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Drew

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Everything posted by Drew

  1. Was the Bolshoi version of Marco Spada created for them as the article says? That is, I had read Lacotte choreographed Marco Spada for Nureyev and the Rome opera ballet in 1981--I had been supposing the Bolshoi production was (for the most part) a revival of that version..?? I don't know of anyone else dancing it now...
  2. It's become a ritual in several parts of the world--story below just mentions two cities, but I know there are more. A forlorn hope I fear--but but may the positive energies at least boost health workers' spirits and yours @cubanmiamiboy ... https://www.msn.com/en-us/news/good-news/rousing-videos-show-atlanta-and-vancouver-residents-cheering-on-healthcare-workers-from-their-apartment-balconies-amid-the-coronavirus-crisis/ar-BB11HzWa?li=BBnb7Kz
  3. Fantastic news and something to look forward to!
  4. Atlanta Ballet has cancelled their upcoming Giselle--scheduled for this month originally--but has said they plan to present it in May instead (in place of a previously planned mixed bill). I think SFB's announcement is the more clear-eyed one. Unfortunately.
  5. I confess I thought perhaps you were making a sarcastic remark about the UK's slowness to act, so I googled "herd immunity...UK...Coronavirus" and and OMG!!! -- you were not being sarcastic!!! That seems like the government is gambling with the entire national health system and a lot of lives. We will see what happens.... (Mr. Drew is approaching 70 and has asthma and I'm not exactly young...so...uh...solidarity.)
  6. Buddy-- do you know if there will be another live broadcast of the new choreography evening?
  7. Under the (difficult) circumstances, I think the offer of the streaming dress-rehearsal is a very nice gesture...
  8. Princess Florine--Don't know if this is a debut or not but I think it may be:
  9. I try to suppress all desire to play the equivalent of "kremlinologist" with the Mariinsky -- but I must confess it seems a very good sign that Illiushkina is being given a second opportunity at Odette-Odile. I am hoping that she gets a chance at another major role soon.
  10. I've sat near children who can't keep quiet or still, but I have also had this happen before -- and it makes me crazy. Once was rather notably the first time I had the opportunity to see what was then still the Kirov. And it was the company's first tour in the States in over a decade. The performance was Swan Lake at Wolf Trap and a young girl sitting in front of me was with two much older women. I'm terrible at assessing children's ages, but I'd guess the girl was anywhere from 9 to 13. And completely quiet and engaged. But the two older women with her were constantly turning to talk to her and comment and make sure she was following the story etc. etc. At intermission I finally said something (as nicely as I could), but they resumed during the ballroom scene at which point the girl (who may just have been embarrassed) asked them to be quiet. And then they were.
  11. I personally have no wish to see NYCB as a home of nineteenth-century ballets or full length ballets — and would probably prefer they commissioned new work if they want to add a full-length work to their rep for box-office. I realize that it is a riskier proposition...(Ratmansky’s R&J was choreographed for the National Ballet of Canada, though it was recently staged by the Bolshoi.) Edited to add: I would love to see more revivals of rarely done Balanchine like Ballade or this season’s Haieff Divertimento.
  12. A beautiful tribute....I been longing to see Heymann especially for many years now. (See in real life that is, not just video.)
  13. Marina Harss has tweeted that Toby Tobias passed away today. She was long one of the ballet critics I most enjoyed reading--and most valued--in Dance Magazine and, later, New York Magazine. As many reading this may already know, she suffered through a long illness--may she rest in peace.
  14. That is a traditional version —you probably know this, but maybe not everyone does—and what Baryshnikov used to do to tremendous effect. For a while at ABT that is all I saw. (For example, I saw Corella do it that way —though less effectively than Baryshnikov.)
  15. Thank you....I mis-remembered the order of promotions —but still think the phrase ‘pass the baton’ applies to Brandt in a way it would not to Lane.
  16. Lane was promoted to principal the same year Copeland was [edited to add that Laurel corrects me below saying they became soloists at the same time and Lane a principal two years later] and is the same institutional generation; In fact, my memory [still] is that Lane also danced a number of principal roles (eg Theme and Variations, Aurora) before Copland started dancing principal roles. If Copeland were ever to describe herself as "passing a baton" to Lane, then perhaps people would find it a bit patronizing or inappropriate. Brandt is still a soloist and this is her first Giselle. She's a different institutional generation. I infer that what Copeland was doing with her Swan Lake was trying to split the difference between not disappointing her fans--or any audience members who had bought tickets to see her--and not dancing a grueling role when ill. Two different ballerinas in Swan Lake? It wouldn't be my favorite way to see the ballet, but it is also not unheard of in ballet history for two different ballerinas to dance Odette/Odile. Giselle...not as plausible, though I know dancers have been replaced mid-performance when injured. And who knows? Given the criticism Copeland received for the Swan Lake "split" performance, perhaps she wouldn't do that again either. (By the by, I was a mad Kirkland fan who made some sacrifices to see her dance and it was crushing when she cancelled.) I think Copeland's post is a generous one that, among other things, publicizes Brandt's debut--which I very much doubt Brandt objects to having done. Of course a public Instagram page is also a performance of sorts for the public: all of these pages and postings--whatever the topic--are also "self-promotion" ... including Brandt's Instagram. Allowing for that context--I think this was nice. I also hope Copeland is back to dancing soon.
