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Marta

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Everything posted by Marta

  1. Roberta, you wrote an excellent review of The White Crow. I enjoyed the film very much and it was beautifully done. Ivenko was good; his dancing was good but not great and nobody could expect him to have Rudi's charisma. I thought Fiennes was terrific. He really evoked the films of Pushkin teaching Baryshnikov's class. I wish there had been more dancing though. The film was quite faithful to the bio of Rudi by Julie Kavanagh. All the people you mention figured prominently in her book. It would have been fascinating to see more of Sizova and especially Soloviev. The night after I saw White Crow, I saw the current documentary film "Nureyev" . Fascinating to see the contrast between them. I also wished there were more actual footage of Nureyev dancing in the doc film. Instead there were scenes of dancers performing contemporary choreography against a backdrop of a Russian birch forest, with the real Rudi pirouetting interminably off to one side. The documentary covers his entire life with extensive portions of interviews with Dick Cavett and others. Both films are worth seeing.
  2. I didn't see the Tanowitz/Bartok ballet so reading the diverging points of view is intriguing. I read that it's her first time choreographing point work . I saw her Goldberg Variations and thought it was terrific. Four Quartets got even more favorable reviews. I'm curious to see more of her dances. I don't understand why Garcia is cast in De Luz's repertory or in any ballet requiring virtuosity and fast feet.
  3. I've never heard of this publication and wonder if it's still being published. i assume you're not referring to Pointe magazine because I don't think it goes back as far as 1976. You might ask at Ballet Review, based in NY. The writers there seem to know everything about ballet. Or the Jerome Robbins Dance Division at the NY Public Library. Good luck!
  4. "Agnostic" is a great word to express your opinion on this story, and I agree completely. Thanks also for the emphasis that they are men and not boys.
  5. My impression is that she wrote more frequent columns years ago when she first became the dance critic. There 's been a significant reduction in both the dance and music reviews or articles over the last several years. I assumed it was editorial policy.
  6. I third that motion. Do we still not know who Macaulay's successor is or have I missed something?
  7. Curious as to why you say "not"? I'm not surprised at this choice. Nor can I say with complete conviction that it should have been X, Y, or Z chosen instead. I AM surprised that there haven't been more comments here on the board. I wasn't a partisan of anyone in particular, although I thought Woetzel would have been great if he weren't already taken. Is it significant that the announcement came now, soon after the clash between Martins and Stafford, rather than at the gala in May.
  8. Yes, it's puzzling. In general the NYT dance coverage has been sparse, it seems, since Macaulay left. Not that I ever loved his reviews. Will they even name a new chief dance writer, or rely on Kourlas and Seibert and occasional contributors?
  9. Congratulations, Ivy. Excellent review. I've read a lot about this company but have never seen them.
  10. I saw the production when it was new and after one viewing I never wanted to see it again. As Rock said, those tempi made this beauteous score into something very different. There's no sense of breath or air in the music, I really missed the port de bras and epaulement despite that I know NYCB is not known for dancing with the upper body. Maybe Martins should have streamlined some other classic with "speed and energy". I did like the garland dance and the many children, but no amount of lovely costumes or clever projections would draw me to a ballet.
  11. You make some excellent points, especially about the household word status of Picasso and Bach. I live in Boston and know intelligent people who have never heard of Balanchine or read the New Yorker. They have no interest in dance or opera, visual arts or music. I do think the NYT writers try not to assume a certain level of dance knowledge or sophistication of their readers.
  12. I saw this ballet a few years ago with Kowroski and Ulbricht. It was spectacular! They were perfect in this work, as they are in most ballets. It was on a program with newer and very new ballets, but it was the most radical and most creative work in the whole performance. It is quite static spatially and some think it's related to Agon or The Cage. I don't see that, other than the movements are very angular Really you can't take your eyes off it for a second. Go see it!
  13. Thanks for posting this, cubanmiamiboy. Clifford said it was a home movie, yup. If only the quality were a little bit better! I was just reading through this thread and just about every youtube link led to a frowny face "sorry, this video is no longer available". There are still some terrific clips of GK on youtube, though.
  14. I like Taylor Stanley but haven't seen him dance much. I thought his Apollo was fine but definitely lacking in the "wild half-human youth" quality, as well as the godlike nobility. His facial expressions didn't help the interpretation, not that I think Apollo should ever be smiley. You mention Ib Andersen whom I saw once as Apollo and he was wonderful! I wonder if Stanley and others making their debut can hear the "footsteps of giants" behind them. I always enjoy Tiler Peck although I don't think Terpsichore is her best role . I also like to see a taller dancer-- have to confess a preference for the "goddess" type. Woodward and Pollack were both good. Kowroski was magnificent in Agon. There is no one greater! I've seen her in Agon several seasons ago and she is still memorable. Although I think the Angle brothers are both declining, I was surprised that Angle in Agon was satisfying and more than just a good partner. Megan LeCrone also surprised; she is clean, precise, light. Only the tense facial carriage is a negative. Huxley in Agon was spectacular, I loved him! Although I don't think Orpheus is an easy work to love, it has a poetic aspect that I found appealing. I really liked Garcia's performance and he's never been a favorite. Yes there are some silly aspects to the ballet and parts of Noguchi's design are ugly or awkward. It's always interesting to see an unfamiliar Balanchine.
  15. I think Taylor Stanley is a fine dancer. I have to say I haven't found him incredible, although I'm very happy to be seeing him in Apollo instead of Garcia. Garcia has never moved me in any role. Agree that the decline of the Angles and Veyette is quite glaring. While I liked Catazaro, I was underwhelmed by his Apollo last year. I think Joseph Gordon is terrific!
  16. How I would love to see Farrell as AD, but I also don't think she's inclined to take on NYCB. Her age has been mentioned as a signifcant minus. Neither Kent, Kowroski or Ringer are likely possibilities to me. Are we going to be completely surprised by the final choice? I'd be shocked if it were Woetzel.
  17. Marta

