its the mom
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Posts posted by its the mom
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Interestingly, when looking to see if Brooklyn had joined Septime at Hong Kong Ballet (since he was performing Alice with them), I noticed that Venus Villa is now at Hong Kong Ballet, and no longer listed on Washington Ballet's site.
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Brooklyn has never been married to Alicia.
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Maybe there are some from this thread?
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56 minutes ago, ABT Fan said:
I think Woetzel is a terrific candidate, but this is an issue of bad timing. I'd be stunned if he accepted the leadership at NYCB and left Julliard after only one year. Regardless of what type of contract he has with Julliard, say it's only for one year, would they really be cool if he left after that? (Unless his term is disastrous, which I highly doubt would be, and they chose not to renew his contract.) Or, worse, if he broke his contract?
From all of the names I can come up, which isn't as many nor as well-informed as what others have thought of, he seems to be the most qualified to lead NYCB. But, he strikes me as a very intelligent person and I can't imagine he'd want to burn bridges with Julliard. I can't think of a way for this to happen without doing so. Granted, I'm not privy to a lot of information behind the scenes (nor are most of us), but still. If the need for a successor had happened a year or two earlier, it would be a no-brainer I think.
Steifel is better suited to lead ABT someday, but I think that day is far in the future (I don't think McKenzie is going anywhere anytime soon).
Woetzel just started his contract in July. I realize he was working in tandem with Polisi for a year, but officially just started.
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1 hour ago, ABT Fan said:
I wish this (or something like this) also happened in NYC.
I cannot even imagine what this costs the presenters of this gala.
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Yes, I was surprised she was leaving Zurich. It seemed as if she was pretty much a star there.
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1 hour ago, miliosr said:
Boston Ballet has updated its roster for the 2018-19 season.
Derek Dunn is now listed as a principal:
https://www.bostonballet.org/Home/Global/Profiles/Artists/Principal-Dancers/Derek-Dunn.aspx
Eris Nezha has departed to become a principal at Los Angeles Ballet:
https://losangelesballet.org/dancers
And. as noted previously, Florimond Lorieux has returned to the Paris Opera Ballet after two years with Boston Ballet as a soloist.
Derek has been a great addition to this company. However, he is fairly short, and there are only a few women he can partner in classical works. Nezha joins his wife, Petra Conti, in LA. Lorieux will be missed. He is beautiful on stage. It will be interesting to see how Kapitonova fits into the company.
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40 minutes ago, nanushka said:
I can't imagine Lane would refuse a role out of religious conviction. She strikes me as very much a professional.
I agree. She might draw the line in other places. I remember when Boston Ballet did Kylian's Bella Figura, several dancers would not dance in it because of the nudity.
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10 hours ago, ABT Fan said:
I just noticed that Le Jeune, by Lovette for the Studio Company, is being performed twice - once at the gala, which I could understand, and at the matinee on Oct 27. I don't think they've ever had their second company perform a piece on their own during any of the main company's seasons besides the gala. And, those matinee tickets aren't any cheaper despite a third of the program being danced by pre-professionals. I also find it odd that the third ballet on the program is a pas de deux TBA. The only pas of the season is Other Dances. Why would it not be that? Would they really insert a one-off like Don Q grand pas or the White Swan from ACT II?
Well, ABT is on their way to Vail. Maybe McKenzie will see something he likes there and insert it into the program. Or, maybe he will use Bond's "Depuis Le Jour" which several of the dancers have used for festivals this year (Sun Valley and Fire Island), especially because he is highlighting women choreographers.
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Ahn is not that young, not like Bell. He is probably in the 24-25 year old range. Having said that, I was surprised he was given the Solor role after seeing his Corsaire last year. But because he is tall, McKenzie will probably bring him along to partner Devon and Christine.
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8 minutes ago, Lynette H said:
I see from the Royal Ballet School list of graduate contracts this year that one is headed to the ABT Studio company - Eli Gruska. He's the only one headed to any company the US this year.
I saw that. Quite a number going into Royal this year.
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Yes, for "some" Studio Company members. However, there is no dorm situation for those in the school.
