Drew

Thanks @Kathleen O'Connell  for the links to Tanowitz’s work. Obviously to comment on her ballet in particular I would need to see it. 

And though it is hardly consistent of me, I admit I am thrilled the company is reviving Summerspace even if I doubt I will get to see it...Cunningham fills me with the kind of pleasure I get from Balanchine,

The thought that...

2 hours ago, Helene said:

Choreography has melted into the contemporary genre, and there is a smaller pool of modern, let alone ballet-centric modern choreographers, from whom to choose. 

...is probably a part of what vaguely concerns me. (Even when using pointe work and turn out, some of what Atlanta Ballet has recently pitched as neoclassical looks a lot more like contemporary/eclectic to me.) 

To put things in another way I thought Millepied’s comment about POB being the greatest contemporary dance company in the world was pretty stinging. But it may be that this is just shaking my head at the future, or even at the present, which is rather pointless when it comes to the arts. Obviously NYCB —the version of it I love—needs to be a home for new choreography.  

(On the other end: I have little interest in seeing NYCB dance Giselle and I sometimes think that could happen too ....and I know R&J is there to make money, but I wish it didn’t have to be.)

13 hours ago, abatt said:

I'm seeing a trend in the new leadership where they are enlisting choreographers who have no understanding or background in ballet.  The Kyle Abraham piece they premiered in the fall also had this issue of being largely a modern dance work, with some very basic ballet steps tossed in.

 

One of the things I liked best about Martins' leadership was his commitment to inviting choreographers who had some real relationship to ballet--not necessarily an exclusive relationship to ballet, but some knowledge or background with it. I suppose that was bound to end at some point, because there are so few good ballet choreographers (and as we all know, most premiers in all dance traditions are mediocre or worse) -- but it really felt important that NYCB, unlike several other major ballet companies seeking new choreography, remained genuinely ballet-centric.

Especially looking forward to Raymonda!

Nor from what I have read does Marston take a literal minded approach to her literary adaptations.

Thanks for the images/link...

4 hours ago, Laurent said:

Would you find it more "bearable" if you learned that the music wasn't composed for the Swan Lake and that Tchaïkowsky may have never given permission to use it? At this (and the British) ballet forum it became a matter of good taste to publically express one's disdain for Grigorovich's staging of Swan Lake as if he committed a serious crime against the sacrosanct integrity of the work. Could it be that this attitude is based on incomplete knowledge of the history of Swan Lake? This parallels the situation with the attitude towards the original, "glorious", Petipa choreography for the Sleeping Beauty versus the "corrupt", Kirov, version. One is accorded uncritical adulation while the other is scornfully rejected. The irony is that the original Sleeping Beauty was remembered and praised for the music, for the costumes, for the decorations, not for the choreography. In fact, it was noted by a number of critics present at the première that choreography was scant and derivative. In a long, detailed report of over 2000 words, from a special correspondent of The New York Herald, who was present at the première in Petersbourg, Marius Petipa's name is not even mentioned once, the work is pronounced to be primarily the triumph of the composer, the costume designer and the author of the scenery.

I love the Kirov Sleeping Beauty.

That has not kept me from enjoying efforts at reconstruction of the nineteenth-century choreography and production which, whatever its official critical reception, seems to have inspired people and  artists who saw it enough to impact their later work including their work for the Ballets Russes.

But I DO love the Kirov Sleeping Beauty and have expressed that love many times over the years.

re Swan Lake. It is always wonderful to learn new things —I had been aware that the fourth act as I know it in several Western and, indeed, Russian productions has had much of its music re-arranged as was the case already in  Petipa-Ivanov’s production worked on by Drigo as well. But of course I do not have the kind of detailed historical knowledge you bring to the discussion. Still, I am not sure we are talking about the same music. I had NOT been aware that the shift of the ballet’s main theme into a  ‘major’ key and final apotheosis music and chords were not part of the original score and those are the passages I was thinking of when I wrote my  comments about finding the loss of the ending music unbearable. But if you could show me that a computer program had generated the passages I love, I guess I would be forced to say ‘well done, artificial intelligence,’ (that’s a joke).

