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About eduardo

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

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  1. Hello everyone from Buenos Aires, Argentina. As you can imagine, we don't usually see any news about NYCB in local newspapers. For instance, I don't recall having read anything when Argentina born A.S.Scheller became a principal dancer in the company. But this issue is in the main newspapers here. The info seems to be quite unaccurate, though (compared to what I've been reading here). Did you say anything about bad publicity? Spanish only, of course: https://www.lanacion.com.ar/2169587-escandalo-ballet-nueva-york-exbailarina-demanda-institucion https://www.clarin.com/sociedad/escandalo-ballet-nueva-york-bailarina-denuncio-ex-autoridades-pornovenganza_0_B1P2l1kd7.html
  2. Thank you abatt! Now that you mention 360 degrees I remember the Walpurgis variation, with 360 hops at the beginning, a diagonal in the middle and some more hops at the end, mixed with pirouettes. No more off topic, I promese.
  3. Thank you ABT Fan! Your description is great, particularly because it points at many things I never thought of, like mantaining a relaxed upper body and not showing any strain. Great insight.
  4. Please, excuse my lack of knowledge. I never imagined that those hops on pointe in the first act variation were such a big deal. Is it that difficult or challenging? I think I saw that many times and never thought it would be hard, but now I guess I'm wrong. I don't find that step particularly enjoyable or thrilling, perhaps with two exceptions (both with two legs): a variation from Raymonda and in Ballo della Regina, opening the legs from wide to wider.
  5. Thank you so much, laurel. Actually, I visit NYC from time to time, but mostly in the Fall/Winter, so whenever possible, I head to the Koch Theatre to see as much Balanchine as possible.
  6. Thank you for your nice comments! Agree with what laurel says about Brandt. My idea was that she has a lot of potential beyond what she could show in the peasant pas de deux. Secure technique, lovely smile and beautiful stage presence. Perhaps not the right place to add this, but I was surprised at the limited number of female soloists in the company. Just three and of course Luciana Paris is not dancing since she just had her baby in Buenos Aires one week ago.
  7. Just read Faux Pas post and definitely agree with her. Glad that she found better words to explain exactly what I felt, especially about Copeland (with that clear quality difference between her first and second act) and Cornejo.
  8. Well, following the advice of several forum members, I got my ticket for the Copeland/Cornejo/Abrera Giselle. Some formum members encouraged me to say share my thoughts, so here we go, but before that I apologize for what maybe a poor translating into words of what I experienced, since my knowledge of English is limited, and even more limited is my knowledge of steps and many other specifics of ballet. As a whole, I enjoyed the performance. Only my third time ever with ABT (the other two were when they toured to Buenos Aires ages ago). Really liked the scenery, especially the second act, the lighting and some of the costumes. Hated the John Lanchbery orchestral score, too much sweetener added, in my opinion. I much prefer the original version, maybe less rich, but sounds more authentic, especially for the second act, which seems to improve with a more spartan orchestral approach. As you all know, since it has been discussed here in advance, Abrera was replaced by Devon Teuscher. I liked her, but despite a good stage presence, I think she looks sort of friendly, or maybe not unfriendly enough, I didn't really see her as this being who is sending men to death with no mercy. I think she has a really beautiful face, and that probably doesn't help for that, but I imagine Myrtha more "angular" Loved Herman Cornejo from the beginning to the end. I wouldn't split his performance as a dancer and an actor, and I say this as a great compliment. I think he was great and I even liked better his Albrecht than his recent Conrad in Buenos Aires. Bravo. Didn't really enjoy Copeland. I liked better her first act than the second. I "believed" her more her first act, included the final scene, than the second, in which I never was able to see the character. I just saw a dancer doing the steps. She had an unpleasant fall when making a pirouette during the first act variation and I found all of her arabesques stingy, or whatever is the proper English word opposite to generous (often below 90 degrees and staying nothing on her pointe). Liked very much Skylar Brandt in the peasant pas de deux. Not that much her partner, Arron Scott, who had an bad landing in his variation as well. Great performance of the female corps in the second act. I also thought that Giselle friends were great and (funny enough, since they don't have a heavy duty) the male corps was stunning. Nothing else comes to my mind right now, but if you have any questions please don't hesitate to ask.
