Drew

Thank you. I had seen the last 30 minutes when it was live-streamed, but wanted to see the rest.

Scarlett says many of the things one wants to hear him say--well, that I do anyway--but I agree that it's impossible to tell how successful he has been until the production premiers.  And indeed maybe not even then as it may need to mature a little in performance...

8 minutes ago, pherank said:

I think I know why:

"Gemma Bond is seven months’ pregnant and sniffily from a cold, two attributes that give her a charmingly lopsided, whispery quality as she wheels around the studio calling out musical counts..."
https://www.washingtonpost.com/entertainment/theater_danc/when-world-class-dancers-leap-into-a-new-role-choreographing-world-premieres/2018/03/09/c8e3e182-216b-11e8-94da-ebf9d112159c_story.html?noredirect=on&utm_term=.1176890bead6

Ah--Perhaps that's it...In any case I'm interested in seeing more of her work. 

1 hour ago, Cyberindio said:

[...] I stare in awe of corps members and the strength, concentration and dedication they posses to express their art at that level. 

 

Oh yes!  And welcome to Ballet Alert....

47 minutes ago, pherank said:

I assume Atlanta Ballet 2 is meant to be a training ground for future AB members - a conduit to/from the Atlanta Ballet Centre for Dance Education. All the new works should be fun for the audience, and hopefully, they will be inspired works.

I had initially been a bit worried about the number of premiers by (on the whole) less than high profile choreographers during this past season, but I have enjoyed the two I have seen so far, Blink by Tara Lee and Remembrance/Hereafter by Craig Davidson, and am looking forward to another by Maxim Petrov this weekend, Concerto Armonico. 

Will these ballets hold up under repeated viewings? So far, I can say that I think at the least that I would enjoy seeing Blink again. And last year's premier, Gemma Bond's Denouement, is coming back next year, so I will get a chance (as I hope) to see how it holds up--I liked it a lot on first viewing. Actually,   I'm a tad baffled that ABT with its big "women's movement" initiative isn't including Bond in their first group of women choreographers. Of course, I don't know if she was interested, but...oh well.

4 hours ago, balletlover08 said:

At least on the subject of Diamonds I feel that Alyona was ready. She performed Diamonds in NYC in front of critics who are well versed in Balachine and most called her sensational and wrote rave reviews about her performance. They even elevated her above the NYCB principals who also performed that night. 

I thought with Swan Lake, I highly enjoyed her Odette but agreed that her Odile needs more work to be more convincing! But again, that is something that comes with age. She might be too young now to fully embrace the Odile role imho. Also, yes I did see some technical mishaps such as the famous fouettes in black swan. They were not done extremely confident but passable in my opinion. I hope she works on that step quite a bit before performing next as I'm sure her great height is a challenge in fouettes. 

With La Bayadere, I quite like what she portrayed and I thought she did a good job emoting. On the subject of emotional portrayal, I do not come from a ballet background but instead from a classical music background. In my honest opinion, as long as the dancer seriously discusses with herself on the portrayal and commits I am happy. What I mean by that is, there are a thousand ways to interpret a piece or role so as long as serious effort was made to portray an appropriate emotion. 

I would love other people's thoughts on above! I am a big fan of Alyona, I generally follow more NYCB, ABT dancers since I live in America but I saw her post on some random ballet instagram and immediately had to look her up. Once I did, I fell in love with her dancing! 

Balletlover08 -- may I ask were you able to see these performances or are these your impressions from video or is it a mix of both? I would love to hear more from more people who have seen her dance live! And yes, she did get rave reviews from professional critics for her Diamonds in New York including Gottlieb who can be plenty harsh. (Fans on this site were more subdued in their reactions to Kovalyova's Diamonds as I recall.)

6 hours ago, Buddy said:

By whom, Drew ?

 

This was a question responding to what I said about Shrainer's Kitri debut not being well-received in London. I was referring to online discussion of the performances by fans. Fans in the UK, like fans in the US, have a lot to say about what they see.  (If you want more detail about what I'm referring to, then please send me a private message.)

I myself didn't see the performance (or video of it); I did enjoy Shrainer's Jeanne on the recent HD Flames of Paris telecast and would be happy to see her dance live should I ever get the chance. And as a matter of course I assume she is quite a different dancer today than she was in 2016.