But I never thought Grigorovich committed a crime against “the sacrosanct INTEGRITY of the work” —a category that I have found hard to apply to nineteenth-century ballets that often went through multiple productions and  were reworked in multiple ways even by their original creators let alone by those who followed them. As indeed Grigorovich has reworked his Swan Lake production this century. I have said on another thread (that you perhaps are remembering?) that I find cutting those measures just mentioned—the final change of key and apotheosis—a crime against music. But I take it as a fair reproach that that is melodramatic language.

They may not be the majority on English speaking message boards, but I have always found fans here and on other message boards who admire Grigorovich’s production of Swan Lake and I acknowledged that directly in my post above on this thread. The older I get the more I am aware of the vast range of responses even the most important choreographers and  productions generate. I suppose message boards would be unnecessary otherwise, but even among dance historians and stagers, I find a wide range of judgments on these matters. 

As for Grigorovich’s stagings of older ballets generally....without thinking they are perfect productions I would have been thrilled to see his Raymonda or his Bayadere in London as I admire them quite a bit. I don’t feel the same way about his Swan Lake. I am also confident his oeuvre is resilient enough to withstand a range of responses—indeed has done so. It WILL be interesting to see if Vaziev decides to change any of the Grigorovich nineteenth-century productions at the Bolshoi, but personally I would be surprised if he did so anytime soon.

3 hours ago, Golden Idol said:

If we won't be seeing Paquita at ABT (conspicuously missing from their repertoire for decades now), at least we'll be seeing the Mariinsky's reconstruction at the Kennedy Center in October.

I'm really looking forward to the Mariinsky Paquita but I think "reconstruction" is the wrong word for what they are bringing. As has been discussed  on the Mariinsky thread, the first two acts are a new ballet with a new libretto--all prepared by Yuri Smekalov.  As best I can tell, it does try to be "in the spirit of" nineteenth-century ballet and its conventions.  Others who post here likely have seen it and can say more about it -- though presumably on one of the Mariinsky threads where it is being discussed.

Based on video I would say Ratmansky's production for Munich though fascinating for me as a ballet fan is maybe not an obvious choice for ABT and its audience, but it was, at any rate, a genuine attempt at reconstruction of the Petipa choreography based on the notations and danced according to Ratmansky's vision of nineteenth-century style/technique.

I personally would love to see ABT dance the Grand pas from Paquita--and stylistically sensitive but still 21st-century scale dancing would be fine with me in an "act" designed to be a gala celebration as it certainly came to be!-- and it would serve the additional purpose of giving some challenging featured roles to a slew of dancers including soloists who could definitely use the experience.

Thanks for posting the link...

And here is one bit of Canbelto on Ratmanksy's Pictures at an Exhibition..."a rich work that only gets better upon repeated viewing" which I quote because that has been exactly my experience.  With each viewing (I've seen it three times altogether) it just seems more and MORE and MORE....

I found Nagahisa’s performances as the third odalisque and as Manu (in D.C. over a year ago) well worth seeing though Kennedy Center was, I suppose, fortunate is getting three experienced dancers in all the main leading roles in all casts.

(She may not be ready for it NOW —and unlike Nuikina/Khoreva has not, to my knowledge, ever been cast in any Bayadere lead—but one day I imagine Bulanova might make quite a striking Gamzatti. Certainly I can easily imagine the Rajah removing her veil and Solor having a moment of weakness.)

5 hours ago, Fleurfairy said:

I’d rather see a return of Cinderella and The Dream. Getting burnt out on the Ratmansky to be honest...

I am always happy to see Ashton in ABT’s repertory and think it is a smart repertory for them to cultivate for all kinds of reasons. But I also find it a wonderful mesh with Ratmansky—perhaps next season ABT will offer some of both....

Congratulations to Yermakov --

It is probably premature to worry that something is “not advancing the art” almost a year before its premier. Nor does subject matter necessarily seem an essential criterion for thinking about what going forward IS in ballet. But I admit that for me advancing ballet includes connecting profoundly with its past. And just creating substantial new ballets—which Ratmansky has done.  Reading about this project made me think of Ashton’s Sylvia (which ABT performs) as well as Ashton’s Daphnis and Chloe (which is based on another novel from late antiquity discussed by Quiggin). Also Ratmansky’s own Psyche.  

