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About EricMontreal

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan, with some experience as a dancer in my youth.
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  1. Your argument makes a lot of sense, and has made me realize your POV for the first time--thanks for explaining it so well. I think I still prefer that she is "freed" from being a Wili, but I can see the pros and cons of both takes. Also, can I just say how great the discussion is on this forum--I was involved in a discussion about the Giselle screening on Facebook which quickly devolved into name calling (in a discussion about Giselle?!)
  2. I didn't see it that way *at all* (but I respect your take on it, and love the Sam Raimi reference--let's never see an Evil Dead ballet). I found the whole concept and execution of it, terribly moving.
  3. Well, I agree with that. I still think Albrecht got what he deserved, but I liked the way (and maybe I've grown up with too many vampire movies) that moving her to a different resting spot would give her solace. She won't have to be a Willi. (And I love that we are debating this!)
  4. Your post is exactly what I hoped to fins about this production--thank you for such a detailed list of changes and of your opinion towards them. Two things in it that I may question or personally disagree with. I didn't "read" that scene, as performed today, with Hans as him pushing away the revelers but merely as the fact that he didn't see their eventual signs of grief over what had happened to Giselle, and wanting them to leave (despite the fact they eventually showed acknowledgement of his grief). Which made his return later more palpable. I found the ending very moving. But I gu
  5. We had an alarming number of drop outs where the screen would freeze for about five seconds--it happened maybe 12 times. I was a bit concerned because I remembered when I saw Le Corsaire around 2017 in the same theatre, we had a similar freeze situation just before the final act and then the problem could not be resolved.
  6. I also wanted to naively ask a technical detail. In the past, the Bolshoi cinema showings I have seen have been encore ones, where I know they were previously filmed. How "live" was this? Because, obviously it wasn't truly live due to the time differences (here in Victoria, BC, Canada it began at 1 pm). Of course the cast is mostly the same, but not quite, from what we saw about the premiere.
  7. So glad to read the discussion here--I went with a close friend, but, while he's very interested in ballet, he doesn't know a lot about it and even less about Giselle, so I couldn't discuss it with him too much (he loved it BTW, although he liked Act II much more than Act I and I don't think appreciated how heavy the first act was with mime the way I did). One thing he specifically said that he found terribly moving was the final scene with Giselle being absorbed into the flora. I actually liked Myrtha on the scooter (was it actually a scooter? ) and was a bit disappointed that the host s
  8. Cubanmiamiboy--Wow! I grew up watching a French version of that exact same cartoon! I had forgotten all about it. Anyway, your point makes sense and is fair enough (the Disney's Little Mermaid came out when I was 9, but as mentioned I knew previous versions--the live action one from Faerie Tale Theatre as well which also kept the original ending). And it's interesting you bring up Swan Lake--I still don't understand why the Soviet tradition of a happy ending started (especially since it was Soviet authorities who persuaded Prokofiev to abandon his original idea for Romeo and Juliet to get
  9. https://www.nypl.org/about/divisions/theatre-film-and-tape-archive/access My background is in musical theatre, and in New York there's been a system where shows get filmed (for the most part) and are viewable for educational and research reasons at TOFT, NYPL's Theatre Film and Tape Archive. It goes back to some amazing works--when I was writing about the original Hal Prince/Michael Bennett production of the Stephen Sondheim/George Furth musical Company, from 1970, I was able to go and view a video of the original staging (albeit shot on tour in Washington) and have some sense of what
  10. I have to comment on this. I am OK with changes for different mediums, etc. As much as I love Anderson's Little Mermaid, it's so different from the Disney version anyway--an unhappy ending in Disney's version would make zero sense (maybe they could have her commit suicide to a reprise of "Under the Sea" 😉 ). And, speaking of ballets, have you seen La Esmeralda? Do you know how Notre Dame de Paris ends? 😉 (Of course it's true that Victor Hugo himself had already written the libretto of an opera based on his work which was a hit, though now forgotten, which similarly had a happy ending.)
  11. I can't find a source anywhere, but I swear in one interview I read of Ratmansky's, he strongly implied that he was against releasing filmed versions of these reconstructions and they should be saved for people to savour in person. Which, given the fact that I can hardly afford to travel very often to see these works, is very frustrating (further more, he actually posted a link to the YouTube of the streaming film of his production of Paquita for the Bavarian State Ballet when they apparently destroyed the sets--which implies on some level he must understand the importance of having an availa
  12. Thank you everyone for your extremely helpful recommendations in regards to Sleeping Beauty. Birdsall--that actually makes a lot of sense (and, looking at the schedule, seems to be right) that the Vikharev staging is danced at the old stage and the Sergeyev at M-2. So I appreciate the reassurance. It looks like the Novikova performance will be more convenient for me so, while I will have to confirm with a friend, I think I will try to get tickets for that in the next few days. I know both ballerinas, but only through video. However, I have seen Novikova in the Vikharev reconstruction
  13. Thanks Drew--what did you think of their Flames vs the Ratmansky one most of us know? I think with their Cinderella, which seems to be a hit, that they will tone back the effects--and some videos I've seen seem to show this. Cinderella always interests me--Prokofiev apparently did change some of his music for the original Zakharov production--but it wasn't like, obviously, Petipa and Tchaikovsky, or even Delibes and his choreographers, where he would change music all the time for the production. That said--a lot of the actual choreography felt "right" to me, in a way that it hadn't before.
  14. I'm going to be in Russia on business in early November (Moscow), but it's been my dream to see the reconstruction of Sleeping Beauty. I see that it is being performed twice, according to their website, on November 9th and 10th. I was wondering if anyone had any advice about which cast to choose, and if there is a likelihood this is mis-information and it will just be the K Sergeyev Beauty (which I've seen, and I wouldn't mind seeing again--but wouldn't change my travel plans to see). https://www.mariinsky.ru/en/playbill/repertoire/ballet/spkras1 Thanks!
  15. In my stupidity as a "newbie" I posted my own experiences seeing Cinderella nearly a year ago in the Cinderella thread. I *hope* it's allowed to repeat my thoughts here. I had posted: " I was lucky enough to see Mikhailovesky Theatre's production of Cinderella when I was on my business trip a while back. I found it extremely impressive. I was wondering if anyone has recollections of the original Bolshoi production from Zakharov, or Sergeyev's rival production. " And when asked for details of what I saw (with questions about any links to info), I replied: | Yes, I will link yo
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