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About Roberta

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  1. Is it something about the English stiff upper lip - Keep Calm and Carry On? Related somehow to this, the Sarasota Ballet has not cancelled its upcoming revival of Ashton's Romeo & Juliet, set for next weekend (25 March). Sarasota definitely has a senior population. They should reconsider keep the theatre open.
  2. So there goes this year's Mariinsky Ballet Festival unless they are somehow exempt from this rule, which would make no sense.
  3. You're welcome, ksk04. I can't get that tune out of my mind. It's followed me back home from Costa Mesa. It's way too early to speculate on when the NYC theatres - all US theatres? - will reopen but, gosh, I hope that the ABT and NYCB spring/early summer seasons take place. Surely we'll all be back to normal then? At least the US hasn't had it as bad as my country (Italy) or China.
  4. Different strokes for different folks, as I found Hurlin to be a more compelling actress, more fluid in delivery (Russian "plastique") and just-plain-beautiful (lines, face, that fire-red hair!). Of course, Shevchenko has perhaps the more steely academic technique - I love her great leaping Myrtha! - but, to me, the role of Callirhoe is all about "plastique." Needless to say, Aran Bell was her perfect hero - great soloist and steady partner. They make such a lovely pair in every sense! Which is not to say that Shevchenko/Forster were not very fine in cast 2. Now that I've seen Of Love and Rage in Costa Mesa, the one performance to which I am most looking forward at the Met this summer is Catherine Hurlin's Aurora debut on (I think) June 17, with Forster as her Prince Desire. Promote her (and Bell) pronto, please, Mr Mckenzie! It's the 80th Anniv of ABT but we don't have to wait for the 100th anniversary for Hurlin to become prima ballerina. (wink) OK - promote Forster too. We've been waiting seemingly 100 years for that one.
  5. Not all music utilized is from the ballet Gayane. One of the loveliest pieces of music heard is the 2nd movement of Khachaturian's Piano Concerto, during the first pdd adagio danced by Callirhoe and Dionysius (particularly poignant when danced by Hurlin and Whiteside). The Pacific Symphony Orchestra did it great justice at all Costa Mesa performances, particularly because audiences had the rare opportunity to hear it as Khachaturian had intended, with the musical saw (or "flexatone") instrument during the repetition of the main theme. One of the few recordings of this movement, with this eerie instrument, is the following. Forward to the 2:38 mark to hear the segment of the musical saw. It lends a truly haunting sound to the work, echoing the sentiments that were racing through Callirhoe's mind. I wonder if the presentations at the Met this summer will include a musical saw in the orchestra pit? https://www.youtube.com/watch?v=3qaQXk-fKdc
  6. It appears that this was postponed/canceled, due to coronavirus precautions (other thread with the announcement from Dale - https://balletalert.invisionzone.com/topic/45440-abt-postpones-abu-dhabi-festival-perf/).
  7. Yes. Act I lasts exactly 60 minutes, while Act II is 44 mins. The lone intermission was about 30 minutes. The ballet began about 5-6 minutes after the 7:30pm official starting time. No complaints. It went by very quickly. Such a great ballet, especially the Hurlin/Bell/Whiteside-led cast, although I also enjoyed Shevchenko/Forster/Hoven. The corps de ballet was spectacular in all shows, dancing difficult, substantive choreography in every scene. I missed 3rd-cast Seo/Bell/Ahn on Sunday. Bell subbed for an indisposed Calvin Royal, who was originally announced to partner Seo on Sat night. Switches were made so that Bell would not have to do two performances in one day. Wishing Royal a speedy recovery.
  8. It took me three viewings to fully appreciate the new Peck, Rotunda, but I like it a lot. I especially enjoy the crafting of the corps movements and, at times, the two clusters -- Sara and five guys; Gonzalo and five gals. Their quick shifts-and-stops perfectly mirrored the twinkly Muhly music. Something cool: Upon multiple viewings, I realized that the first and last movements are almost identical, except that they "mirror" each other - performed in opposite sides and directions. Gonzalo's position lying down on the floor precedes both the opening and closing movements. Very neat concept. Kudos to Peck and all of the dancers for pulling this off. My favorite movement? Hard to choose but I particularly loved the long, flowing lines of Miriam Miller and Anthony Scordato -- both in "powder blue" clothing -- in the 3rd movement pdd. The hodgepodge of outfits made sense after multiple viewings...the reds/clarets & oranges, the powder blues, the greys/blacks. My lone complaint: that most unflattering outfit on big Mr. Bolden III! Like a clean-and-jerk weight lifter at the Olympics...or Humpty Dumpty, which he most definitely is NOT.
