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About Roberta

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  1. Exactly. I felt embarrassed for kids sitting in front of me. They shouldn't go to a ballet matinee and see such costumes, themes, etc. I did not even bother going to the Washington Ballet's "three new works" program this fall.
  2. Best: Sarasota Ballet's recon of Ashton's "Apparitions" and the chance to enjoy the art of guest star Marcello Gomes The Royal Ballet's gala in honor of Fonteyn's 100th birthday NYCB's "Scotch Symphony" in the spring rep - a Balanchine ballet not seen often enough Ratmansky's "The Seasons" at ABT, despite sparse and often-goofy designs The Danes' rare visit to the USA, despite the program being too brief. Ratmansky's "Valse Triste" for Osipova and Hallberg in her "pure Dance" program of mostly-modern works Ratmansky's "Bayadere" in Berlin (premiered in 2018 but I caught in 2019) Revival of a Joffrey treasure - the Pas des Deesees - in Oklahoma City Worst: Just two simple words: JANE EYRE (ABT) Not far behind, the Washington Ballet's celebration of bondage in its tasteless "Teeming Waltzes" by Trey McIntyre, as part of its spring 2019 mixed bill of new works. Johann Strauss Jr must still be turning over in his grave. The first two acts of the Mariinsky's full-length "Paquita". Pass the No-Doze!
  3. I don't care much for Medora's variation in the "Jardin Anime" scene, in the Kirov-Mariinsky version (a.k.a. "Pygmalion variation" - originally in Petipa's "Pygmalion"). The first half sounds and looks like a series of thuds. https://www.youtube.com/watch?v=nnYuMP-p9yc
  4. Thanks. Reston, VA, is somewhat in the neighborhood.
  5. It seems as if this is finally coming to North America?
  6. Is Ovation no longer doing a "Battle of the Nutcrackers"? I recall that they did it last year (Dec 2018) with films from Zurich and Prague among the novelties. In 2018, they were shown in the wee hours...not the prime-time showcase as in the past.
  7. I agree with all above that the Ratmansky edition of Bayadere is fantastic in every way - steps, musical arrangement, decors. The corps may not be the strongest around but they are well served by the simpler Petipa choreography, an example of "less is more." Having seen both the Vikharev and Ratmansky versions several times, it's obvious that Vikharev felt pressure to retain large parts of Ponomarev. As I mentioned in another thread, the long article by his associate P. Gerzhenson in a 2002 issue of Ballet Review gives a complete listing of the numbers that Vikharev restored and intended to set on the Mariinsky troupe. Half of what's listed never made the light of day but we see them fully realized in Ratmansky. [Gerzhenson's interview predates the Mariinsky premiere of Vikharev's Bayadere on May 31, 2002.]
  8. This GISELLE sounds like a winner. Two more excellent reviews in English, with lovely photos: Catherine Pawlick, for Vaganova Today: http://www.vaganovatoday.com/giselle-restored-ratmanskys-revival-at-the-bolshoi-november-2019 Marina Harss for Dance Tabs: https://dancetabs.com/2019/11/bolshoi-ballet-giselle-ratmansky-premiere-moscow/ Lastly, folks with access to Instagram will be able to see chilling photos of the Willis' famous formation of the Christian Cross:
  9. The new-old Bolshoi version will be cinemascast live on 26 January. The presenter in N. Am. is Fathom Events. You can search for a theatre near you via this website: https://www.fathomevents.com/events/bolshoi1920-giselle As for a commercial DVD being issued, we don't know yet. Some of the Bolshoi Ballet screenings, such as the recent Coppelia starring Margarita Schreiner, make it onto DVD/Bluray. We'll just have to wait. I wouldn't be surprised if there's an unofficial link between the two productions. Although not specifically mentioned in the Kommersant interview, I wouldn't be surprised if Ratmansky is aware of the details of the PNB production. Ratmansky has collaborated in the past with Doug Fullington (Munich Paquita and, to a lesser degree, the ABT Sleeping Beauty). A friendly meeting of minds!
