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Posts posted by Drew

  1. 40 minutes ago, Roberta said:

    Assuming that, by April 2022, the situation is such that the Kennedy Center is still requiring vaccines from all performers and the Russian vaccines are not accepted, I am wondering:

    Would the Mariinsky agree to perform masked (if that were an option)?

    Would we want to see it with the faces masked?  I would not, sorry. Even if the ghosts of Pavlova, Karsavina and Nijinsky would be guests.

    I am still planning to go to D.C. to see Jewels assuming the Covid numbers are on their way down and there is no new  surge--say, a new "Epsilon" variant or some such--and I plan to go whether they dance masked or not.  (It's Jewels not Giselle.) But I'd be willing to bet a substantial amount that  the Mariinsky would sooner cancel than dance masked. I really doubt this is going to be an issue.

    (I know you are making a rhetorical point, but if the ghosts of Pavlova, Karsavina, and Nijinsky really were guesting I would travel to D.C. to watch them dance with paper bags over their heads.)

  2. I doubt any companies will be dancing masked in performance unless a work calls for it deliberately (something I have seen in video of new work created during the pandemic).

    (I hope dancers are being encouraged to use extra caution about not coming to the theater if they suspect they might be ill. I imagine dancers who are eager not to lose opportunities are used to dancing through what they think of as minor illnesses--that was never a great recipe for health and now....😟)

  3. 44 minutes ago, California said:

    Looks to me like an inexperienced staffer who doesn't know much about ballet looked this up on Wikipedia and had no idea who Reisenger (or Petipa) was! Infamous fouettes, perhaps? 

    Yes, that sounds about right...

  4. 18 hours ago, pherank said:

    I'm not sure if this was mentioned before, but Sofiane Sylve is now titled the Artistic Director of Ballet San Antonio (she was Artistic Advisor for Ballet San Antonio, and designer of the school's curriculum):


    BSA has performances planned for this Fall:

    A Night at the Castle
    OCTOBER 22-24TH
    Swan Lake Choreography by Julius Reisinger
    Adapted and Staged by Sofiane Sylve, Mary Jo Crews and Rafael Ferreras
    The Sleeping Beauty Choreography by Marius Petipa
    Adapted and Staged by Sofiane Sylve, Mary Jo Crews and Rafael Ferreras

    A Night at the Castle is an evening especially curated as an introduction to the great classics, with exciting and virtuosic moments interpreted by the most beloved fairy tales characters. The Rose Adagio from The Sleeping Beauty and the infamous Black Swan pas de deux from Swan Lake are only a few of the iconic pieces presented! Come celebrate Aurora’s wedding with us and join your favorite fairies and cavaliers for the most whimsical party of the realm. It’s an evening not to be missed!



    That sounds like lovely news for Sylve. Somewhat puzzled by the reference to Reisinger (the choreographer of the Moscow pre-Petipa/Ivanov Swan Lake) followed by description of program that includes "the infamous Black Swan pas de deux" which presumably refers to something that is Petipa (or, at any rate, "Petipa" -- as handed down by tradition).  Wonder if that isn't a mistake....??

  5. Bits from the Swan Lake have turned up on youtube (black swan adagio) as have a whole slew of excerpts from what I infer is a recent Corsaire; I have tremendous rooting interest in this lovely young ballerina but strict honesty compels me to say that I don't exactly relax when she goes into more difficult passages (turns especially) and it doesn't look like she does either. But for the rest I find her very appealing and sometimes something more too, though it's still just glimpses. (It was there in 2019 in D.C. too the one time I saw her in the theater--dancing a varation in Paquita.)

    And here among the flowers;


  6. 2 hours ago, nanushka said:

    Out of curiosity, what was the work and role she was rehearsing? I'm not aware of the circumstances of her injury, and I don't think the article specifies.