  9. Sylvia pdd is not on NYCB's Kennedy Center schedule. Maybe an NYCB couple is dancing it at an upcoming gala...but why with the full live orchestra? I know that Dan Ulbricht is leading a group of NYCB dancers through a short tour of Central Europe and Israel but such tours usually do not involve the full NYCB orchestra. Posted before getting Leah's answer about the Student Matinee.
  10. Thanks for both postings, tutu! I'm looking forward to seeing this program in a couple of days. I found your observation about seeing an emotional thread in the new Peck work (Rotunda) interesting. In my own experience, I see possible narratives (hence, emotion) in many of Peck's 'abstract' works -- especially Belles-Lettres, recently revived, with the 'loner' figure (Huxley) yearning for love. Ro-deo most definitely has a story between the lone lady and the guy who pulls the string! The haunting middle section of Paz de La Jolla hints at a drowning couple. Even Everywhere We Go has two segments in which several corps dancers slowly sink to the ground, as if dying, each with a partner bending down to comfort his or her friend. Then there are ballets such as The Decalogue that seem to have zero emotion, other than the joy of dancing. I'm glad to read that there seems to be a possible story or emotion in Rotunda.
  11. Smirnova is an extraordinarily lithe and lyrical Odette and a glamorous Odile. I don't quite understand the negativity, although I get that fans of other ballerinas such as Stepanova become frustrated. Not so long ago, many were complaining that Zakharova got all of the cinemacasts. Krysanova also had a good share of the full-length classical cinema events, for a while. Schipulina seems to be in that "dependable house ballerina" category - sort of like Eleanor d'Antuono at ABT in the 1970s.
  12. Costa Mesa-Segerstrom recently published an initial playbill and a feature story on Of Love and Rage. https://www.scfta.org/scfta/media/General/389-ABT-OLAR-for-web.pdf (not yet detailed casting; Lane still on the roster) https://www.scfta.org/scfta/media/General/0220-p14-16-Of-Love-and-Rage.pdf (learn to pronounce "Callirhoe"...)
  13. To me, it sounds as if we are witnessing the beginning of the "PART-ing" (as in Veronika Part) of Sarah Lane. How sad to inject bitterness into the matter. I hope that we are all dead wrong. With regard to Lane not being cast in the new Ratmansky full-length ballet, I'm not reading as much into that as are others. Just nine months ago, Lane was cast in a featured role (Rose) in The Seasons and reprised the role during the fall run. Of Love and Rage seems to be one of those ballets with only one featured female classical soloist role...like Romeo & Juliet. You're either the lead or you're not named in principal casting. Furthermore, with so much great dancey music in Khachaturian's Gayaneh score -- what's being used in Love & Rage -- how do we know that there may not be a classical divertissement of some sort in the ballet, with many solo-dancing opportunities? Remember that Ratmansky did "luxury casting" in The Seasons, with principals like Hee Seo cast in the winter divertissements (tiny but lovely solos). I'm still holding out hope that Lane will appear in a featured solo in Costa Mesa. p.s. - Correction: Love & Rage principal cast roles include another female: Queen of Babylon - but is this a "character principal" role or a classical one? I keep thinking of Ashton's Sylvia in which the role of Diana -- a smallish mime role lasting all of two minutes at the end of the ballet -- is included with the principals. Do the King and Queen of Babylon (Zhurbin/Teuscher or Roberts/K. Williams) dance a classical pdd?
  14. Thanks, all. I found the podcast here: http://podcast.nycballet.com/episode-19-new-combinations-nico-muhly
  15. Any social media updates about the upcoming Justin Peck ballet to Nico Mulhy music? I'm hoping that it's a substantial ballet, a bit longer than Bright or Easy.
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