I am having to cut back on ballet travels==and always have to think very carefully about what I can and can't see--and  this is pretty much at top of my list to try to see next year (probably in New York). 

14 minutes ago, annaewgn said:

I think Brandt and Lane will perform their respective roles in every show. Perhaps Alexei only wanted Lane and Brandt for Spring, at least for this round of performances. 

Well, I can't deny it's great casting--I envy everyone who gets to see this....and presumably Lane and Brandt have alternates who have learned the parts just in case....

48 minutes ago, annaewgn said:

Spring Gala Casting is up: 

SERENADE AFTER PLATO'S SYMPOSIUM: Cornejo, Hammoudi, Forster, Royal, Shayer, Simkin, Gorak, Teuscher 

*SEASONS: Winter (Bell, Seo, Williams, Hurlin, Paris) Spring (Whiteside, Lane, Brandt) Summer (Boylston, Hoven, Scott, Maloney) Fall (Trenary, Royal) 

 

The other cast for "Seasons" is: 

May 21st & 22nd: Winter (Ahn, Teuscher, Fang, Giangeruso, McBride) Spring (Forster, Lane, Brandt) Summer (Abrera, Cornejo, Shayer, Klein) Fall (Hurlin, Hoven) 

 

*This is also the casting for the May 23rd performances of "Seasons" in the Ratmansky Trio. 

I'm very pleased Ratmansky decided to choreograph to the Glazunov score . . . and would love to see this! (Won't unfortunately--at least not this season.) Both casts look appealing--I am wondering about "Spring" though--there must be alternates for the two women listed (Lane and Brandt)...or perhaps it is supposed to be the two women alternating? 

Just a side note—more “free-riding” I guess: Royal Swedish Ballet is where onetime Atlanta Ballet ballerina Alessa Rogers landed this season (2018-2019) after a season with the Ballet du Rhin. (In Atlanta, Rogers originated the lead role in Tharp’s adaptation of The Princess and the Goblin and also danced Juliet in Maillot’s Romeo and Juliet. I found her, season after season and role after role, one of their most compelling dancers.) I hope she finds artistic fulfillment wherever she is....

The "vindication" I see regards Catazaro's and Ramasar's employment. Which is important.  The arbitrator did evidently consider the company was within its rights to suspend the men and it is hard not to suspect that Catazaro would have had the same conditions on his return to employment as Ramasar--which may be another reason he didn't want to come back especially given that he has found work as a featured dancer elsewhere.

(Throughout discussions of this case over the past months--and confirmed by this arbitrator at least--it has mildly surprised me to learn that dancers with a nonprofit very much dependent on donations have a contract that seemingly doesn't allow them to be fired for behavior that impacts the company's reputation whether or not that behavior took place at work. And whether or not that behavior was ever intended to be public knowledge.)  

AGMA's statement tries to split the difference on the larger issues surrounding this case -- describes it as "complicated" and goes on to explain why they pursued it in language that doesn't so much vindicate Ramasar and Catazaro's conduct as insist they shouldn't have been fired for it, and talking about their (the union's) commitment to deal with harassment and creating a safe atmosphere for artists etc., -- not, say, crowing about their victory. Here is a link to an article that has the statements from Catazaro, NYCB, and AGMA:

https://www.pointemagazine.com/zachary-catazaro-amar-ramasar-firing-determined-wrongful-2635066151.html?rebelltitem=1#rebelltitem1

Did not know about the streaming of the 100 solos project--thank you for posting!

Congratulations to her. What a huge accomplishment after having to take so much time away.

Devastated by the news from Paris....

As of the moment I am typing reports have just recently come in saying the bell towers have been saved from collapse....but the destruction is horrific enough and what has been lost -- irreplaceable.

