its the mom
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Posts posted by its the mom
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12 minutes ago, jackie987 said:
I agree with the point re artistry and the YAGP effect. However, while many are complaining about Trenary's lack of classical technique, I would argue that she has the best artistry and port de bras in the company. The issue more so seems that it's harder to find a dancer with the complete package.
I agree - perhaps she just hasn’t had enough coaching, but she can certainly tell a story, unlike some of the others.
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Quick comment - Boston opened last night with Act 3 of La Bayadere and then a one-act Carmen. It was a sold out crowd and people responded well. While I miss the whole story leading up to the third act, it was gorgeous. The program did not give any story details and I wondered about those in the audience not familiar with the ballet. But the did not seem to mind. There is no reason this could not be performed at ABT. The only major difference was that Solor (Cirio) did not wear a turban.
Re: artistry - this is a problem in the ballet world across the board, imho. YAGP has not helped in this regard. Bigger, better, more seems to be what is valued.
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10 hours ago, pherank said:
Angelo leaving feels to me like he's going down "to the minors" to deal with injury rehab issues. [Sorry to sound like I'm dissing Houston Ballet] But there's something going on there. Houston is one of the companies that SFB has had a close relationship with in the past. Joe Walsh and Lauren Strongin danced there.
Great to hear that Cauthorn and Andre are returning.
Houston will give Angelo more opportunities to dance. With Hernandez brothers getting top billing and Rojo bringing in soloists from ENB, I am sure he felt it would be a better career move. Houston is a wonderful company with very talented dancers.
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Many times, it's the theatre that requests the ballet(s) to be performed. Perhaps it was Teatro Real's choice?
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I am thrilled that Boston will be performing this piece next season. Enjoy!
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Boston Ballet 2024-2025 Season (balletherald.com)
Some exciting works here. Looking forward to seeing something in each program.
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Performers now listed. She is dancing with Jeffrey Cirio. Bns | Ballet Nacional de Sodre
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27 minutes ago, MoMo said:
If Blaine Hoven would retire (he’s not cast as much anymore), there would be room in the Soloist ranks for Patrick.
Who retired to make room for the other three?
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30 minutes ago, cobweb said:
Some of the more talented young ones might have options in Europe and find that appealing. And what about National Ballet of Canada? I can see where Aran Bell might not want to leave a company where he's already a principal, but for someone still up and coming like Roxander or Curley, they must at least be looking around at the other options.
I agree. And I think what is also appealing is the type of rep that other companies do.
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San Fran has nine programs, but there are 31 Nutcracker performances and 64 other performances. Boston Ballet does 40-45 Nutcracker performances and 5-6 programs per year. Each program has 9 to 12 shows. Houston is similar to Boston. Perhaps ABT has the same number of shows, but I believe the issue (and this has been discussed before) is the lack of opportunity to perform a role in a run more than once or twice. The positive I see for Bell, Curley and Roxander is that there will be principals retiring soon. Cornejo does not have much time left, nor do Stearns and Whiteside.
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Seventh executive leadership role of his career.
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It's a gorgeous piece. I saw ENB perform it at the Royal Opera House for the MacMillan Celebration back in 2017, I believe. It is one of the most moving pieces I have seen. For those in San Francisco, it's not to be missed.
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Boston Ballet opened their season last night with four works. I will write more later, but was absolutely gutted by Akram Khan’s Vertical Road. I cannot stop thinking about it. I felt as though my heart was going to beat outside of my body. The house/audience erupted like I have never seen before at any performance anywhere. It was a piece of work that everyone seated around me said they did not want to end. Moving, heart-rending … not enough adjectives to describe it. If you can, get there.
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1 hour ago, ABT Fan said:
I just hope that promotions are announced sometime this year. If Jaffe promotes no one all season, as Barbara noted that would be very bad for morale. In that situation, I wouldn't be surprised (nor would I blame) if Coker, Curley, Klein and perhaps a few others take their talent elsewhere.
I know that others have talked about this before (and in light of the dancers mentioned above), but do you think it would benefit the company and the dancers to add one more rank, i.e., second soloist?
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Whiteside was hired September 2012 and promoted to principal in October 2013. Cirio was hired as a soloist for September 2015 and was promoted at the end of June 2016 when Hoven was promoted to soloist. So, there are exceptions to that June/July promotion time.
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On 1/28/2023 at 11:43 AM, seattle_dancer said:
Hello, does anyone know when Boston Ballet posts casting? I would like really like to fly to Boston to see Don Quixote! And does anyone have any ideas on how many Kitris they might have? I'm not familiar with the lead ballerinas anymore.
