klingsor
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Posts posted by klingsor
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Caught "You Can't Take It with You" (1938)
http://www.imdb.com/title/tt0030993/
the other night (actually early AM) and was reminded just how much I dislike Capra.
Maybe they're good films but most of 'em make me wanna... nevermind.
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Dowell
Legris
Boal
Bruhn
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I attended the Wednesday matinee of “Giselle”. I have a Saturday matinee subscription (two subscriptions actually), but I switched to the Wednesday matinee so I could see Abrera and Hallberg. I saw them dance in “Les Slyphides” at City Center about three years ago, and thought Stella and David would be wonderful as the leads in “Giselle”. Unfortunately, that was not to be. For a while, it looked like I was going to see Dvorovenko as “Giselle”. I’ve never seen Irina as “Giselle”, but I don’t think it would be a good part for her. (Anyone attending the Saturday matinee, please post and let me know how Irina and Max did in “Giselle”.) I don’t think Irina has the innocent quality Giselle needs, but I could be wrong. And Paloma Herrera (who I saw dance “Giselle” in 2006) was one of the worst “Giselles” I ever saw. Her dancing, her acting, everything was really off. (Gomes, however, was fantastic as Albrecht.)
So I was very happy to see Cornejo and Reyes as Albrecht and Giselle. Thursday night’s “Giselle” must have been out of this world, because I really loved their performances on Wednesday afternoon. I saw Xiomara dance “Giselle” in 2005 (with Corella), and as good as she was then, she was even better at Wednesday’s matinee. Her Giselle was so young and so in love with Albrecht. Her mad scene was absolutely heart breaking. And in Act II her lightness and incredibly fast footwork was just perfect.
Herman’s Albrecht broke my heart even more than Xiomara’s Giselle. I think his Albrecht loved Giselle from the very beginning. He seemed even younger than Giselle. I got the impression Albrecht pushed his real life way to the background, and didn’t even think about it or his fiancée when he was with Giselle. In Act II Herman was the most devastated Albrecht I’ve ever seen (and I’ve seen “Giselle” close to 30 times). I started crying as soon as he appeared in Act II, carrying flowers to Giselle’s grave. I don’t always cry when I see “Giselle”. I think, for me, it has to do with the power of Albrecht’s performance and the chemistry between Albrecht and Giselle. In 2006 I saw Vishneva and Corella in “Giselle”. I thought both danced beautifully, but for me there was no chemistry between them. So I didn’t cry. But on Wednesday afternoon, I wept bucketfuls. Both performances were so real and so moving I feel sad thinking about the Reyes/Cornejo “Giselle” even now.
Other performers stood out too. I definitely agree with all the posters who have commented on Isaac Stappas’ incredible performance as Hilarion. And I always love seeing Susan Jones as Berthe. She was like a real mother, not a corps member made up to look older. Her relationship with Reyes’ Giselle was very close and loving. Gillian Murphy was the best Myrta I’ve ever seen, and other posters have described it better than I ever good. (I don’t think Gillian would be a good Giselle however. I hope she never dances the part. She’s just too powerful, too strong. I remember my disappointment years ago seeing Cynthia Gregory dance Giselle. She was just too strong for the part. I didn’t believe for a minute she had a heart condition. Did Gregory ever dance Myrtha? I think she would have been outstanding in the part. Lastly, Sarah Lane and especially
Mikhail Ilyin were wonderful in the peasant pas de deux. What an exciting dancer Ilyin is! And after seeing him as Birbanto in “Le Corsaire” and the lead peasant dancer in “The Merry Widow’, it was the first time I got to see what Mikhail really looks like.
Colleen, if you thought Cynthia was too strong as Giselle, you should have seen Martine Van Hamel danced it for one performance with C Tippet in late 70's(or early 80's).Imust add that her 2nd act was beautiful. Clark was such a strong partner that he helped a lot in giving the illusion of lightness. Cynthia did Myrtha a few times.
I saw it. A very healthy and sunny Giselle for sure but she was such a beautiful and big dancer. By big I mean she totally filled the music
Saw her do Aurora, too. Musically, it was sublime.
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I'll get back on-topic by saying that I think Barbra Streisand's two best films are Hello, Dolly! and Yentl, and they've both been much-criticized (and the criticism is understandable, but still...I think they are underrated, especially the former, which is one of the very small number of near-perfect film adaptations of a B'way musical, probably had a lot to do with Kelly.)
Oh, I love Barbra Streisand films. My favourite is Funny Girl. I like On a Clear Day too. Streisand is such a diva that her personality always takes over even though you get the feeling that she doing her best just to act.
Last night, I caught part of a tribute to Warren Beatty and Streisand (along with a whole bunch of people from Bill Clinton to John McCain 
) paid tribute. Streisand was fake complaining that Beatty hadn't chosen her for Bonnie & Clyde or Shampoo. The mind boggles...My favorite Streisand movie is
Nuts (1987)
http://www.imdb.com/title/tt0093660/
Thought everyone was wonderful in that movie including actors I generally don''t like (Karl Maulden and James Whitmore).
Leslie Nielson was fantastic as the man who raped her.
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Nightmare Alley (1947)
http://www.imdb.com/title/tt0039661/
I don't know that it's even available on tape or dvd
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Harvey Keitel in "The Duellists".
I thought he was brilliant, though.
And I'm not sure Edward G. Robinson was doing his natural accent in The Ten Commandments. Sounded more like his "Little Caesar" accent. Loved it, though.
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In a more perfect world, Mr. McKenzie would have appeared during the curtain calls, knelt, and promoted her to Principal.
Ain't that the truth.
