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  1. For those not aware, I recommend watching the 2003 documentary "Three Ballerinas" that explores the careers of Lucette Aldous, Marylyn Jones and Marilyn Rowe. it includes some rare footage of Aldous as a Cygnet with Ballet Rambert, as well as in leading roles performed in Australia after her return in the 1970s (beside Don Q) - Fool on the Hill (G. Lynne work), Carmen (R. Petit) and Sleeping Beauty. A teaser on Youtube: Three Ballerinas - YouTube I purchased my copy of the DVD at the Melbourne Arts Center but I'm pretty sure that it can be purchased via TAB's online shop, too.
  2. Buddy, you are correct in the ID'n of dancers and the five pdd's. The livestream included one very quick flash of a playbill, just before the initial number. I'm so grateful for the opportunity of seeing these ten wonderful ABT dancers perform live, that I'll overlook the less-than-optimal filming, missed entrances, missed start of Schevchenko's 32 fouettes in Don Q, etc. As a long-time ABT patron during their Met seasons, I was especially touched by seeing Forster as Romeo. Like many admirers, I'd waited for years to see him dance as a principal. I'm also glad that soloists Williams and Hoven got their chance to shine here, in the Gemma Bond piece. I'll admit to having a lump in my throat several times during this stream, camera quirks and all.
  3. By the dark-blue jazzy costumes, maybe Hurlin and Bell are dancing Let Me Sing Forevermore, the Jessica Lang-Tony Bennett ballet?
  4. I watched but kept wondering throughout most of the hour, "Is this film school or ballet school?" The young dancers seem very accomplished but these short films, planting gardens and such, did not showcase their balletic abilities, with the exception of the very first one (Bright Young Things) set in a ballet studio, choreographed by Joshua Grant, to William Lin-Yee's music.
  5. I remember when Jenifer Ringer and Nilas Martins led Gold and Silver Waltz/Merry Widow. Ringer was a lovely impactful presence. I'll stop there. 😁
  6. Me too...me three. I thought, "Hurry! Move the camera to the left to catch the corps sweeping in!" Despite this, I am delighted with the current stream of Vienna Waltzes from NYCB. Between this and the beloved 1983 PBS telecast-film, ballet fans now have two records of this exquisite Balanchine work, which is performed only by NYCB. The 1983 telecast often focused on principals, missing some interesting corps work, so no complaints here. Hint of a potential filming/streaming of another rare Balanchine work in this genre: the Vienna Staatsoper Ballet today announced that its upcoming 2021/22 season will include Liebeslieder Walzer. The Vienna troupe has, even before COVID, made its productions available online, for a fee.
  7. Thank you for this information, maps. I will likely do my subscription renewal before the June 4 deadline and hope for the best. I was a little concerned because Washington, DC, where the Kennedy Center is physically located, seems to be clamping down, such as the recent ban on dancing and standing at weddings.
  8. That is lovely, pherank. I am wondering if this might be a portion of Liang's untitled new full work for PNB, set to premiere as part of the last offering in PNB's digital series, next month? The new full work will also have music by Oliver Davis.
  9. I am wondering if seating will be allocated according to social-distancing rules? If so, how will "singles" seats be allocated? This might be a year when seating could run out at the subscription stage, unlike past years when people could easily purchase show-specific tickets closer to the performance dates, after casting was announced.
  10. Radio silence about ABT's Costa Mesa programme? Especially interested to hear about Grand Pas Classique with Catherine Hurlin and Sung Woo Han. According to the printed program, Lang's Let Us Sing Forevermore was cancelled, replaced by Swan Lake A2 pdd with Teuscher and Stearns. UIM-program-digital.indd (scfta.org)
  11. Excuse me but I was not indifferent. Two were excellent - one previously known (the Ratmansky) and another much-read about, on my wish-list for a while (The Swimmer). I loved both, let's be clear. However, one was truly awful - not just dull and dark. Unappealing music, undeveloped characters (we barely saw the Director, Tiit Helimets), poor editorial choices, etc. Just an excuse to make yet another create-in-place film. I would never pay to see this in a regular theater, even if reworked for a normal stage. I later paid to see the earlier Program 2, just before the closing date. I enjoyed that one immensely, especially Morris' Sandpaper Ballet. What fun - a real tour de force for the full ensemble! On my to-see-live list whenever that may happen.
  12. Digital Program #3: I purchased this one program a while back, primarily for the opportunity to view Possokhov's The Swimmer, which I enjoyed as a grand theatrical concept, more than as a ballet. What a blast - as the composer stated in an extra feature, Possokhov has "...thrown in everything but the kitchen sink..." to show his Americana. What a blast! I'd already seen and greatly admired Ratmansky's Symphony #9, so no real surprises there, although I noticed some subtle changes between this and the original ABT version; for example, the lead couple no longer points up at the ceiling, after laying down. Anyone else remember the pointing? It really drove home the matter of neighbors upstairs spying on them. Am I the only viewer who didn't care much for the Danielle Rowe "film" - as titled - Wooden Dimes? I almost fell asleep, except for the cabaret scene reminiscent of the June Taylor Dancers in those 1960s Jackie Gleason Shows. By the time of the 2nd pdd of Mr & Mrs Fine, I was falling asleep and praying for The Swimmer to stroke into view.
  13. Lauren Lovette's retirement from NYCB at age 29 (!) saddens me. She offered a special sort of perfume in the most beautiful and romantic roles, such as Opus 19: The Dreamer, which is a wise choice for her farewell from NYCB. I also admired her greatly in Peck's Belles-Lettres, Wheeldon's Soiree Musicale, the Tuilleries solo in Ratmansky's Pictures at an Exhibition and, especially, in Mr. B's Liebeslieder. I hope that, in addition to choreographing, she's planning to dance a bit more as a freelancer, as she did at the Vail Festival, when she essayed the Bournonville William Tell pdd, with Roman Mejia. Lovette's choreography is quite promising - clever and intensely musical. In addition to what she's created for NYCB, I enjoyed her recent La Follia Variations for the ABT Studio Company.
  14. To me, the changes are most notable in portions of the corps work during the finale, such as the way that the corps girls fan-out, when falling into their partners' arms. I've also noticed that, after the pdd, just before the finale's trumpets, the main girl falls into her partners arms at a different angle & more dramatically. Certain details are more dramatic at ABT, perhaps reflecting the flair of the originals stars, Alonso and Youskevich. I also agree with John Clifford about the differing tempi at NYCB.
  15. I agree. The overall cheapness and tackiness of the designs ruined it for me. Maybe I've been spoiled by the NYCB's gorgeous Marc Chagall designs? I know that Miami's designer is of Russian heritage but since when does Tsar Ivan wear a YELLOW coat? And a latex-looking unitard, with strategic feathers, on the Firebird? When the scrim rose to reveal the final tableau with the cheapened version of NYCB's flags I just in disbelief. I also didn't care for Miami's over-reliance in projections, at the expense of traditional sets. These wonderful dancers deserved to be seen in better light. At least we'll be seeing this company in other streams in the coming weeks.
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