But I fear, as a general matter, it's unrealistic to think that developing dancers without a lot of previous coryphee and Soloist experience, by giving them early opportunities in major full-length classics, won't sometimes result in fairly uneven performances that may get a lot of criticism--not simply from fans with an axe to grind or who enjoy tearing down dancers--but from serious lovers of classical ballet who don't like what they are seeing.  Especially at the Bolshoi which, after all, is supposed to be one of the world's great companies. And costs a fortune to see.

Other observers may be more forgiving or value different qualities, or prefer to watch younger, less experienced dancers or enjoy the journey etc. etc. Mileages vary. And, in fact, most fans and admirers of classical ballet DO enjoy watching dancers develop. The question for artistic directors and coaches is how to develop them most effectively.

The fact does also seem to be that some artistic directors, and not just in Russia, like to "test" and develop certain gifted young dancers in a very intense way--giving them a lot of major opportunities very fast.  Is it the best way to develop a ballerina? or the best way to develop some ballerinas (say, Kovalyova) in particular? I'm not a professional and can't pretend to make professional assessments of that kind. I do think, though, that if, for example, in the next five years Kovalyova develops into the Bolshoi's next great Odette -- and for that matter if Shrainer emerges as their next great Kitri -- then only a few people will be worrying about their debut efforts years after the fact. (Though Fraildove did make the point that fans can sometimes be very unforgiving.) In that case, Vaziev presumably will get some credit for how he pushed them forward with maybe only a very little lingering debate about whether he timed this or that debut correctly.

Sounds like a great opportunity for Bracewell. In many productions Benno dances the pas de trois. At ABT, I remember seeing an absolutely extraordinary Cornejo when he was quite young and knowing nothing else I saw all evening from the Siegfried would be as good. 

33 minutes ago, mnacenani said:

Vaziyev seems to enjoy throwing in new talent at the deep end - imho Alyona did not sink but swam both in Swan Lake and Bayaderka. Didn't Vaziyev suddenly cast Shreiner (correct ?) as the lead for Swan Lake on the London tour two years ago ??

Don Quixote. It was very poorly received. I infer she has handled opportunities more successfully since then...

47 minutes ago, Fraildove said:

[...] She has such a beautiful instrument for ballet and she is definitely unique. What worries me is that Vaziev is pushing her on to the stage in major roles way before she is ready. He did the same with Smirnova and it was a disaster when the Mariinsky  went on tour. She was thrust forward for all of the international critics and they had a field day picking her apart because she was so underdeveloped. [...] In Somova’s case, so many were turned off by her earlier performances that they all out avoided her performances after she had changed coaches and addressed her technical and artistic issues. She lost a very large potential fan base because of being thrown to the wolves.

 

I was wondering if you meant to type Smirnova above ("[Vaziev] did the same with Smirnova...") -- I thought perhaps you meant Somova not only in the later sentences but in that earlier one as well....

I forgot Raymonda!  But I was thinking actual weddings as opposed to contemplated ones...
 

3 hours ago, sandik said:

Jayne linked to the thread here about the last big wedding, saying that we would have to manage without Mel's comments for the upcoming ceremony.  So, let's do the best we can, and as we're waiting for the event, help me remember how many ballets have a wedding as part of their plot.

 

There are more ballet engagements than weddings I think but: Sleeping Beauty, Bayadere (when first performed and Makarova's production too --doesn't end well), Coppelia, Don Quixote, Pacquita, A Folk Tale, Midsummer Night's Dream (Balanchine's version anyway), Romeo and Juliet (in any version I imagine), Firebird (in Tetley's version the Princess even comes out wearing a version of Diana's wedding dress), Shurale, Wedding Bouquet, Les Noces (Robbins & Nijinska)...I'm sure many others, but those are the ones my brain began by spitting out....

32 minutes ago, Buddy said:

How did you find out about her, if I can ask ?  😊

She seems to have some video recognition which is how I found her about two years ago. I've not seen her on stage.

Same here--youtube channels in my case.

22 minutes ago, Buddy said:

Maria Iliushkina debuted her Variation Act I in Raymonda's Dream about a week ago. From video clips she looks like someone to keep an eye on. She's quite lovely. 