    Natalia Makarova

    I love this ballet and have watched the youtube clip possibly hundreds of times. Makarova and Baryshnikov are sublime together. They created the roles and in some way "possess" them as no other dancers can. Do you also like the solos and the ending duet? There are some interesting comparisons on youtube of other dancers in the solos, emphasizing to me that the original is the gold standard.
  18. I completely agree. Both films had corny and trashy plots, but still worth seeing for the dancing.
  19. I love Balanchine's Nutcracker the most. I also love Baryshnikov's film and have seen it dozens of times. I've seen both the Maryinsky and Bolshoi versions on film and disliked both intensely, despite wonderful dancers.
  20. Wonderful film that I'd never seen. Thanks for the link!
  21. Dirac said: Also, given the apparent emphasis on hiring a woman, in the recent past Whelan hasn’t exactly been outspoken on behalf of, say, female choreographers: I’d hate to think of women not getting a crack at opportunities because Whelan senses weird energies coming from them, or something. If she's going to run the company, I just hope she's now ready for that woman-to-woman connection ....... Weird energies that clash and weird connections ... "physically and emotionally not ready for ... the woman to woman connection"? It was her right to choose whom she wanted, but her answers, or rather her responses [she didn't really answer the questions] are disappointing and seem to hail from another decade. However it isn't fair to prejudge what she would do if she becomes the AD.
  22. Signs aren't pointing to Lopez because she was in the company while Balanchine was still living.
  23. Maybe there are mystery candidates that none of us have yet mentioned. All of the mentions are unlikely. Either happy where they are, have no experience, too old, combinations of those. Woetzel to me would have been the best choice, but I would be very surprised if he left Juilliard. I agree with fleurfairy that the interim team is managing very well yet I don't think they should remain permanently. Many people have advocated for Jon Stafford. Lopez or any other woman shouldn't be considered because she ticks the female and minority boxes.
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