I just saw this. They have five Kitris. Ji Young Chae, Lia Cirio, Vika Kapitonova, Chyrstyn Fentroy and Chisako Oga.
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Did anyone attend last night’s opening of Boston’s ChoreograpHER program? Five female choreographers, three of them women of color … I can’t wait to get there next week. Anxious to hear about it. Choreographers included Lia Cirio, Shantell Martin, Tiler Peck, Claudia Schreier, and Melissa Toogood.
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On 1/22/2022 at 3:06 AM, pherank said:
And from Margaret Fuhrer's recent Do Men Still Rule Ballet? Let Us Count the Ways article:
"On Jan. 11, San Francisco Ballet named Tamara Rojo — the international star who has commissioned more than 40 works by women during her decade leading English National Ballet — its new artistic director."
>> 40 new works by women is impressive.
I think the way this is worded makes it sound as though she commissioned 40 works by women, but I believe it is more accurate that there are 40 works choreographed by women in the repertoire of ENB. From "The Guardian:" "The acclaimed dancer – who has introduced groundbreaking works into the ENB’s repertoire, including more than 40 works choreographed by women – will step down in late 2022 to take up the role of artistic director at San Francisco Ballet, where her husband, Isaac Hernández, was recently appointed a principal dancer." I am trying to verify this. Maybe someone more familiar with the company can, but 40 seems a pretty high number for her tenure.
Also, somewhere earlier in this thread, it spoke of her saying she never "poached" dancers, I believe there were several she invited as "guest artists" and they ended up joining the company. I am sure there are others, but those that come to mind are Jurgita Dronina, Jeffrey Cirio, Gabriele Frola, and Emma Hawes.
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I think it was a joyous occasion to be back on stage this fall and for Nutcracker. I, for one, was so excited to be back in the theatre! It appears that Boston finished their run of Nutcracker unscathed. Many companies have not.
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Very happy for Chyrstyn. But I have to say that Boston has always been at the forefront of hiring persons of color. While there has not been a black principal since Tai Jimenez, there are other minority principals, as well as a healthy number of minority dancers through all of the ranks. https://www.bostonballet.org/Home/The-Company/Dancers/FullCompany.aspx
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This certainly was a trip down memory lane. Plan to B is iconic Elo, and while it was enjoyable, my favorite iteration of this ballet was performed by Sabi Varga, John Lam, Whitney Jensen, Lia Cirio, Jeffrey Cirio, and Bo Busby. They were, for a long time, the cast to see in the many places this ballet was performed. Their performances were electric. But, I digress. There was much to see here, including Elo's Bach Cello Suites and Close to Chuck, two of my favorites. I hope we get to see Close to Chuck once again at some time in the future. Additionally, a portion of Elo Experience with Larissa Ponomarenko and Jeffrey Cirio brought back amazing memories. Performed in 2011, I remember that they performed every performance of that work. Along with Tchaikovsky's Piano Concerto No. 1, they were sublime. It was evident to me throughout that there were dancers who truly embodied Elo's work - James Whiteside, Sabi Varga, John Lam, Kathleen Breen-Combes, Whitney Jensen, and Jeffrey and Lia Cirio. I don't know if the current crop of dancers can match them. It will be interesting to see if they develop the "quirks" necessary for his work. The World Premiere was somewhat confusing. It appears to be an extension of the couple (Cirio and Ponomarenko) in Elo Experience, but the attempt to make the work an artistic film left me feeling confused. It will be hard to match the innocence of Cirio (who was probably all of 18 or 19 at the time) and the inestimable Ponomarenko in that work. All in all, I really enjoyed this program which contained much more dancing than previous digital performances. It made me long to be back in the theatre again. Congratulations to Jorma Elo and Boston Ballet for 15 years of collaboration!
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David Hallberg just announced his new Directorship at Australian Ballet on his Instagram!
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I just looked at my program, and you are right, Amy. The casting in the program was all mixed up.
Carmen (and Kingdom of the Shades)
in Boston Ballet
Posted
On another thread, I noted that Boston Ballet just performed Kingdom of the Shades from La Bayadere. While I would much prefer to see the whole ballet, it was still beautiful. For those who do not know the story, arriving at the Shades scene can be confusing. Who are the characters and why are they there? However, it can still be appreciated for the exquisite classical dancing. Elo's Carmen, while not your "normal" Carmen, was danced beautifully as well. I attended three, very well-sold performances. There is another set of performances this week of this run, and then they move on to their Spring Experience, which consists of three contemporary works by Forsythe, Kylian and Ossola.