I’m interested in seeing how Illiushkina develops as well....

Formal complexity while not exlicitly “political” can itself unsettle and challenge. I’m tempted to say that in 2018, in the United States, anything that requires concentrated attention can be unsettling for audiences...

Regarding Joos though and how he thought about his art....There  was a telecast of his works with the Joffrey in the 70’s and all I remember from it was a discussion/interview in which the interviewer—perhaps it was Joffrey himself—said something to Joos about how The Green Table never seems the least bit dated and Joos immediately replied “Unfortunately.” This answer filled and fills me with admiration...

It's intriguing to read impressions of the video and especially of the performance--thank you Mnacenani--but I do not believe one can draw any conclusions about the latter (the performance, that is) on the basis of the former. The Instagram snippets are what they are--very short amateur videos. I am super grateful for them and the links to them (!!) but I would be leery of basing an extended argument on them.

As a general matter I see the shade Nikiya as unearthly and even transcendent...and the best Nikiyas I have seen answer to that image. But there is leeway for different interpreters to put their stamp on the role as they decide how to show the connection with Solor.

(Still, I can't say that on the basis of the instagram video that I personally would have thought Kovalyova was trying to create a more human, loving shade Nikiya.)  

Perhaps some day I will see her dance a major role live for myself. Hope so.

Reading all your reports with interest....(I don’t find them skimpy, though am always happy to learn more).

I am delighted Magnicaballi wants to teach/coach —- which would seem to include passing along her work with Farrell on Balanchine.

The first does seem more interesting —at least it is what I would pick — but if your daughter has never seen Swan Lake, and you want to expose her to traditional ballet, then perhaps that’s an experience she would appreciate (if the music is live anyway). But you might just get a ticket for that company I suppose and not the series.

And you know your daughter best—how mature she is, whether she might find, say, McGregor and Bausch etc. exciting/inspiring....even if some of the materials in those programs are more intense (or even because they are)....

Condolences to all here who knew him. May he rest in peace.

Standing ovations have definitely become a cheapened currency across the performing arts, though I agree with Mille-feuille that that does not seem to be the case at NYCB ...

Hello Petra — welcome back.

3 hours ago, volcanohunter said:

This definition resonates with me as well. This probably isn't exactly what you meant, but to put it a different way, as time passes Fritz Wunderlich keeps rising in my estimation, because when I listen to his recordings, I find it impossible to conjure up the voice of any other tenor in my brain. He possesses it totally, and among singers he is alone in this regard. The ability to engross the imagination completely is surely the sign of an inimitable artist.

OMG!! I jumped out of my seat reading this. I only rarely attend opera and only now and then make a point of listening to it, but I LOVE Fritz Wunderlich. My absolute, favorite tenor. And one of my absolute favorite artists. I heard him for the first time on the radio when I was maybe in my late teens or young twenties--the radio host said he was going to play Che gelida manina and it would be in German, which he seemed to think people wouldn't like, but to listen for the voice because it was so sweet. And then it started. I never forgot that moment.

(Sort of back on topic: I also think Sara Mearns is a very memorable artist.)

If my local symphony is representative, American Symphony orchestras do now at times include educational materials in their performance. Sometimes the conductor speaks--Donald Runnicles (who conducts in Berlin much of the year) does so when he guests conducts at the Atlanta Symphony and it's always fantastic. Even when Runnicles covers territory that I personally am familiar with I always enjoy hearing him. At Atlanta Symphony, there are also often video features that seem mostly, though not exclusively, to be paired with new scores/premiers. Atlanta Ballet almost always has little video features before a new work too. Those that I have seen at both the symphony and ballet have all been short, but I infer the intent is to make things more accessible and the assumption seems to be, too, that many people are not taking the time to read program notes. (Or for that matter not taking time to check out the videos on youtube where the company posts them a week and more before the performance dates.)

I can easily believe European audiences have different expectations and New York, too, has its own local "culture" and expectations. Presumably New York City Ballet knows part of its audience is well educated about the music and dancing--but worries about the portion that isn't. Especially if that portion is likelier to be the younger/newer part of the audience. I personally didn't dislike the one "See the Music" NYCB feature I heard--but I did think it should have been shorter.  I wonder if the company has not done some research on audience responses to "See the Music"--seems as if they would have done...?? Obviously turning newcomers off can't be the goal!