  10. This is all very tempting for a trip in April, Sandik. Thank you! Cubanmiamiboy, having carefully re-read the Ratmansky interview in Kommersant, I can confirm that his version of Giselle for the Bolshoi will include the rare "Fugue of the Willis" repeat near the end, when the Willis try to ensnare Albrecht. Ratmansky mentions this, in the context of the importance of Giselle's tombstone in the form of a cross...the Willis become angry and form a circle around Albrecht, trying to pull him to his death, when they see the rays of sunlight making a shadow in the form of the Christian cross. Very interesting stuff. I also love that Ratmansky pointed out, in answer to Kommersant's Qs about possible resistance to changes, that the Bolshoi dancers were all very positive and did not resist the changes to their existing version(s) of Giselle. Ratmansky also noted, near the end of the interview, that the idea to create a new-old Giselle based on historically-informed sources, was that of Bolshoi Ballet A.D. Vaziev. Ratmansky himself had not even thought about tackling Giselle until Vaziev's invitation. He could not resist.
  11. Cubanmiamiboy, according to this Nov 15 interview in Kommersant, it appears as if your wishes will come true, such as seeing the original ending of Giselle, in which Giselle points to Bathilde and the court entourage, directing Albrecht to go back to his fiancée. He'll do so and give her flowers - forgiveness all around! https://www.kommersant.ru/doc/4149723 This new-old Bolshoi version should be a real treat, in which Ratmansky has consulted all known 19th-C and early-20th-C sources on Giselle, not just the Petipa-era Harvard Stepanov notes but also sources that Doug Fullington and Marian Smith used to stage their version of the ballet in Seattle a few years ago (for ex., Paris repetiteur Titus' notes on Adam's score, Henri Justamant's 1860s manuscript describing the Paris version, even drawings by Imperial Ballet First Soloist Pavel Gerdt detailing the Act III pdd-adagio). The Seattle version included lost bits, such as the Fugue des Willis, so I'm hoping that we'll see that at the Bolshoi, although Ratmansky does not specifically mention it in the Kommersant interview. (He does specifically mention the new-old final scene with Albrecht returning to Bathilde. Ratmansky also seems to chuckle that he's pretty sure that Russian audiences will be surprised!) How lucky for all of us to be seeing this version in cinemas, come January 26!
  12. Casting has been updated to show who's dancing Myrtha. Vlashinets dances at the premiere on Wednesday; Schipulina at the 2nd cast and Kovalyova the 3rd. Ratmansky's Facebook shows photos of the two sets. Designer Perdziola is basically following the Benois designs to a T. Very traditional look, in other words.
  13. I'm wondering if this doc on Natalia Osipova will be shown or made available in some manner in the USA? It premiered in UK theatres this past summer. I've read very good reviews. https://www.forceofnaturenatalia.com/
  14. The grid didn't open for me either but I checked the ABT website for casting, by ballet. Here's what most excites me: First and foremost: June 2 - 6 OF LOVE AND RAGE (new Ratmansky) - while casting is not listed, I noticed that the two dancers on the publicity photo are...Hurlin & Bell (!!!) I'm in like flint! I'll select one or two performances according to final casting. May 21 BAYADERE SUPER-DUPER NIGHT: Smirnova/Kim/Murphy! June 17 mat. SLEEPING BEAUTY Hurlin's Aurora debut with "TBA" prince...on the same day... June 17 eve. SLEEPING BEAUTY Lane with a "TBA" prince (at least we know that it won't be Gorak, who is paired with Trenary) June 27 mat or July 2 SWAN LAKE with Schevchenko and FORSTER So that's about four Amtrak trips between DC and NY next spring. However tempting, I'll pass on Abrera's and Lane's Giselles, as I've already witnessed their glories and prefer to keep the memories in my mind. R&J is not my favorite ballet, no matter who is dancing...and the Jane Eyre repeats - heck NO!
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