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Everything posted by Roberta

  1. 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
  2. And yet...and yet, even as a fundraiser, it didn't do a good job. The online auction was barely ever mentioned, except for the 30 seconds of Zimmy Coker in her kitchen, mentioning her cooking class as an auction item. Or did I miss any other extensive mention of the auction? Speaking of … a cruise???
  3. This virtual ABT "gala" was basically a big one-hour infomercial. All I remember was an off-key Tony Bennett attempting to sing and some socialite fat cats raising their champagne glasses. There was no bit of sustained performance. Perhaps this was planned a few weeks ago, before the rest of the ballet world opened up their archival coffers with films of complete ballets. After this gala, I immediately switched YouTube channels on my TV, to thoroughly enjoy 50 minutes of substantial Balanchine and Robbins treasures at NYCB. Early Warning: Another of these sorts of infomercials is planned
  4. Among the details about the upcoming ABT virtual gala, from their FB page: As part of the evening’s offerings, Bennett will sing “Fly Me to the Moon,” while soloists Catherine Hurlin and Aran Bell (who are currently sheltering together) dance an adaptation of Jessica Lang’s “Let Me Sing Forevermore” at Central Park. Cynthia Erivo will perform “America the Beautiful” in accompaniment to a montage of Ballet Theatre artists and others. A tribute to the 20th anniversary of Artistic Director Kevin McKenzie’s “Swan Lake” and a new work by Lang, titled “Our Common Fate,” will also be includ
  5. That's a lot to present in one hour. No time for sustained ballet excerpts or a complete short ballet. I'm glad that ABT is doing something but this seems a bit too "pop" oriented. I guess that the big bucks are outside the tight circle of dedicated balletomanes. Whatever it takes to keep ABT afloat.
  6. So is it two different casts in the SFB R&J? Sorry, not so clear.
  7. As a result of searching for recent RDB telecasts that have been released as webstreAms due to the COVID-19 period, I discovered that the !981 Danish CoppeliA is now on YouTube:
  8. For those particularly interested in seeing brand-new content -- complete-ballet performances never before released on DVD or cinemas or streaming -- we have at least three offerings coming today. All three companies have YouTube channels, which should be easily accessible on big-screen televisions...at least they are via my Comcast TV system...speak "YouTube" into the remote control, then search by each company's name. I just checked my YouTube-TV and all three ballets are in the system but won't commence until the indicated starting times. Enjoy. Coming today, in this order: (all times
  9. Cross-posting from the COVID-19 thread...TWB announced that the entire 20/21 season's offerings are being rethought. For starters, their Swan Lake will now happen in May 2021. They'll announce the re-worked season at a later date.
  10. Due to COVID-19, the rest of The Washington Ballet's season, including next month's Swan Lake at the Kennedy Center, is now cancelled. Already postponed once, the Swan Lake is now rescheduled to end the 2020/2021 season, in mid-May 2021. Source: TWB's Facebook page. edit - I see that California beat me to it. Sorry!
  11. 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.
  12. So there goes this year's Mariinsky Ballet Festival unless they are somehow exempt from this rule, which would make no sense.
  13. 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.
  14. 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
  15. 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
  16. 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/).
  17. 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 ni
  18. 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.
  19. 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"...)
  20. 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
  21. One of the Kennedy Center-based incarnations of Farrell's company performed Tzigane. As I recall, it was not very long...the pdd and a bit more...maybe 8 -9 minutes? Lovely, nonetheless. I'd love to see Pavane (a brief solo created for McBride, later danced by Nichols) and Hungarian Gypsy Airs (created for Von Aroldingen, for the 1981 Tchaikovsky Festival, although it's since been discovered that it may have been composed by Liszt, orchestrated by P.I.T.).
  22. I was wondering how long the older, traditional ballet competitions would last. There are other, faster ways for young dancers to get noticed and hired by top companies. Even among competitions, Varna was becoming a bit of a dinosaur. We now have the more popular and all-geographical-encompassing YAGP, for example. Also, wasn't there a political component to the Varna and Moscow competitions, at least in the early years? I may be wrong but it seemed to be, in part, a showcase for socialist values/communist systems. Whenever a dancer from any place but the USSR or a satellite of the USSR (
  23. 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.
  24. 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 b
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