4 hours ago, abatt said:

 To add insult to injury, the people who want to follow their idol [Copeland] and switch into her performance are now faced with all kind of extra fees and mandatory donations to ABT and the Met as part of the ticket switch.  If I were new to ABT and ballet, these events would be enough for me to never do business w. ABT again. Instead of fighting elitism, they are discouraging families and people new to ballet from further attendance.  $20 may seem like a drop in the bucket to many ballet goers, but it is not a drop in the bucket to most people.   If I go to a store and exchange an item for a lower priced item, the store doesn't require me to make a donation, and the store is required to refund me the difference in price. [...]

This is what seems very surprising to me about the exchange policy. And even people who don't sweat the $20.00 may not exactly feel well treated.

As a more commonplace practice--theaters now have all kinds of fees that add to the announced price of tickets that I think can get a little disconcerting too. Some of these fees  can be avoided by going to box office, but having the time to go to the box office and even the habit of going (rather than purchasing online etc.) is specific to a very narrow slice of the potential audience. To me, it often feels like bait-and-switch there too, when I plan on buying tickets and discover all of the add-on prices. Of course, I'm used to it now, but even so I sometimes gulp when I learn the fees....I've never entirely understood why it's done that way, though I assume there is some real reason--either marketing research about ticket prices or something about the way contracts are set up between companies and the theaters. 

4 hours ago, CharlieH said:

 

I’m not aware of any Balanchine creations for the RDB...he recoreographed several Diaghilev-era Fokine ballets (& even danced in some) but he was posted there in the early 1930s before going to America. Just the thought that the TASTEFUL genius of ballet was in Copenhagen for a good while. Sigh.

Since the Danes have a unique heritage in the wealth of Bournonville ballets extending beyond La Sylphide and Napoli, it's always a little depressing when it seems as if those ballets are being allowed to go into any sort of extended hibernation. But I was under the impression that the Royal Danish Ballet has for some time had a somewhat ambivalent relationship towards its Bournonville heritage--or at least periodically, over the course of the last century, has gone through such phases. I vaguely remember an RDB souvenir program article from decades ago that even suggested a sort of Systole/Diastole on the Bournonville front.

On the subject of "tasteful"  -- those are irony quotes -- I also remember a long ago tour with Fleming Flindt's Triumph of Death. Next to that, Neumeier could be Bournonville.

On 4/29/2018 at 4:40 PM, Birdsall said:

I saw the Sarasota Ballet's final program of the season last night. It was called "Great masters of Dance" and included Balanchine (Tarantella, Bugaku), Tudor (The Leaves are Fading), and Ashton (Marguerite and Armand).

[...]

I had never seen The Leaves Are Fading and may need to revisit it. I closed my eyes and dozed several times. Maybe I was still tired with jet lag (I was in Berlin for an opera trip and to see the Berlin Philharmonic) and then drove down to Sarasota yesterday. So the warm Sarasota Opera House, Dvorak's calm music, and the subtle choreography (from what I did see) put me to sleep.

Thanks for this report of what sounds a very substantive program. Leaves are Fading was a profound experience with Gelsey Kirkland. I haven't seen it since then--kind of never wanted to because my memories of those performances were so piercing for so many years (sadly a little less so now) , but I have read praise for performances with later casts, and I bet it is worth revisiting as you say even if this first performance didn't make an impression. It is "subtle," but can, in the right performance, also be rewarding.

A short feature in "Pointe" about Gennadi Nedvigin & recent developments at Atlanta Ballet:

"Nedvigin says he was influenced by his old boss, Helgi Tomasson, and by the variety of choreographers and works Tomasson assembled at SFB. "It's inspiring for dancers to continually work with different choreographers," says Nedvigin, who has already brought in Liam Scarlett's Vespertine and world premieres by Gemma Bond and Craig Davidson. [...]

"Doing things quicker seems to be a theme of Nedvigin's tenure so far. Elevating the level of dancing, increasing company size and altering its repertoire mix are all happening simultaneously and sooner than planned [...]"