had a duty to Martins, as it would to any employee against whom such charges were made, not to fire him or damage his reputation without serious review. Not to mention the possible harm to the company itself. And then to go to the press and complain her story was questioned? Of course it was! How could she think otherwise? Credibility is the pivot point. And then there is the issue Fleurfairy brought up of possible self interest. While I personally don’t think that is what motivated her (and I think Boal is out of the running because of this) if she made this charge in a lawsuit I suspect it would be used to attack her credibility. Again, to be clear, I personally don’t think the Boals did this to get Martins’ job but it is a possibility. At the least it would require more fuzzy thinking on their part.
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28 minutes ago, Fleurfairy said:
The cynical part of me thought that the Boals could have made these allegations when they saw an opportunity for Peter to be AD. Stranger things have happened.
Possible, but impossible to know. One thing is clear though: making an allegation like this, which could destroy reputations and livelihood and which has harmed the institution, would necessarily have required some serious questioning on the part of ANY investigator. It strains credulity to think otherwise. At the very least, she is naieve, but worse motives could be imputed though we don’t know that. I find her conduct in this from start to finish (assuming we are finished) very odd and out of touch.
Balanchine at City Center
in Multi- and Cross-Company Events, Festivals, Galas, & Dancer Groups/Solos
Posted
I agree - service fees should be waived or reduced. And get this: the members’ exclusive pre sale period for many of he upcoming dance events (Osipova, NDT) falls ENTIRELY within the period in which the box office is closed. So, in order to avail oneself of the pre sale membership benefit one has to pay the service (handling) fee!!! Astounding.