canbelto

Here's an early version of what looks like a pancake tutu:

There's been some more turnover over the summer: https://www.inquirer.com/arts/pennsylvania-ballet-new-dancers-20190827.html?fbclid=IwAR1MdM3-LWVCPQWjzwx74ag47mYCurEyaai4jbS2oNnBt3Z2r-6JRAb6rhE

The Trocks is NOT mockery of ballet. Those dancers take their craft very seriously and their pointe work technique is remarkable. What they do is a tribute to ballet, and I don't know how anyone could view otherwise.

I've seen Murphy and Abrera's Giselles. Murphy is technically stronger but lacks the winsomeness and delicacy needed for the role. Abrera has some technical glitches (at least the two times I've seen her) but captures the Giselle spirit beautifully. Agree that Trenary and Brandt would be wonderful Giselles, as would Shevchenko I think.

That was Jimmy Kimmel.

If someone has power to fire you and ruin your career, "consent" becomes moot. There's too much power over one person.

Domingo was unique in that he was singer, conductor, and impresario all at once. So he had power in all three arenas. Like if a soprano was at LA Opera who would she have complained to, as he was also the AD?

What. You realize that there are laws against this and the woman shouldn’t have to “go.” The man should be fired for this behavior? And who cares if these women were “nobodies”? No one should have to deal wuth sexual harassment.

I admit being guilty to this. I also thought that the tired performances that were without her usual spark were a result of the weight loss. Now I know that it was probably first-trimester fatigue! But about how a dancer "looks" onstage I was once standing next to a Russian ballerina renowned for her long, lithe body lines. And while she looked like a million bucks and was indeed very slim, I was surprised to see she did not look nearly as waif-like as she did onstage. Up close I could see how much MUSCLE definition she had -- her arms had the taut muscles of a professional athlete. What she does have onstage is incredible proportions that allow her to look extremely thin. Offstage if you had told me she was a professional runner I would have believed you.

It’s very difficult for victims of sexual abuse to speak out. Society’s tendency to blame and harass them. I work with kids who were molested and they weren’t believed by their families even after kids were born. i believe the women. People don’t lie about sexual harassment and abuse period.

And San Francisco: https://datebook.sfchronicle.com/music/sf-opera-cancels-domingo-appearance-after-sexual-harassment-allegations

Omg, herniated disc? Her recovery sounds really day by day and obviously I’m hoping she’s back sooner rather than later but this is the kind of injury where she really needs to let her body heal.

Sterling Hyltin

Maybe because she's a prominent British ballerina with an unusual background and British VOGUE wants to promote British artists? And from what I've seen of her, the hype is justified. She's an amazing ballerina. Assumptions that she only got on VOGUE because she's Kenyan are reductive -- she's not just the "Kenyan ballerina" and it's sad if anyone thinks that's all she is.

Wiseman never identifies people in his docs. It's his thing. Part of this is that many of his docs dealt with extremely sensitive issues. But it's weirder when he;s just documenting ballet.

Sesame Street deserves the honor for the excellence it has brought to television and also the variety of cultural icons they have had guest. Also for repeatedly enduring attacks that it "promoted" some sort of agenda.

Sarah Lane confirmed it in her instagram.

I finally read the whole thing and here's what I thought: https://humbledandoverwhelmed.blogspot.com/2019/07/marius-petipa-biography-royal-danes-and.html

Faye Arthurs, former NYCB corps member, is now a dance critic. Her reviews can be found here. I find them to be some of the most intelligent I've ever read. https://www.fjordreview.com/author/faye-arthurs/

Sure they can do it. But their Balanchine performances are objectively disgusting and awful.

I have seen them do it. I can't compare them to any other company but I think that ballet is really boring. But their renditions of Apollo, Symphony in C, Theme and Variations, Stars and Stripes, and Prodigal Son had me running for the exits.

I reviewed it for bachtrack; you can find it on the website. Overall I did not like their weirdly cut La Sylphide but the second half was wonderful.

I actually can't stand the ABT doing any Balanchine. To me they always get it wrong, and not just in the fact that they're unidiomatic. I've seen Balanchine done with a "foreign accent" which I've enjoyed nonetheless. But to me ABT just always looks sloppy, underrehearsed and unmusical in Balanchine.

I am reading it right now. Very interesting scholarly biography. I was disturbed by a hair-curling account by Maria Petipa of her husband's physical abuse, including the fact that he used to lock her in the bedroom and beat her until she passed out and that he did this in front of servants and her children. Wow.

It happens in other companies too. For awhile Chase Finlay and Lauren Lovette were a heavily promoted young couple at NYCB and given lots of roles and promoted quickly. Neither of them developed the versatility and technique to really keep up with NYCB's marathon schedule. Finlay is of course no longer with the company for ... reasons, but Lovette is still maybe the weakest principal technically. As for Forster I know a one-acter is not the same as, say, dancing Romeo but Forster looked excellent as the male lead in The Seasons. And he pulled off that torch lift of Abrera at the end with no problems. Another principal who had a few rough seasons before finally finding her groove was Isabella Boylston.