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howpureisivory

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Posts posted by howpureisivory

  1. I feel his talent would be worth seeing. Honestly, maybe it would do him good to work with more people outside of his usual realm. People who will call him on his BS, especially those who are just as talented as he is and probably have worked twice as hard or have had some of the same struggles but aren't acting out in this kind of way.

  2. 12 hours ago, Drew said:

    I continue to be very much taken with Illiushkina. Here she is in a recent performance of Emeralds--I don't know if she has danced the role before or not. Edited to add: According to an article I online, she has. (There is also footage posted on youtube of Daria Ionova who was definitely making a debut at this performance, in the other Emeralds ballerina role. And on instagram, I found footage of Khoreva making her debut in Diamonds and Bulanova in Rubies--all part of the same performance of Jewels. Perhaps more footage can be found elsewhere as well.)

     

    I've seen these and I'd very much be interested in discussing how this group has fared performing this. In reading some other threads, I know the Russian companies often get a poor reviews, but I wonder if the younger group of dancers have improved those images.

    Not being in the know about what is correct, I would say that both Illushkina and Ionova do impress me with their lyricism.

  3. 4 hours ago, vendangeuse said:

    Can I ask what may come across as a somewhat foolish question? Opening night was the only the second time I'd seen Apollo. The first time I saw it was during the Balanchine programs at City Center, with Xander Parish. I much preferred the cast at NYCB, and I felt I enjoyed and understood the ballet a lot more... with one exception.

    What is with the shuffle that Apollo does with Terpsichore, where they are both on their heels with their toes lifted off the ground? I'm less interested in the technical aspects of the movement (what it's called) and more curious as to how other, more experienced people interpret that part of the piece? It kind of took me out of it a bit... I don't mean to come across as blasphemous but it struck me as a little silly.

    I can't answer but it sounds like you are talking about this part:

     

  4. Not that it's necessarily related, but isn't she from the same (training) group that Giselle Bethea is from? SO gorgeous line and potential (and competitive accolades) but not necessarily longevity. I see that there's a new crop that are getting some attention (Madison Penney and Tia Wenkman). Are they "doomed" to the same fate?

  5. Is he still with Osipova? If so, I wonder how she feels about all this. I think this is the interview where it absolutely seemed like she wore the pants in that relationship.
     

     

  6. 5 hours ago, yukionna4869 said:


    New episode is up. I'm not too fond of the contemporary choreography, but I like those costumes. The male judges also gave Skylar a standing ovation. What a lovely gesture.

    I actually very much enjoyed this. Skylar's performance in particular is quite mesmerizing. Same for the previous week's performance to the modern Italian piece that was choreographed specifically for them.

    I think what I absolutely adore about Skylar is her versatility. She is one of those dancers that you can give any piece or genre and I feel she would do it well. Tiler Peck is another person who comes to mind that I feel this way with. Marinela Nunez too. And even many of the upcoming younger artists in foreign companies seem to exude this as well (like Maria Khoreva and the some of her fellow graduates). 

  7. 33 minutes ago, Mashinka said:

    Rather unwise in the current political climate. 

    Unwise or not, I do find his reasoning for his tattoo "obsession" to be fascinating. In interview clips I've watched, he alludes to the concept of freedom over his own body in the ballet world. One might say that all of his tattoos are unwise choices for employment in traditional ballet companies.

  8. Anyone know what the judges were saying about their performance? And if Skylar was being scored, how do you think she would have placed among the female competitors?

    Also, she posted this on Instagram. I can't believe she did that performance after so little prep.

     

  9. Has anyone been watching this? I can't understand any of the Russian while watching, but I was able to finish the first episode last night online on the Russian Kultura site. Whenever I've watched videos of Skylar in the past, it's been limited to what she posts on Instagram and also some youtube videos that aren't necessarily the greatest quality. I've never attended a live performance with her but have read some comments here. I was a fan before but after watching the clips, I'm even more so now.

    Out of character, she's quirky and seems so down to earth. And then in character (Giselle), she's so dainty and expressive with her big doe eyes. Again, I have never been to a live performance, but could easily see how her performance could carry to an audience.