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BTW: I spoke to several dancers backstage after the performance and received first-hand confirmation from several sources that Veronika Part was suffering from some kind of stomach ailment or bug. She is not injured and is determined not give up Saturday afternoon's "Swan Lake".
Thanks for that information. Looking forward to Saturday matinee.
Thought Nina was lovely last night. Interesting to see Gomes and Hallberg switch roles from Tuesday night.
Gad, I wish they'd do Blair's or Ashton's ACT IV.
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In New York: WNET (13) will show the film at 10 PM, Friday April 11. The rerun is scheduled for 3 AM, Friday April 18.
You may view the PBS preview here (click on the obvious place):
http://www.pbs.org/independentlens/waterflowingtogether/
Somebody wished him to have this talent. Somebody up there. -- Peter Martins
It's on 13 High Definition (Time Warner Cable) Saturday April 12th at 3, 8 and 11PM according to the Grid Guide.
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They may be a little slow in mailing out your subscription tickets, but they make up for it with the speed with which they cash your check or charge your credit card when you renew.
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I miss Tharp's "Deuce Coupe II" to The Beach Boys music (with the grafitti artists).
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Is the 1935 Midsummer's Night Dream available on video?
http://www.amazon.com/exec/obidos/external...7C%206302804655
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Campanadas a medianoche (1965)
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I find most of Balanchine's ballets perfect.
Agree with Giannina anout Ashton's "Monotones II".
Though I've always felt it was misogynistic, Robbins' "The Cage" is a perfect ballet, in my opinion.
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VERRRRRRRRY minor quibble.
What happened to the big bear in Petrouchka. Great threatening music for his(or her) entrance and we get "Winnie The Pooh".
I remember the bear being 8 feet tall in the 70's.
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Well, Apollo is a pretty virtuosic role, but I wonder if ABT has "trained" its audience to expect evenings full of coda tricks.
Quite possibly.
I'm embarrassed to admit that the first time I went to NYCB, I thought Farrell and Martins were pretty good in Chaconne, but that it wasn't a very demanding ballet.
What a yutz!!!
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In the evening, Acosta started out a bold powerhouse and grew into a fine, firey Apollo. He is completely the opposite of Hallberg's quietier Apollo. Acosta explodes with power, then matures into a God with refinement, maturity and sensitivity yet never losing his fire. Acosta's muses, Herrera, Wiles, and Riccetto were all excellent dancing so fully with strength and feminine polish.
Agree "sz", but I was disappointed by the tepid response from the audience.
Might seem minor, but I think the dancers deserved better.
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Given the calibre of the existing Man-g-ds at ABT, exactly why does ABT need to hire blonds?
To satisfy Ms. Khuri's fantasies?
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Originally posted by Manhattnik
I remember Oscar Araiz's Romeo and Juliet for the Joffrey, which had three, count 'em, three Juliets. For some reason.
I can't tell you Oscar Ariaz's reason for having three Juliets, but I can tell you how it worked in the dramatic sense.
When the child Juliet is introduced to her future husband Paris, a more mature Juliet comes through her bedroom mirror and dances a short pas de duex with him. This more mature Juliet then goes away (through) the mirror and takes over the role for the balcony pas through the death of Tybalt.
The third Juliet is the experienced - tragic Juliet, who deals with the emotions of losing her lover when Romeo is banished. She eventually takes her life in dispair.
In the crypt scene of the Ariaz verison, Romeo (Kevin MacKenzie) dances with dead Juliet, all three of them. He drags all three of them to her resting place before he too dies, and then all of the other dead bodies in the crypt stand up and strip out of elaborate costumes (keeping their nude unitards on) and dance individual love pas de deux.
This R&J was not a hit, though as a performer, I enjoyed it. The Joffrey Ballet eventually aquired Cranko's wonderful version and had great success with it.
I remember as the curtain came in on opening night of the Ariaz version, someone in the audience yelled "Bravo Romeo!". Was that you Manhattnik?
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Thanks klingsor and Leigh for the Araiz Romeo and Juliet.
What is the dramatic or dance reason for the 3 Juliets?
There is dramatic development in the character during the play/ballet, but I'm curious as how these 3 Juliets differ from each other -- and especially WHY Romeo needs to dance with all 3 of them in the tomb.
(And what it looked like? I have a vision of the 3 of them stacked in his arms like so many logs.)
Check this thread from 2002:
Multiple Personae? - Ballet Talk
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Oscar Aráiz choreographed the version of R&J you are thinking of. Cranko's version, which does not have multiple castings, was introduced to repertory later. Aráiz is at present director of the Teatro Colon in Buenos Aires. http://www.teatrocolon.org.ar/cuerpos_arti...dexcuerpart.htm
Thank you.
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Maybe this?
Adolphe Adam and the music of Giselle
http://www.ballet.co.uk/magazines/yr_05/ma...dam_giselle.htm
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Maybe someone knows his name, but I do recall a South American choreographer (Arias?) whose "Romeo and Juliet" was performed by The Joffrey Ballet.
There were three Juliets (one for each act). Only one Romeo, but he had to schlep three dead Juliets in the final scene.
I tried Googling, but unfortunately "Arias Romeo Juliet" gives me thousands of opera results.
Last night, I caught part of a tribute to Warren Beatty and Streisand (along with a whole bunch of people from Bill Clinton to John McCain 
) paid tribute. Streisand was fake complaining that Beatty hadn't chosen her for Bonnie & Clyde or Shampoo. The mind boggles...
Overrated movies
in Other Performing & Fine Arts: Performances, Exhibits, Films, and Events
Posted
Thank you so much for the quote.
I've heard it before but totally forgot it.