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Drew

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About Drew

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan
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    United States
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    United States

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  1. A ballet legend...may he rest in peace....
  2. Atlanta Ballet has just announced it is cancelling its Fall season and doesn't expect to return to the stage for regular "series" performances until February. I remain a little confused as to whether they are still hoping to have a Nutcracker season: https://www.atlantaballet.com/news/2020-2021-season-update For now, I am in an increasingly "hot" hot spot and very much wish there were a state-wide "face coverings" mandate here. There is not. Mostly I work from home but it's proving not always possible...Tomorrow I have to go into my workplace because of a computer problem. Not happy about that--and I don't think the tech person I'm meeting with is all that happy either....(We will both be masked.)
  3. I would be very interested in the answer to @odinthor's question -- and very interested if any choreographer or company wanted to stage a suite from Petipa's choreography for operas. (Allowing that the source material is detailed enough, workable as pure dance outside the opera etc.)
  4. A great figure....May he rest in peace. (Thank you for sharing the link.)
  5. Hello @Giannina's daughter--Your mother's presence here is still missed. And thank you for that kind and generous offer!
  6. My great Abrera Sleeping Beauty experience was when I saw her dance Princess Florine in Ratmansky's Sleeping Beauty--I thought it was in every detail--down to her fingertips--the most beautiful, enchanting performance of that role imaginable. She danced with such purity and fluidity and inhabited so completely the fairy tale spirit of the pas de deux that one felt the whole spirit of the ballet was captured in her performance. Of course, I didn't get to see Abrera as often as many posting here, and I do think that performance of Princess Florine probably goes down as my favorite performance of all those I saw her give.
  7. This is wonderfully helpful information. Sadly, for myself, I can't imagine doing any ballet-travel until there is a vaccine for Covid 19 or, perhaps, if a vaccine proves impossible, until the disease is much more under control and we have much better treatments for it.
  8. I had the same experience as you--none of the posts I saw showed any irritation at being directed to the other hashtag. People found it helpful ... and, in turn, they wanted to be helpful. I've still been surprised at the degree to which companies and other organizations have felt they need to weigh in on the current protests. But mostly it's been a pleasant surprise. (One of the most strongly worded and explicit statements I read from an arts organization came from Atlanta Ballet--and, in the larger historical and social context, that did not surprise me.) Social media has its limits for sure, and most of us need a rest from it from time to time. But since (as we all know, even if our views on the situation differ) the current social media "noise" reflects things happening in the 3-D world, it's to be hoped some 3-D changes can still happen...
  9. Seeing announcements of promotions and retirements at Ballet West made me realize I should post about the retirement from Atlanta Ballet of wonderful ballerina Nadia Mara who has been dancing here for 15 years. She is returning to Uruguay to become a principal dancer with the National Ballet of Uruguay -- currently directed by Julio Bocca. Mara was one of the company's best and most versatile dancers--and one who always "delivered." I even recall one or two performances where (almost) everyone else seemed to be having an "off" performance -- or to be out of their depths (cough...Paquita...cough) -- where Mara's reliability and charm helped to save the day. I always especially appreciated that while she was technically one of the strongest ballerinas I've seen here in Atlanta (especially pre-Nedvigin), all of her performances were gently infused with warmth and emotion. I treasure many of her performances but will mention two (where, in fact, the whole company was "on" but her performance was the stand out): the lead ballerina in Allegro Brillante -- not as fast as Tiler Peck (!) but more warmly romantic in a way that recalled to me things Tallchief has talked about as important to the ballet; and Marguerite in Helen Pickett's Camino Real, a role that calls on the ballerina not just to dance but to speak and even cry out in anguish which Mara did convincingly. Here is the company's notice about her departure--as they write, it's sad that Atlanta Ballet and its fans won't be able to see her off in person: https://www.atlantaballet.com/news/a-fond-farewell-to-nadia-mara
  10. Yes....I had trouble finding the right word for what I wanted to say.... Very grateful for these streamed performances from San Francisco!
  11. (Kind of puzzled by the first remark....My questions about the ballet were whether it was coming to grips with its material in a formally and emotionally substantive way.) ”Witnessed” was a way to register that the ensemble —which figures fellow townspeople though also, at times, other forces—is on stage and feels very much present (does not just disappear into the background) during the pas de trois.
  12. Happy Birthday Alexandra--we are always happy to hear from you!
  13. When I read, just now, here on this thread, about the Instagram Kerfuffle, my first thought was that it was scarcely credible that Lane was completely ignorant of the implications of #alllivesmatter -- and my second that it wouldn't surprise me if Copeland isn't exactly in the most easy-going frame of mind these days. However, since Lane was so quick to change her formulation and to post as she has, I guess I do now credit it and...uh...props to her for making the changes. (Though I fear there is a certain way of being "naive" about issues that itself is part of the problem.) I couldn't find the original exchange with Copeland on Instagram--and perhaps Copeland took it down because she thought it was kinder to do so--but I'm not inclined to give Copeland a hard time on this one in any case. (By the by, I think it would be a mistake to assume that everyone on this site has a problem the #alllivesmatter hashtag--I assume there is some disagreement here as there is elsewhere in the country.)
  14. For me the pas de trois at the end (admittedly, a "witnessed" pas de trois) made the ballet; I found it not just emotionally, but formally the most interesting section--in part, because of the way it seemed to draw on and revise movements what we had seen before. Until then, I found the ballet engaging but wasn't sure it would bear repeat viewing or that I would particularly want to see it in the theater. But that intrigued me...
  15. Sorry if the editing seems overmuch...but everything I have quoted I agree with exactly. I have not seen any of these ballets live except for Oltramare and Times are Racing. Woodward's solo made me eager to see the Bartok ballet--I felt one could really see the choreography working with ballet conventions and push-pulling them in new directions in a way that was smart and interesting to watch; the excerpt from Voices danced by Lovette likewise seemed intriguing to me. Although I disliked the short-excerpt format, I did enjoy the super high quality of the dancing across the boards. Stanley in particular, but also the dancing in the Peck pieces--outstanding. What a great company!
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