  10. 2 minutes ago, California said:

    Baryshnikov also started as a soloist. I believe his first role in performance was in peasant PdD in Giselle:

    https://www.britannica.com/biography/Mikhail-Baryshnikov

    "In 1966 he joined the Kirov Ballet as a soloist without having to serve the customary apprenticeship as a member of the corps de ballet."

    Yeah, I don't think the statement about who else is in that company is correct, but I'm less interested in that than I am about the fact that she is a soloist (even though she's listed as a corps member on the website). 

  11. 32 minutes ago, Drew said:

    Khoreva seems to be getting great opportunities right out of the gate....I am hoping she dances one of the odalesques when the Mariinsky brings Corsaire to D.C. as I may then have a chance to see her live in the theater

     

    I found this Women's Fitness Article that implies that she received a soloist contract right out of Vaganova.

    "A significant fact is that Maria Khoreva started her career at the Mariinsky Ballet with a soloist contract, which was only granted to Nureev and Nizhinsky before her."

  12. 10 hours ago, Helene said:

    I loved her Flora in the first part of the broadcast, too!

    Here's the clip of just that if anyone doesn't want to search the entire feed. She's so lyrical with her arms. Another ballerina in the same class as her, Yulia Spirodonova, is also lovely and became another favorite of mine in the same Paquita that Drew mentioned. In Suite en Blanc she was one of the trio at the beginning with the long tutus.

    Their teacher is Irina Sitnikova. Does anyone know anything about her? There's always talk about Kovaleva and the virtuosity of her students but I wonder if the lyricism of both Khiteeva and Spirodonova signifies a hallmark of Sitnikova.

     

  13. So the night Maria Khoreva debuted in the role included several other performances by newer performers (or recent Vaganova grads) as well.  Here's video of her performance at the end but the other clips from this channel showcase the variations and Bulanova:

    I love Paquita. It's a pipe dream to see it live some day (or even just the grand pas). 

  14. Some videos of her La Sylphide debut.

     

     

     

    I must say that I wasn't sure what to expect when I went to watch these given the previous discussion about her. I also had watched her Shade variation along with Maria Khoreva's for some comparison as to her talent. After watching these clips, there's a quality about her, particularly in her arms, that I find quite lovely.

  15. Have ABT and NYCB ever participated?

    Also, some thoughts on watching the Royal Ballet feed as well as the Staatsballet:

    • Osipova's leaps are as dynamic as Vadream's!
    • I'm always amazed at how quickly dancers can make the corrections given to them.
    • I go back and forth on liking Polunin. Sometimes I just feel like he doesn't enjoy what he's doing and then it makes me want to go watch someone else. But it's hard to deny his talent.

     

  16. 2 hours ago, cyclingmartin said:

    Hello from Cornwall, in the south-west corner of Great Britain.

    I am a musician who has always been interested in ballet, though primarily from the musical end. For example, I have known the music of Tchaikovsky's ballets for years. Likewise for Stravinsky, deFalla, Prokofiev and other composers who wrote music specifically for ballet. Conversely, I hardly knew the ballet music of Minkus and other highly skilled specialists of his kind -- but only because the music per se is less interesting than is the music of the other composers I've mentioned.

    Since I retired from full-time work, I've had time and space to explore ballet in more detail. It's been an immensely rewarding experience; but also a challenging one. It's helping me to appreciate the skill of specialist composers such as Minkus; but above all it's presented me with ideas and perceptions that are stretching my presuppositions, especially about the physical aspects of ballet. (Disclaimer -- I'm a lousy dancer of any kind; and I cannot catch a ball.)

    In music, I understand compositional techniques; so I can talk about and write invertible counterpoint, harmony, orchestration etc. But I understand nothing about ballet technique. I do not know the technical language beyond having some idea of what are an arabesque, a fouétte and a pirouette. (When writing in English, does one use the acute accent? It seems that some do; some don't.)

    I applied to join this forum because this is a place in which there seems to be plenty of technical discussion and information. Also, this is one of the most international-minded groups.

    So I intend to post a topic or two, largely to present questions of those who understand ballet better than I. (I'm sure that, as in music, knowledge about, love for, and understanding of, are not at all the same things.)

    Many thanks,

    Martin

    Welcome! I have family roots in Cornwall! Penzance/Gulval, specifically!

    Looking forward to what you post!

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