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Everything posted by Marta

  1. I can't disagree about the young girlish aspect, I just wished it looked less like a nightgown and more like a Juliet costume. Kirkland is incredibly delicate with a weightless jump and seems to barely touch the ground.
  2. I love Kirkland's SPF variation in MB's Nutcracker too and have also watched it a ton. I've always disliked her unfortunate costume. My least favorite is Puss 'n Boots with Red Riding Hood a close second.
  3. I read the article and I'm shocked that he is still so clueless. A part of me feels sorry for him, yet how can anyone be so insensitive and self centered in 2019? Consciousness raising is not going to work.
  4. I didn't think it was cute at all. It was being rude in the guise of a "joke", although unfunny, at D-W's expense.
  5. I saw last night's performance and agree that both Riccardo and Hoxha were very good. I've been noticing Hoxha for a while and he's a very strong dancer. He should be made soloist. While Riccardo does look more princely, I thought he seemed a little hesitant at times. He is also much younger than Hoxha. Joe Gordon was absolutely wonderful in TPC2. I do dislike the costumes very much. The men's costumes were just plain ugly, and the women's Juliet skirts were a dishwatery color and wrong for this ballet. All the movement of the skirts was quite distracting. Bring back the tutus.
  6. canbelto said: I am NOT a fan of these dresses for the muses. Way too summer sundress. Agree! Those tunics are hideous. Are they new? i don't remember the pleated look when I saw Apollo at ABT about 6-7 years ago.
  7. I think that Mitchell and Allegra Kent originated the roles in Bugaku. Kent seems absolutely right for it!
  8. Thank you Amy Reusch for your perceptive review. Although I didn't see the same cast I agree with everything you wrote below: Things I would love to see changed.. the lighting design... In general the lighting was a problem. In Act 1 it was initially very dark for a daylight scene. And the cross on Giselle's grave being upstage did not help Albrecht's entrance (or is that Hilarion's?) I was surprised that Giselle's grave was so far upstage and that I couldn't tell whether it was Hilarion or Albrecht entering. Not good. ... this long slow walk toward nothing in particular with lots of light effects... the cross was rarely visible... not sure what was up with that... and it almost seemed like they could not afford enough follow spots. Often Giselle & Albrecht were entreating a Myrtha left wholly in shadow. The props... I felt like the props department thought everything extra large because surely we would never "get it" otherwise... everything had an amateurish quality. Coaching of Albrecht in Act II... he has to sense Giselle's presence... not just turn and look her immediately straight in the eye... it should be like sensing at the back of the neck that someone is watching... if he sees her plain as day, why does he miss her when he reaches for her later... This was a major disappointment. Albrecht's entrance had no nuance as performed by Yocum. Ditto the lack of legato in Act 2 adagio as well as staccato arabesques voyagés. In act 2, that lovely adagio was missing legato in the dancers' musicality... idon't know if it were the conductor playing with it or the dancers themselves, but the setting Giselle down on pointe shouldn't be so precisely accented to the note... it's not a moment to express precision... it should be like a dream... This production needs a lot more cohesion and thought, along with more coaching. In the BB Giselle 10 years ago I don't recall being so critical of the production itself.
  9. Certainly they have merit but what I also meant was being "right" for the roles rather than being cast solely on the basis of race.
  10. I've been wondering if the second paragraph is a serious statement. How would casting Asian dancers in Bugaku remove the thorny aspects of this ballet? Shouldn't dancers be cast on merit and not race? It's not as though we're talking about. for example, Porgy and Bess, which is mandated by the Gershwin estate to be cast with all black singers, chorus etc.
  11. So they wear toupees. Singers wear them too. Canbelto mentioned maybe Nureyev wore pne in late career, which I think he did. Ordinary people wear them. To me it's a non issue and should absolutely be left to the individual.
  12. I'd really like to see it but cannot get there. Marina Harss in Dance Tabs wrote an excellent thought provoking review.
  13. I agree completely. It is sad that Domingo goes out on a sour note. I saw Netrebko & Lučić on opening night of Macbeth a few years ago. She was absolutely stupendous and I thought he sang very expressively. He didn't rise to her level but I think only Hvorostovsky could have, so I wasn't disappointed.
  14. The NPR report was the kiss of death in my opinion. There are still people who don't want to believe the allegations.
  15. Hi Blue Velvet, Welcome. I'm a Boston balletomane too. Have you seen Giselle? Would love to read your opinion of it and of BB in general.
  16. I'm glad to hear that a confrontation with the ushers was productive. It's appalling that they were creating such a disturbance. I would think that a phone call via the box office or even an email would be helpful.
  17. I saw the Saturday night 9.21 performance with Kapitonova, Yokum, and Atkins. Kapitonova was very good and I'd be happy to see her again. Her Act 1 portrayal of a naive young woman dazzled by the amorous Albrecht was convincing. Her solo was delightful; only the very rapid hops on pointe seemed rushed and unmusical. Her Act II was terrific. Technique, phrasing, musicality were all there. I was really wishing she had a different partner. I found Yocum not particularly expressive. He didn't make much of his entrance in Act 2. His technique is strong enough, but he seemed to really flag in his difficult variation. I really thought he wasn't going to make it around on his last few turns. Atkins did well as Myrtha but you could see the effort in the challenging arabesques pencheés. Yocum again was rather flat as Giselle returns to her grave. Paul Craig was very good as Hilarion. The peasant PdD was danced by Ji young Chae, who was light and fleet with nice ballon. Tigran Mkrtchyan was an uneven dancer. He never seemed to finish his jumps cleanly yet I think he has the potential to grow. The two chief Wilis, Zulma and Zoyna [?] were both excellent. I am not sure what "adapted" means in the description of this production, "staged and adapted" by Ponomarenko. It seemed to me that there were truncations in Act 1, where Albrecht's solo was happening almost immediately after their previous dance together. Were some of the villagers' ensemble dancing cut short? Also in Myrtha's initial solo, why did she hold lilies? She later entered with myrtle. I've only seen previous Myrthas with the myrtle. I'm curious to read reviews of others who have seen different casts.
  18. I'm glad to see this recommendation as I'm not familiar with Oga at all. My first choice is Kapitonova, but can't get to her performances. I look forwad to any reviews of her perf. I can't see Cirio as Giselle, and wondered if Ellis would be cast. I can't see her either though. The last Giselle I saw in Boston was Lorna Feijoo who I thought was wonderful. I'm happy to see Dunn in anything. True that the young dancers have benefitted from recent departures.
  19. Maria was transcendent in the spring Diamonds. I was thrilled to read that Farrell had coached her. Maria is phenomenal in both Agon and Diamonds. There are others, such as Reichlen, who shine in Agon, but in Diamonds, Maria reigns.
  20. 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.
  21. 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.
  22. 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?
  23. I II agas reviewed ballet, modern, flamenco, Indian and maybe other dance forms. She's far from a one-note writer/
  24. 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.
  25. 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.
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