I'm largely on the same page as NYSusan in my reactions to what I saw down to details--though as a minor aside I would give Askerov as Ali credit for landing his double assembles in tighter, cleaner fifth positions than Yermakov managed in his (very enjoyable) performance as Conrad.  

I'll underline, too, how delighted I was with Batoeva's Gulnare which I saw Friday night. I have seen her just a handful of times in the past (and only once in a leading role) and always found her an appealing classical dancer, but this was the first time that I really felt I saw a ballerina. Her characterization, too, was pitch perfect--she captured the full pathos in Gulnare's situation (in this production) and yet never punctured or disturbed the light comedic texture of the ballet.  And, of the young women just out of the Vaganova Academy, Maria Bulanova seems to me already to have some of the on stage "it" factor that the prodigiously gifted Khoreva has still to develop. (Though I should add that the audience Friday received Khoreva very warmly.)  Among other newer company members that we got to see this visit, Nagahisa on Saturday night often danced exquisitely--I thought she was like a little hummingbird in her movements only with idyllic classical lines. But her slight girlish frame and manner is maybe not ideal for Gulnare.

As much as I enjoyed all the performances I saw, Kim's Ali both Friday and Saturday nights made the weekend an "event" for me. I own I have trouble remembering seeing jumps that high from anyone though I'm sure NYSusan must be right that some of us have seen them in the (not recent) past, and Kim's whole performance just sizzled with fire and energy.  On Instagram Khoreva included a photo of herself as Medora in arabesque with Kim as Ali at her feet and wrote as a postscript to her excited comments on dancing in D.C. the following: "OMG it should have been me bowing in front of Kimin because this dancer is just beyond all the words!!!" This past weekend in D.C. I, too, found him "beyond all the words."

Not much posting about the performances...l saw all three casts and, though each cast had different strengths, had a very good time at all the performances. And it was very nice speaking to several people I know (virtually) from this site. Lots of new talent was on show this visit—not just Khoreva, but Nagahisa making her debut as Gulnare, and the trio of Ionova, Nuikina, and Bulanova as Odalisques. In fact, thinking of how much I enjoyed the Odalisques this afternoon, I cannot help but reflect how the rush to post youtube videos of debut performances at the Mariinsky, however intriguing for fans like myself who don’t often get to see the company live, does not really show these inexperienced dancers to best advantage. I guess everyone understands that, but still the video lingers....

Lots more racing through my head, but am eager to read other people’s thoughts. And very much looking forward to Paquita in October (knock wood).

3 hours ago, pherank said:

Speaker of the House Nancy Pelosi awarded Yuan Yuan Tan with a Certificate of Special Congressional Recognition, which she received along with a SF Mayor's Art Award.
https://www.instagram.com/p/BwD2_-6jf9_/

And April 9th was/is now Yuan Yuan Tan Day.  😉 

Lovely news -- Though if I were a ballet fan living in San Francisco, then I suppose every time I saw her dance would be Yuan Yuan Tan day for me!

On 4/6/2019 at 5:36 PM, YouOverThere said:

 My accomplice complained about the ballerinas in Kammermusik No. 2 not always being in sync, but I did not notice this. I was tempted to go back and see the program again on Wednesday, but I was delayed in leaving work and the traffic was absolutely brutal, as sometimes happens when the cherry blossoms are blooming.

 

A lot of factors go into one's reaction to a performance for sure!

I think "in sync" could mean dancing together or simply coordinated musically. I think this was addressed above...For much of Kammermusik no. 2 the ballerinas dance in "fugue" so they have to be coordinated musically but do not dance together, that is, performing the steps at the same time.  Of course it should be clear that they are dancing in fugue... If it isn't that's a problem. But if one expected them to be "together" then one might be puzzled or think they were off.

I remember quite liking Kammermusik no. 2 the few times I have seen it -- it has a rather unusual (for Balanchine) male corps.

Wonderful to read of Farrell’s return to the State Theater...and great to see the photos!

Sounds terrific all round and from everyone. I loved Fumi Kaneko when I saw her last summer and can picture her as a beautiful Dryad Queen.

I am also a huge Osipova fan but STILL have never been able to see her as Kitri. I fear my window of opportunity is closing.