    I didn't want to seem to be ignoring your question, but I'm afraid I don't know the specifics. I just know that there is nothing on the face of it implausible about a principal dancer wanting a role danced by soloist esp. in a company in which soloists dance major roles all the time. (I did just correct my original post in which I said it was a premier--I had heard that speculated and thought it was in the article. It is not.)

  7. 17 hours ago, On Pointe said:

    .(Why was a principal trying to angle for a soloist's spot?).  To me that wasn't particularly credible either.  I'm sure others will disagree.

    One of the disagreeing others here...Soloists get cast as leads...I don’t actually have a strong opinion on the value or truthfulness of this book which hasn’t come out yet and I don’t think one dancer angling for another’s role in these circumstances (however tactless or unkind) counts as more than a venial sin. But I certainly found the story credible enough whatever the ranks involved...

    Edited to say: in earlier version of this I wrote that the ballet was a premier and premiers get reviewed but I later realized that isn't in the article -- I was just more  or less assuming it based on something I read elsewhere. In any case, soloists do get cast as leads esp in companies like NYCB.

  8. 7 minutes ago, lmspear said:

    Without a corresponding increase in the curve on the bottom of the foot the "enhancers" are just adding bulk to the top of foot.  I find it unattractive.

    Before I knew of their existence (quite recently) I would sometimes look at dancers’ feet and think “I don’t understand the shape of that foot? or How is THAT foot fitting in that shoe? Or “Those feet look odd...” etc.

    There may BE some dancers out there with unexpectedly shaped feet or peculiarly fitting shoes, but I have concluded that much of the time the problem is these enhancements. I just didn’t know that that is what I was registering...

  9. The timing of the Ratmansky Swan Lake is rough for me, but I am pondering....part of my difficulty is work schedule (February, not April, is the cruelest month) and part is that I prefer to plan way ahead of time if I am traveling (best seats, best airfares etc.) but am reluctant to do so with so many unknowns on the Covid front....I am starting to doubt whether I will see much ballet even in 2022...I know others are more intrepid than I!

  10. 6 hours ago, volcanohunter said:

    I think I've been misunderstood. I was not horrified by what I saw in that clip the way I am horrified by Zakharova, Somova or Smirnova. Rather I found it soulless and uninteresting, lacking in phrasing or daring or energy running through the limbs and extending beyond them. I didn't enjoy any aspect of it, not the principals, not the demi-soloists and not the corps. That's what's so dispiriting.

    (Although yes, I despise arabesques--and attitudes--that rise above the head, unless they're actually supposed to be penchés.)

    I read a really thrilling description you gave of a National Ballet of Canada Giselle with Lunkina and McKie--pre-pandemic but not too long ago--I hope there will be many more performances like that in your future...and that I get to read about some of them.

    (But I also learn from your criticisms even of dancers and performances I happen to enjoy...)

  11. 6 hours ago, PeggyTulle said:

    Huh. I always thought Pennsylvania Ballet had name recognition. Surprised with the change...

    A day or two ago, when I first saw a post online about Philadelphia Ballet I just assumed it was some small local group maybe even semi-professional. Then I read more closely.

    I wonder if behind the scenes they don't have reason to think that the moniker Philadelphia Ballet may help them raise money locally or perhaps draw out same pool of people who support the orchestra?? To me it was a puzzling change because "Pennsylvania Ballet" has some cachet as a top U.S. company outside of NY.

  12. Batoeva’s Gulnare in D.C. was pitch perfect. More than that, she looked like a ballerina and effortlessly (or seemingly effortlessly) drew one’s eye. Just a few months later dancing the lead in Paquita, also in D.C., her dancing was excellent, but .... she looked like a soloist. It may have been an off night but it was disappointing to see her have such a pallid outing when she was dancing as the bona fide lead. (I don’t find video the best way to assess the distinction I’m trying to capture.) I imagine she will be cast in Rubies in D.C, and, if she is, then I hope to see it. I do always enjoy her unaffected, clean style....

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