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its the mom

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  1. Just a couple of responses, Amy (and in no particular order) I saw several shows of this at Boston. The costumes and sets were borrowed from Pittsburgh Ballet Theatre. I agree with some of your complaints about the props, but shouldn't Ponomarenko (who adapted it for the company) have changed some of this? I didn't know whether Myrtha's "sprig" was rosemary or asphodel, but whatever it was supposed to be, it was way too large and cumbersome. Additionally, the lilies were too loud as they hit the ground (I am assuming they were plastic.) As you said, Amy, it was just a number of little things that didn't seem thought out. My feeling on the whole production was that there was just not enough time to bring the whole company up to speed on the intricacies of this ballet. With so many new corps members (I recognized so few of them, and I see this company pretty regularly), there was no way to set this ballet to perfection in a little over a month. (The dancers returned in August and had to perform a full program at Jacob's Pillow prior to this performance.) Their reactions and/or non-reactions in Act I were obvious. About the conductor - he is fairly new. My only comment is that I sorely miss Jonathan McPhee. The two Hilarions that stood out were Paul Craig and Isaac Akiba, both veterans. Craig was so good as Hilarion that I was very disappointed not to see him cast as Albrecht. It makes no sense to me to not cast a perfectly capable and seasoned Principal in the role. I felt that Act II was missing something and then I remembered that when Maina Gielgud set Giselle on the company, the Willis' entered with veils over their heads. I don't remember how long they kept them on, so perhaps someone can remind me. But I do remember feeling the scene was much more "other-worldly." The Peasant pas was much better danced in other performances. Ji Young Chae had the task of performing the peasant pas, Myrtha, and Giselle. She is quite the machine, and her jumps are unbelievable. I hope she develops more in her acting skills. I thought each of the principal couples I saw brought something different to their respective roles. Interestingly, Oga and Dunn were my least favorite, and they were the couple specifically coached by Ponomarenko. And this brings me back to the time given in bringing this ballet to the stage. There was just not enough time for Ponomarenko to put her finishing touches on everyone and every scene. Luckily, several of the Principal dancers had danced the ballet before, which became obvious in seeing several of the shows. If, Amy, your line of thinking is to follow, then Dunn (as an aristocrat) is too short. I felt as though I should be watching Coppelia or La Fille in seeing Oga and Dunn on stage, and this is probably why their pre-mad scene was appealing. His technique is surely beautiful, but I didn't see Albrecht. Oga was fine, and as you say, she is young. I think the company is hoping for a "Kuranaga" in her. This ballet is a soulful story to be told, and while technique is obviously at the centre of it, there is so much more to it. In their defense, it was their first time together in a full-length. Kapitonova/Yocum and Cirio/Khozashvili have danced together before, and, again, it was evident. I think it may have been a better choice to have Oga and Dunn do the peasant pas before throwing them into the title roles. But, I am sure we will be seeing them do a lot more together. All in all, I am glad the company finally (after 10 years) brought the ballet back. I hope that they do it again soon, but spend more time in coaching it. With so many recent departures, it will take time to bring the new crop of dancers up to the level of the past few years or prior.
  2. She has certainly benefitted from the fact that Kuranaga is gone. Dunn needs a very small partner. Additionally, many of they young dancers have benefitted from departures from the company this past year.
  3. Instagram and Facebook are both full of dancers’ posts about this. It’s been all day. Ms. Spencer’s instagram is filled with angry comments, as well.
  4. Lendorf is no longer listed with the company. Would love to have seen Hoven or Whiteside in Apollo. Both have danced Balanchine.
  5. Simkin is not listed for the fall season, is he?
  6. A beautiful tribute to an even more beautiful dancer.
  7. Yes, you can see some of the departures on the other thread about Kuranaga leaving. She is going to San Fran. Combs is going to be Executive Director at Providence Ballet in Rhode Island. Buriassi and Doble are both going to Les Grands. Chalendard is leaving, but not sure where she is going. Parrondo and Gill are both retiring. There are other departures, but I am not sure where everyone is heading. They have already updated the website, taking down the departures, but have not updated for promotions.
  8. I remember reading that he was injured back in February: https://www.balletcoforum.com/topic/19591-staatsballett-berlin-la-sylphide-casting/
  9. its the mom

    Maria Kochetkova

    She is pretty amazing in that she danced Cinderella in London on Saturday evening, La Bayadere Shades scene in Olso on Monday, and is now back in London dancing Cinderella this evening.
  10. He was replaced due to injury last year when they were scheduled to dance it. I am just surprised that he did not dance it before at ABT. Just timing, probably. https://www.roh.org.uk/news/cast-change-manon-on-5-and-13-april-2018
  11. Wow, debut? That's hard to believe.
  12. Misa will be missed. There are other departures as well. Kathleen Combes is retiring and taking over the Executive Directorship of Festival Ballet in Rhode Island. Dalay Parrondo, a long-time soloist is retiring. Corina Gill is retiring. Rachele Buriassi is leaving. (These were all announced on their instagrams or on Boston's instagram.)
  13. Thank you. Seems to be a lot of red tape, rules to follow, and a huge misunderstanding.
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