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eduardo

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About eduardo

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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

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  1. Definitely agree with this. I have seen myself in that "general public" place as well. It has happened to me when visiting NYC and attending a NYCB performance.
  2. I guess most of us have watched the video of the ABT suite of Paquita staged by Makarova. As much as I enjoy the variations danced by Susan Jaffe and Cynthia Harvey, I dislike the variation for Paquita. I find it uninteresting. Perhaps I'm missing something?
  3. I thought that variation was weak, in particular compared to the male variation, until I saw Ludmila Semenyaka dance it!
  4. I particularly remember her in the first theme of The four temperaments.
  5. Thank you Helene! I see what you mean, especially about Ashley (I never had the chance to see von Aroldingen). Sometimes people enjoy that kind of challenges: try what doesn't seem obvious. Or even further: try what looks obviously a non fit for someone. I've seen that in a law firm (assigning cases to different people) with varying degrees of success. Any chances Mr. Balanchine might have seen it that way? In many different ways, I see him as a challenger.
  6. I guess I have missed something, Helene. My apologies. Would you please care to explain what you mean when you mention that casting for Emeralds by Balanchine?
  7. You're right. I just associated the name of Ulrica with American version of Ballo. Probably because in Sweden the character is called Madame Arvidson, but I think her first name is still Ulrica. I have never read the libretto of the Sweden version. Does it say "sangue de' negri"?
  8. Ulrica, from Un ballo in maschera, is black. It is not clear enough whether she's American.
  9. According to the website, November 12: https://www.sfballet.org/visit/2020-season-tickets 👉 Single Tickets Tickets for Individual Performances — On Sale November 12, 2019
  10. Disclaimer: I am also a Balanchine fan, despite the fact that I'm far from having seen all of his ballets. So far, in this order: The four temperaments (that's what I'd bring to the desert island), closely followed by Serenade. After those I love Monumentum/Movements, Agon and the fifth place probably goes to Stars & Stripes.
  11. I do understand that you may forget to turn off your mobile. It can happen to anyone for several reasons. But texting or talking during a performance or concert is something I really don't get. In the first place, why are you attending if you are more interested in something else? And in case it's an emergency, just leave the place and talk/text as much as needed. Not to mention how much you disturb those people around you.
  12. My pleasure. I think you're spot on, since she says something like "A couple of years ago I said to myself: I'm thirty; if I don't dance the repertoire ballets now, it will never happen" (free translation by myself). Here's the link to the short interview. Of course, Spanish only: https://www.clarin.com/espectaculos/teatro/ana-sophia-scheller-retrato-bailarina-itinerante_0_WHDP8J4Zp.html
  13. From what I read in a local newspaper here in Buenos Aires, she's joining the National Ballet of Ukraine. One of her goals is to dance the "big classics of the repertoire". I guess she plans to do so there.
  14. This article https://www.lanacion.com.ar/espectaculos/danza/misty-copeland-no-bailara-teatro-colon-nid2278741 mentions "an old injury in her tibia". No further details.
  15. I guess this is a very basic question, but honestly I have no idea about how this works in the ballet world. Is it usual that a guest dancer should know the part he/she will have to perform? Or is it possible that he/she just joins the company and learns the role with the choreographer or ballet master? Perhaps there are different possibilities and that's part of the contract they sign? Of course, I'm not thinking of every little detail, but the choreography/steps, generally speaking. It may be important in cases like this, since I understand that the Schneitzhoeffer-Lacotte Sylphide is not a staple in the usual repertoire, at least not as much as the Lovenskjold-Bournonville
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