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Kathleen O'Connell

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About Kathleen O'Connell

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    Sapphire Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Member of the Audience
  • City**
    New York

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  1. This is why I would pony up for an all-arts streaming service with a deep, deep catalogue of performances that stay up for at least a six-month to one-year window. The roster of companies and performers needs to reach further than the usual suspects; the performances on offer need to be more than what's already available on DVD. Services like Medici and Marquee tend to feature (Euro-centric) material that's already available on physical media. What I'm talking about is a service that might offer, say, four San Francisco Ballet performances captured live during the current season. For "San Fran
  2. It's surely been a challenging year for arts fundraising. There's the difficulty of cultivating and maintaining an audience when the theater is shuttered, compounded by the difficulty of maintaining a donor base when you can't hold public events like galas or can't offer opportunities to get close to the organization (and other donors) like open rehearsals or lecture / demos and the like. I wonder if companies will keep the digital perks once the pandemic is behind us?
  3. Huh. I really like Peck's Rotunda. The only work on the Fall 2021 schedule that I could live without is Western Symphony. For the first time in a long time there isn't a program on the schedule that I'd dismiss as a clunker to be avoided at all costs, and I'll try to see Namouna more than once. I'm going to guess that Monumentum / Movements may be my last chance to see Ask la Cour and that Opus 19 / The Dreamer may be my last chance to see Lauren Lovette on a regular program since both dancers are retiring during the Fall 2021 season. Since I like both of those ballets and both of those dancer
  4. A neighbor and I were half-joking yesterday about how much we've enjoyed our cold and flu free year and how we might just keep on wearing masks and obsessively washing our hands long after Covid-19 restrictions have been lifted. 😉 And honestly, I have no objection to wearing a mask indoors (or in close quarters outdoors) until 1) it's been determined that the current vaccines provide protection against the new Covid-19 variants, or, more to the point, limit their spread and 2) most of us have been vaccinated.
  5. Speaking as someone who has had to present a Carte Jaune along with my passport at more than one international border, I expect that the international community will wrestle proof of Covid-19 vaccination to the ground at some point. Some countries (Nigeria is one) have already developed digital versions of the Yellow Card to circumvent forgeries and I expect more will follow.
  6. When I applied for my New York State Excelsior Vaccine Pass I had to provide the information that's on my CDC vaccination record (name, birthdate, vaccine type, the date of final the dose, and where I received it) plus my zip code. This information was the confirmed against the NYS vaccine database. Had I received my vaccine from an entity that doesn't fall under the regulatory authority of New York State—e.g. a federal agency, an entity from another U.S. state or jurisdiction, or a first nation—and that doesn't report into the NYS system I wouldn't have been able to get the NYS pass. My husba
  7. Pointing the camera right at that big wall of windows was ... a bold choice. I'm going to hazard a guess that the Liebeslieder excerpt was shot entirely with natural light. (I'm also curious about whether Coppola opted for film or digital, and, if the latter, if the post-production color grading was done to emulate a classic film stock. She loves film. But I digress.) You can thank Mark Stanley for the darking for the Peck piece.
  8. More on the Gala film: Kudos to the powers-that-be for allowing the men to demonstrate the expressive power of things like a beautiful line, or a supple port-de-bras, or finely-tune musicality, etc etc etc rather than using them as pyrotechnic applause machines. Yes, Anthony Huxley has a wonderful jump, but honestly, I couldn't make myself stop watching his gorgeous hands and I can't thank Coppola and Peck enough for showing them to me. Also I'm an Ashley Bouder fan, but I kept wanting to shove her out of the way because she was blocking my view of Russell Janzen getting all sassy w
  9. Normally, I'm also in the "No fancy camera angles please!" and "For the love of all that is holy, don't cut them off at the knees!" school of filmed dance performance. But I actually appreciated the way Coppola (and Peck) chose to approach this particular project. To me, it felt as much a film about dancers in a space—and poignantly, in this case, a space that they view as a home that they're returning to at last or, even more poignantly, a home that some of them must soon leave again, and for good this time—as it was about the excerpted choreographies, if not more so. I was happy to forgo a p
  10. May she rest in peace, and my condolences to all who held her dear. I was lucky enough to meet Katherine for lunch during one of her visits to NYC, and she was as delightful in person as she was in her posts here. I'm so, so sad to hear this news.
  11. Queensland Ballet's decision to cancel its planned tour of Scarlett's Dangerous Liaisons is explained here and here and here. Queensland Ballet conducted its own investigation and "found no evidence of improper behaviour by Scarlett in Australia." Although the company had "been aware of the existence of allegations" against him in October 2020, it didn't make the decision to suspend its ties with Scarlett until April 2021, when they received more information regarding nature of the complaints: "Queensland Ballet's artistic director Li Cunxin says his company did not cut ties with world-re
  12. I think we should be cautious about making an explicit link between the RDB's decision to cancel Frankenstein—or any company's decision regarding engaging Scarlett or staging his ballets—and his suicide.
  13. As noted above, the Bayerische Staatsballett is presenting a week of live streams (Digitale Ballettfestwoche 2021). Here's the schedule for the remaining streams, which all begin at 7:30 PM Munich time (CEST) / 1:30 PM EST. NOTE: These are livestreams and won't be available for on-demand viewing after the initial stream. You can find each day's stream here: https://www.operlive.de Here are the remaining streams. (The link will take you to a page with more program information. It will not take you to the stream.) Monday, April 19, 2021: Portrait Wayne Mcgregor - Kairos / Sunyata
  14. I found most of Emeralds filmed much too close, which may be a function of my irl preference for sitting further back from the stage than most people might prefer. I kept wishing the camera would pull back even just a little bit to put more air in the frame, even (especially!) for the solos and pas de deux. The camera work in Rubies and Diamonds was a bit better in this regard, but not much. And lordy, that shiny shiny stage floor is distracting.
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