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Everything posted by Marta

  1. Below is the response I received on 08.16 to my question about no intermissions. They neglected to answer how intermission-less performances make audiences safer ... CustCare <customercare@nycballet.com> Mon, Aug 16 at 2:16 PM Dear Ms. We understand your concern regarding bathroom access during our intermission-less performances this fall. In an effort to alleviate this concern, we are expanding access to all levels of the theater during the hour prior to performances for our guests to use the facilities prior to curtain. Our shortened programs – most running about an hour-and-a-half – will have pauses throughout the program that will allow audiences members to leave the auditorium and return at appropriate intervals should the need arise. Regards, NYCB Customer Care
  2. I second that! 83 copies blows my mind. The Boston Public Library has 3 print copies and 3 eBooks. . I see now that are are more than 20 reserves for the book, but several weeks ago I was #1 and the only one reserving a print copy.
  3. Nanushka said: Again, I guess it's a matter of what one turns to particular books hoping to find. For me, the primary appeal of a dancer memoir is not in its prose style; if the prose gives pleasure, that's a bonus. I'm reading the book for the candid insights about a dancer's experience. Agree that I'm looking for candid insights and a sense of who the author is, why they dance, what they love,.
  4. I wonder too if NYCB policy will change. About a week ago, I emailed NYCB and asked how having no intermissions protected the audience. Couldn't they close off the Promenade and only allow people on paths to the bathrooms? Couldn't they require masks or proof of vaccination instead? Yada yada yada. I didn't receive an answer.
  5. Canbelto, thanks for that photo of young Osipova. Her pointe shoes are always super grungy.
  6. I have read that Osipova uses them but have never noticed it either in person or in photos. Lamb's pix above look particularly strange.
  7. YES to Mejia too, forgot to mention him.
  8. I agree on Furlan and Ball, haven't seen enough of the other men named to say though. The 3 women should be principals too, especially Woodward. I'd like to see Spartak Hoxha become soloist.
  9. Your summary of the Pazcoguin issue is right on. It's so easy for people to be skeptical about claims that don't seem "credible". I also saw The Assistant and agree that it's a terrific and accurate observation about power imbalance in the work world.
  10. Buddy said: As sort of an aside, I remember Veronika Part dancing one of her exceptional Swan Lakes with a partner that was relatively new to it. For me, she commands the stage completely, but this evening it seemed that she stood back somewhat in order to let him shine a bit more. I thought that it was a fine gesture, if in fact it was her intent. I was curious about the partner in the Swan Lake you mention. I loved Veronika Part and saw her In SL several times. I recall Stearns and Whiteside, neither of whom I liked. Can't remember the other partner though.
  11. Marta

    Sarah Lane

    I feel sad that I'll probably never see Lane dance again. The departure of Veronika Part, while very different, was equally sad. Those who aren't in KM's magic circle don't last at ABT. I think there are holes in the interview too, and don't expect to be enlightened unless Lane writes an autobiography. In the final analysis it was Lane against KM. She was never favored by him and that was never going to change. Her request to not be partnered with Cornejo was a surprise to me. I thought their parting was connected to his not choosing her to be in his anniversary performance. Ultimately I also agree with canbelto.
  12. I'm with Vipa too. I want more Balanchine, more Robbins, more Ratmansky. Don't hate me but I don't want more Peck for a while.
  13. I agree completely. I watched it several times. She was phenomenal both technically and expressively.
  14. Wonderful. I watched it earlier and just watched again. Has NYCB ever revived it after Balanchine's death?
  15. Agree that Thank You NY has actual dancing, more movement in space. It seems trivial but as soon as I saw Stafford, I thought "lose that mustache". He looks completely different.
  16. I enjoyed everyone in this same interview very much, and Turazashvili's English was so impressive! Tereshkina is one of my favorite Mariinsky dancers, and it was also easy to see her in Fateyev's class.
  17. I agree ... but also ... canbelto said: Think the "new works" in recent years that will be a permanent part of the rep: Alexei Ratmansky's Russian Seasons, Namouna, Concerto DSCH, Pictures at an Exhibition Justin Peck's In Creases, Times Are Racing, Rodeo, Belles Lettres, Pulcinella Variations Wheeldon's After the Rain, This Bitter Earth, Carousel, DGV Forsythe's Herman Schmermann Kyle Abraham's Runaway Yes to all.
  18. Not every work by a great painter was a great painting. Vipa said: Maybe dance audiences will be eager to see NYCB do a lot of new works when they return to the stage after a year and a half, but I'll be eager to be re-immersed in the Balanchine rep. I'm all in favor of giving opportunities to new choreographers, but great art is hard to come by, and I fear the emphasis on turning the page could mean ignoring the fabulous NYCB heritage. I'm very eager to see Balanchine next year and always. Compared to the programs of 20 or even 10 years ago, we seem to see less of Balanchine and Robbins. Cobweb said: It's hard to know when to keep trying to appreciate something, like, say, this week's Bell and Tanowitz works, and when to decide it's better to spend my time on something else. If I hear a chorus of support for some of these works, I would certainly try again. I've watched all the new works and in this desert of live performances, it's a gift to be able to see these contemporary works. For me the criterion is, "do I want to see it again". So far yes, and I plan to watch again, especially the first two. I thought there were many unusual aspects to the ballet by Bell, the only choreographer I'd never heard of. I liked very much the Tanowitz ballet. I have the impression that some people were expecting more traditional "stage pictures" in these works. What someone mentioned as "the great architectural statements" was not distracting to me, but part of the set design. The space, even the sky were new elements . I also liked what the dancers said or suggested: that it was a challenge not only to move in a different way, but to participate in the process in a totally different way.
  19. I've seen the McBride/Baryshnikov on YouTube. I don't know if it's still there.
  20. Agree. i just love it and can't wait to see it again in person. Also: P.S. I hate it when dancers pronounce "pas de deux" as "pas de duh." Why do they do it? It seems almost every NYCB dancer says this!
  21. balletforme said: NYCB ballet dancers are collecting unemployment (those who can.) Not foreign dancers. That's verified through numerous Instgram posts. They are not being offered any classes through the company. Th What a sad company. They have the HIGHEST budget of ANY ballet company in the US (89 Million in 2018) and yet companies with less money are paying their dancers, using relief funds to give them classes, performing in small works and chamber pieces (SFB, MCB, PNB). I don't think this is completely correct. I recall reading in March, when the spring season was canceled, that NYCB planned to pay its dancers through the end of May when the spring season would have finished. Some dancers may be getting unemployment now. You mention other companies, however, the rate of infection in those cities was/is not as high as it was in NY, therefore it wasn't possible to present small works. Are you saying the companies you cite are still paying their dancers?
  22. It was a wonderful program. I recall seeing it when it was first televised. I loved Farrell and Andersen and saw them dance several times in the 1980s. It's certainly worth repeated viewings.
  23. I agree, but also couldn't NYCB have made the announcement on their site? It's unclear which organization decided to cancel.
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