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Agree with everything you said, FauxPas. I thought Copeland and Cirio had great rapport, and it looked like they were enjoying the evening. I will give Trenary a pass, as it was her first Dryad Queen, and from what I understand, this show has had very little rehearsal. I would add that I hope Forster gets some more leading roles before it is too late. In terms of the fouettés, it could be a matter of just being too tired at the end. Swan Lake and Sleeping Beauty are stressful for the ballerina. Don Q just seems easier to handle for some reason maybe because it is faster paced?
I know I am in the minority (no pun intended) when I say that although Misty may not be the quality everyone would like her to be, she does do an awful lot for the future of ballet. Whether that is inspiring future ballerinas or just future ballet-goers, there is something to be said for that. Check out this instagram and the voice. Just adorable.
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Whiteside performed numerous Balanchine ballets while at Boston, as did Cirio (but Cirio won’t be around.) Hoven trained at NCSA under Hayden, so he has done a good amount of Balanchine work as well.
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2 hours ago, abatt said:The Osipova Hallberg performances at City Center are Apr 4-7.Added: I hadn't noticed this before, but Hallberg is not participating in ABT's fall season at the Koch. Off to more interesting gigs, once again. ABT is not a priority for him.
Can you blame him?
7 minutes ago, vipa said:Interesting that there are 8 principal women to 4 principal men. Simkin won't be around. No one program attracts me, but maybe casting will help. I wouldn't mind seeing a Lane/Cornejo Other Dances.
Which tells me that McKenzie needs to hire or resort back to guest artists, maybe not for the fall, but definitely for the Met.
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17 minutes ago, ABT Fan said:
Happy Other Dances will be performed. But, Fancy Free? I realize it's a centennial celebration, but, it needs to be given a long rest.
I feel that way about In the Upper Room. I know I am probably in the minority, but it's been overdone. And another Lang work? Depressing fall.
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38 minutes ago, California said:
But those costumes were significant -- to the extent they're accurate recreations and I think they tried. In the original, e.g., it was called "Grand Pas de Deux," not "Black Swan" and by golly her tutu wasn't black, but a strange mix of purple and green with a little black. (Which makes me wonder when it evolved into "black swan" - dance historians?) It was also interesting to see all those knee-length tutus, which seemed much more danceable than some of the heavy-seeming things in the Sleeping Beauty reconstruction.
Not sure what the problem is with the "big wall" in the beginning - a solid fence about human height with an iron gate in the middle. I thought it was a nice set for an outdoor birthday party, inside palace grounds, with a lake in the distance with a swan.
I am certainly not a historian, but found this on wikipedia:
"The character of Odile was not a "Black Swan" at all in either the original production of 1877 nor in the revival of 1895, and she was not performed as such for many years - she was simply Rothbart's evil daughter until sometime in the late 1930s or early 1940s. As Odile, Pierina Legnani appeared in a glittering multi-colored costume with no feathers to be found - obviously to appear more as an enchantress than as a "Black Swan." Later performances at the Mariinsky Theatre of Swan Lake used similar costume designs for Odile throughout the late 19th century and early 20th century. It is unknown when the tradition of having Odile performed as a "Black Swan" began, but most historians point to a 1941 staging of the third scene (the "Ballroom Scene") performed by the Ballet Russe de Monte Carlo at the Metropolitan Opera in New York. This production was staged by Alexandra Fedorova-Fokine under the title The Magic Swan. Odile was danced by the great Ballerina Tamara Toumanova. At the time the only part of Swan Lake that was known in the west was the famous second scene (or the "White Act" as it is sometimes called). In an effort to have the audience distinguish Odile from the more well-known Odette, Fedorova-Fokine had Toumanova perform in a black costume, and almost by accident Odile began to be referred to as "The Black Swan." Though Toumanova was not the first ballerina to wear such a costume when dancing Odile, her 1941 performance set the tradition in motion and soon Odile became "The Black Swan," a tradition that quickly spread everywhere, including Russia."
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7 hours ago, angelica said:
Do they get any stipend in the Studio Company, enough so maybe four of them can share a one-bedroom apartment?