  9. Some time ago I read (probably on instagram?) something written by her about doing something she thought she would never be able to do: dancing with her former husband. I guess vipa is right about some changes. Can you dance (and, of course, rehearse) with someone you don't talk to?
  10. Thank you, NinaFan! To be 100% honest, I managed to schedule my trip for that week taking into account the all Robbins performances across the plaza. So in this case, having the chance to see ABT is a bonus. Definitely agree about the chandeliers. It's a pity that many new opera productions don't use the golden curtain anymore, and the chandeliers are up there when you enter the house.
  11. Thank you cubanmiamiboy, NinaFan, CharlieH, angelica and canbelto. Last Thursday, immediately after making up my mind, I purchased a ticket for the Copeland-Cornejo-Abrera performance. I guess there will be pros and cons, as so often happens with most decisions in everyday life. angelica, I appreciate your suggestion, but I will be in NYC from Tuesday morning to Saturday evening. I can't afford having an afternoon off. In any case, I think it will be a great experience. In my case, it won't be just seeing Copeland's Giselle or Cornejo's Albrecht. I think the corps, especially in the second act, will be a treat!
  12. Thank you, cobweb! As a reader, I do think there's room for many voices here. In my case it's just some sort of self consciousness. Just me, not the forums actually. Agreed. Repetiteur will be Julio Bocca, so I think we can expect good performances. Paloma seems to be doing some things right. Later in the season Marianela Núñez will be dancing The Merry Widow. No more guests announced so far. I highly credit her for having settled the argument with Lady McMillan in order to bring back Romeo and Juliet. after the problem arised after the dubious (to put it mildly) choreographic version performed here a couple of years ago, signed by Maximiliano Guerra as his own. About the NYCB, thank you for the suggestion. Actually, I'll have "my own" Robbins-NYCB festival, since I've got tickets for Thursday and Friday evenings and Saturday matinee a long time ago. On Saturday they will perform the very same program you suggest. In fact, I thought of attending an ABT performance since I only had the chance to see them once, about thirty years ago, when they came to Buenos Aires on tour. Julio was one of the principals then and Paloma was a member of the corps. On the other hand, every time I have the chance to spend some days in NYC I try to attend any performance by the NYCB. Thank you nanushka, I appreciate your support, and all the others' who have posted here.
  13. Of course, laurel, no apology needed. I think I misunderstood what you said about discussing the performance. I thank you and all the other forum members who shared their thoughts here. I'm sure I will! Never attended a ballet performance at the Met, so I'm sure that will be a great experience!
  14. Thank you all for sharing your thoughts. I'll definitely get a ticket for the Copeland - Cornejo - Abrera performance, which by the way suits better to my working schedule. At first I was thinking of the other performance, since Herman Cornejo will be guesting here at Teatro Colón as Conrad, alongside Kochetkova as Medora and Simkin as Ali. That will happen in ten days and I already got my tickets. But I've changed my mind. Not sure about that. Last January I attended a performance of the NYCB. I entered the forum with the idea of posting something about that, but I found that several other members were reporting about the very same performance I attended. All of them noticed something wrong in one of those ballets, some kind of partnering misunderstanding that was even noticeable in the main ballerina's face (the ballet was Chaconne, maybe some of you read about that here in the forums). I saw nothing of that, I thought everything was fine, I didn't notice anything wrong, neither the partnering flop nor the disgusted ballerina gesture. Adding that to the fact that English is not my native language and my lack of knowledge about steps and many other things, I thought I'd rather remain just a reader. One more time, thank you all. Really appreciate that you took your time to reply my question.
  15. Hello everyone at the forums. Living in Buenos Aires, I am not very familiar with ABT. I will have the chance of attending one single performance of Giselle next May. I might choose Tuesday 15 (Copeland - Cornejo - Abrera) or Wednesday 16 (Boylston - Whiteside - Teuscher). Since I will be working, I won't be able to attend the Wednesday matinee (Lane - Simkin - Shevchenko). Which of those performances would you suggest and why? Thank you in advance for your input.
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