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eduardo

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    55
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About eduardo

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    Member

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan
  • City**
    Buenos Aires
  • State (US only)**, Country (Outside US only)**
    Argentina

Recent Profile Visitors

599 profile views
  1. Thank you so much, Helene. That's a lot of information!
  2. Thank you sf_herminator. I think it's a beautiful way to recognize the departing dancers This video brought back to my mind som questions I’ve often wondered. We all have read in this forums about that: dancers leaving a company for a lot of different reasons. In some cases (particularly with some principals in ABT) I remember having read about dancers that were “shown the exit” rather than having made the decission by themselves. What I wonder is how that works in less notorious cases, like corps members. Are they told in advance that they won’t get a new contract? Are they told that the
  3. Although I didn't really like the excerpts shown, I was amazed by Taylor Stanley and Lauren Lovette. Sometimes I thought her dancing was bland, but not in this piece.
  4. Agree with you, Helene. I always thought that the Diamonds ballerina features quite regal manners, which I relate to Raymonda.
  5. Thank you pherank. I totally understand what you said and I remember having read about the idea of Balanchine about each chapter of Jewels. What I meant is that seeing Nuñez and Soares in this pdd reminded me of Swan Lake. That didn't happen when I saw the same pdd danced by the NYCBallet or the POB (the latter, in video).
  6. Thank you for that! I loved the Rubies pas de deux!!! Is it a misperception of mine or the Diamonds pas de deux danced by Nuñez and Soares looks quite SwanLakeish?
  7. The Dance in America Ballo never engaged me. I found the ballet much more interesting in the actual stage version currently available at www.nycballet.com. Opposite to what nanushka said, I really liked Megan Fairchild in this, and also Catazaro. Definitely, watching this helped me to see many of the things you pointed at when I asked about Balanchine style. One more time, thank you all for that!
  8. Thank you all for your replies. I find all of them interesting and helpful. What Pherank wrote took me to something else I also read in the forums: musicality of dancers, also an elusive topic for me
  9. Helene, thank you so much for such detailed reply. I think I understand what you explained, although I'm afraid I can't currently see everything you said. Despite that, it's a great starting point to approach the topic. Also many thanks to California. What Helene said about being off-balance reminded me what Patricia Neary said when she came to Buenos Aires to stage Serenade and The four temperaments (OMG, thirty five years ago!). She was interviewed by a local newspaper and explained that the most difficult part was to have the dancers move in that way, in particular in 4Ts
  10. For different reasons I got a bit late to the digital spring season, but I'm delighted to have watched (and enjoyed) Apollo. I do realize this is not an easy question, and it would probably be asked somewhere else, but honestly I am not sure where. I read in these forums critical opinions about the lack of Balanchine style in different companies when dancing his ballets. I think that is often said in the case of ABT. Unfortunately, I don't think I am able to really notice that. so perhaps I might get some clues about what reveals that style or any other way to understand better what peopl
  11. I just read that Willy Burmann passed away in New York City. According to the news, he was 80 years old and Covid 19 was the cause of his death.
  12. Thank you, Jeff-sh! You’re so right about the smiles in Emeralds! I really disliked them!
  13. Loved especially the four corps gentlemen in Rubies and the gentleman in the Emeralds pas de trois.
  14. Thank you volcanohunter. What you say is what I was interested in, since I do think that the debate about rules and exceptions needs some data to support any conclusion. Although I realize South America is very often below the radar, in this part of the world three out of four of the most prominent ballet companies feature female AD: Cecilia Kerche and Ana Botafogo in Theatro Municipal (Rio de Janeiro), Marcia Haydee in Teatro Municipal (Santiago de Chile) and Paloma Herrera in Buenos Aires (Teatro Colón). The fourth company I have in mind is Sodre Ballet in Uruguay, where after doing a g
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