Yes, there is a stipend for Studio Company, but not for those in the school, at least as far as I know. However, I am sure that with whatever stipend they get, it is still very financially difficult to live in NYC. https://www.rentcafe.com/average-rent-market-trends/us/ny/manhattan/
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14 minutes ago, angelica said:
That's a great question. Does anyone know?
I do not believe they advertise a tuition free men's program. I do know that merit scholarships are given. Part of the problem for JKO is the fact that there is no dorm. For most people not living in the city or in close proximity, moving their child to the city for training is cost-prohibitive.
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2 hours ago, Fleurfairy said:
I’m guessing she will omit the hops on pointe and also the fouettés.
She did the hops on pointe last year.
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3 hours ago, fondoffouettes said:
I don't think it's ever intentional to travel during the SL fouettes, unless that's the only way you can manage to do them. The ideal is to not travel at all, but traveling forward is more attractive than traveling to the side, I think. And it's less discernible for anyone sitting in the orchestra. I agree with Aurora that I really don't mind forward traveling much at all.
There was a short fouette sequence in the Kudelka Cinderella that I believed was choreographed so that the ballerina intentionally traveled. There may be other examples from other modern ballets, as well. But I can't think of any traveling fouettes in the 19th-century classics.
There are traveling fouettes in the coda of some versions of The Nutcracker, but it is only a few:
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25 minutes ago, fondoffouettes said:
It’s odd it took them so long to come to that decision, if that’s the case. He posted this just four days ago on Instagram, and he’s a very infrequent poster.
I’m not especially looking forward to seeing Scott in this. I just don’t see him having the boyish charm of someone like Simkin, Shayer or Cirio, but I’ll reserve further judgment till I see him.With Simkin and Cirio gone next year (and Cornejo no longer performing it), someone else had to learn it. (I am assuming that Whipped Cream and Harlequinade will be done on tour, but I could be wrong.) Perhaps they were not sure Klein would be back in time from his injury and did the substitution. The boy role is actually harder than it looks.
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19 hours ago, spinning2night said:
#trueartist. The fact that Roman can do the role year in and year out without making it more of a cartoon than it already is takes true skill and mastery.
Roman is truly amazing. He was my favorite Tybalt last week.
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19 minutes ago, maps said:
Cirio's artistic vision is a mismatch for many US companies including Miami based on current AD's. Lourdes Lopez was a great dancer and as AD in Miami will do Ratmansky's Swan Lake in 2020:
He chose ENB over ABT fall rep and was Hilarion in ENB's Akram Khan Giselle including on film. The music is only a reference to Adolph Adam and the choreography bears no relationship to various traditional versions of Giselle. I'm surprised Rojo did La Sylpide [not Hubbe'd] and SB [Bocca on Macmillan] given her statement on classics: https://www.youtube.com/watch?v=cs2nsC_pchw
"want to make classical ballet relevant" "classical stories can transcend time and place and that's the story of Giselle"
Not sure what you mean by his artistic vision not matching US companies? Have you checked the rep of most companies? There is a huge diversity in rep in most companies other than ABT, NYCB, and possibly Miami. Even PNB, with Peter Boal at the helm, does a diverse rep. Cirio is going to a company which does a large amount of classical ballet and came from a company (prior to ABT) which does a good amount of classical work. Cirio performed most of the classical leads before coming to ABT. The article below spells out his reasons for leaving Boston.
As far as Rojo's comments in the video, I think her choices in rep speak for themselves. The company is performing a number of full-lengths next year. Just because she wants to give artists a chance to revisit the classics in a new way, does not mean she doesn't respect the past. I think Cirio mentioned it in his instagram post - respecting the classics, but also moving ballet forward. Why can't a company have both?
Where is Brooklyn Mack?
in Washington Ballet
Posted
Perhaps Brooklyn is going the way of freelancing/guest artist. There are several of those listed as guest artists at HK Ballet. It can be quite lucrative and dancers are able to pick and choose what they would like to do. Certainly not for everyone, but it appears there are a few who have been quite successful at it.
http://www.hkballet.com/en/About-Us/Guest-Artists.html