  17. I would definitely like to have seen one or more of Kisselgoff's critical writings included in a collection of this kind.
  18. I enjoyed reading this—thank you @canbelto for posting. It certainly confirms my interest in seeing Voices too. But I don’t think I agree with Arthurs’ opening claim (which the article returns to at the end) that, until now, Ratmansky’s work has been “essentially” divided into two kinds, either “emotionally resonant peasant inflected abstraction” or “grand-scale reconstruction”? There is a lot of Ratmansky I have not seen, but from what I have seen live, I can think of a number of major works that don’t fall into those categories as I understand them....Cinderella? Anna Karenina? Shostakovich Trilogy? Whipped Cream? Namouna? to say nothing of his “peasant-inflected” narrative works. The word “essentially” allows for exceptions, but these ate more than exceptions. Perhaps Arthurs thinks of most of the ballets I names (Namouna, Whipped Cream, Cinderella etc,) as grand scale historical reconstructions, but that would be far too loose a definition to be meaningful. And there is no sense in which Namouna, for example (or Bright Stream for that matter) coukd be considered a “historical” reconstruction. (And if his Cinderella is, then so is Ashton’s and a few dozen others.) From video I have seen, I would add Psyche to the list. Voices does sound like a musical departure for him, which Arthurs also writes about. And Ratmansky has frequently turned to reviving neglected, lost ballet scores as well as putting his own stamp on others. Which, I guess, may be what Arthurs was trying to get at with the word “reconstruction.” Once past her opening....I read the rest of the review with great interest.... (I have seen Ratmansky repeat certain steps, partnering moves, and images across ballets in ways I very occasionally wonder about — that is, I have thought he could afford not to recycle that particular movement. I think genre-wise he has shown some variety....)
  19. The Church is in clear view, so I sort of wondered if her grave wasn't simply at the far edge of the Churchyard, but perhaps there is another explanation...
  20. Sort of puzzled by this. I definitely did not mean to imply that. (The fact that I find the reconciliation with Bathilde “incomplete and uncertain” — the part you quoted from my earlier post — doesn’t mean it perhaps makes no sense or can’t work. To me, as I indicated in the post, it means things may never be the same between them or at any rate that the ballet's ending does not, as someone suggested, tie things up "in a bow." Something profound has happened and it does have consequences.)
  21. In every version I have seen, I have understood that Giselle is finally freed from being a wili...perhaps more because that is what I read than what a staging can make explicit unless one sees her ascend, like the sylph, to heaven. (And I may even have seen that,) But I have always understood that, whatever the production and wherever she is buried —hallowed or unhallowed ground—her powers of love and forgiveness free her....which, to me, is a compelling idea and true to the ballet I have been watching. For me, too, the traditional Albrecht alone in the forest was most powerful when one saw, as in Nureyev’s interpretation, that he had been through a transformative, spiritual ordeal. (Bruhn writes very interestingly about Albrecht’s growth over the course of the ballet in the versions he danced.) Ratmansky likes to humanize things and I found this ending very ‘’human’ so to speak though as performed by Belyakov more about the intensity of Albrecht’s love for Giselle than deepening self knowledge...And his performance didn’t suggest everything was tied up in a bow exactly—He was so anguished that the ‘return’ to Bathilde felt very incomplete and uncertain especially since it seems a bit rushed....Certainly one can’t imagine things will ever be for him (or her) as they were. I imagine different dancers can and will take different approaches in Ratmansky’s version too....allowing for different ways of reading the ending. I think one case for returning Giselle to her grave in this version is that the staging does such a great job of clarifying its significance (the cross’s significance) earlier in the act. But for me the totality of the production/performance was so moving that I am more than willing to embrace Ratmansky’s vision as a whole. I hope the Bolshoi is able to sustain its attention to detail within the wonderful sweep of the whole as it performs the ballet without Ratmansky’s supervision in the coming years. As a fan, I don’t need (or want) every version of Giselle to be identical. I am still grateful we have this one.
  22. This is more or less what I thought--that he was trying to keep her with him and that is why he carried her away from the grave, but she was returning to the earth in spite of all he could do...
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