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About Marta

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    avid balletgoer, former adult student
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  1. I'm planning to attend if the Giselle is Kapitonova. I don't know who the other Giselles would be, but there are a few dancers I would avoid. I think BB doesn't usually publish casting until the week before.
  2. 3 hours ago, Mashinka said: I actually see his point to some extent, if these women were so offended at his alleged behaviour, why didn't they complain at the time? Jumping on a bandwagon perhaps? We've had a lot of these historical cases in Britain of late and they are failing spectacularly, what's more accusers are now likely to face counter prosecutions, one is likely to go to prison for a very, very long time. What do they seek to gain? Compensation is most likely as I imagine old Placido has a bob or two in the bank, or is it more insidious and they want to tarnish his career because they were failures in their own? Nanushka said: On the first point: The article makes it very clear why they didn’t speak up at the time. On the second point: Does speaking the truth about crimes one has been a victim of (assuming the stories are true) really need to be explained by such grasping (in the first insinuation) or petty (in the second insinuation) motives? I agree completely with Nanushka's points. canbelto gave us the essence of why the women didn't complain: Because people wouldn't have believed them, especially decades ago. Just as people found it incredible that priests would sexually abuse children, "society", the opera world, or whatever body of people you want to name, would have been skeptical at best that the great Domingo could be a sexual aggressor.
  3. The detail is excruciating. Painful to read, and difficult to imagine despite the detail. He always struck me as being very correct ... so much for impressions. Does "longer than I expected" mean that Domingo's reputation has preceded him for decades?
  4. I II agas reviewed ballet, modern, flamenco, Indian and maybe other dance forms. She's far from a one-note writer/
  5. I'm disappointed to see this too. I don't know how I'd classify Kourlas, but she lost me when i read that she was writing a bio of Misty Copeland. I recall too about 5 years ago Kourlas had described Julie Kent as [paraphrasing] one of the finest or ABT's finest dramatic ballerinas. Nothing against Kent, I simply do not see her that way. Yes, better to have a dance critic, although not "chief", than not. I was hoping the NYT would name Marina Harss, who I think is an excellent writer.
  6. I think it's worth seeing as Baryshnikov speaks quite a bit before the performance of Configurations. I would love to see a documentary on Makarova and Baryshnikov, both individually and together. There is also at least one doc in Russian on Baryshnikov and Godunov on youtube, unfortunately with no option for subtitles in English. Also as Sandik observed about the unpopular doc on Nureyev, the scenes with him and Bruhn were intriguing: One more thing, though, about the Nureyev film -- the footage looking at Bruhn and Nureyev taking barre together was so interesting -- I think it showed us all kinds of things about how ballet can operate and their their fundamental different approaches to the discipline. Just watching those scenes gave you more information than paragraphs of text.
  7. I completely agree. Although she didn't realize her dream to be in Bolshoi, she did dance with secondary companies in Russia. Even if she isn't really suited to a corps position, I assume it must have been a "take it or leave it" offer.
  8. I wondered the same about Freni. I didn't think of Bonynge. I would be shocked if Freni had negative comments about Pavarotti though. Did you think the narrative was deliberately leaving out criticism? I did not but certainly the director seemed admiring of and awed by Pavarotti's gifts.
  9. I think Cornejo and Baryshnikov are the same height, either 5'6 or 5'7". I remember Boal as being similar in height or even slightly taller. I thought Martins was the greatest, he was a god. but also saw the other two and Hubbe and thought they were all wonderful.
  10. I saw him live twice in the early 80s, in Ernani at the Met and in a recital. Both were unforgettable, thrilling. The voice was so beautiful, so expressive, and the diction flawless, every word intelligible. No "Yes, Giorgio" was not mentioned. The documentary was really fantastic. Although I knew most of the facts, I thought it was extremely well done and Pavarotti's own words were very welcome. I thought his dedication of an aria to Lady Diana was touching and they really seemed to have a rapport.
  11. I looked on the BB site but don't see her yet. There's been a noticeable exodus from the company. Kuranaga went to San Francisco Ballet; Breen Combes retired and also Chalendard. Of the soloists, Burassi is going to Canada and it looks as though a few other soloists left too. I don't yet see any new principals or soloists. I would love to know if there's a specific reason for the drain.
  12. I'm completely with you! I had the same experience seeing the first Balanchine ballet in person, Divertimento #15, June 1979, Suzanne Farrell, an unforgettable performance. I too wish they would do it more often. Leaving the theater I checked the program and casting for the next day's matinee: Baryshnikov and McBride in Other Dances. Fabulous again! I know NYCB did this recently, but this ballet also seems not to be performed often enough.
  13. Do we know if she's in the corps or soloist at BB?
  14. I'm with you all the way. I also agree with Kathleen O'Connell, as a 40 year veteran NYCB watcher, that the corps often looks anti-geometric and does not move as one when it should.
  15. in fact now that you mention it, although I love Veronika Part, I remember being irked by the too smileyness. I also recall an earlier Apollo with Part and I think Beloserkovsky, where she smiled too much.
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