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About Rachel

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  • Birthday 03/17/1988

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    ballet student
  • City**
  1. Greta Hodgkinson of National Ballet of Canada - dark yet delicate, beautiful body Allegra Kent Suzanne Farrell Helene Alexopolous April Ball - Former Boston Ballet Principal Julie Kent Svetlana Zakharova Christiane Vaussard Rachel
  2. I would say that in general the Balanchine fans would prefer ABT to stick to the non-Balanchine or unperformed-Balanchine rep, rather than see them "over done" as the ABT reviews seemed to imply. A Balanchine fan appreciates the Balanchine performance style in addition to his choreography. While many appreciated how ABT seemed to treasure the works on their tribute as if they were true gems, that doesn't necessairlly mean that fans want this eagerness over style. That is untill ABT is able to not "over do" a Balanchine ballet one night, and then go and dance Corsaire the next night. Rachel
  3. Ari, I'm not sure whether you think that this broadened spectrum of interpretation is adverse or not. I think that this diversity of interpretations may be the only reason that a continuance of choreography in Balanchine's aesthetic can be done creatively. What I mean is that if Balanchine work was always interpreted in the same way, far less creativity could be spawned. But, if a choreographer is able to look at Balanchine's work and see the many facets that can lead to an influence on his/her own choreography, he/she is much more likely to continue within the aesthetic in an original manner
  4. QUOTE (canbelto @ Jun 22 2004, 12:40 PM) All I'm saying is that as its been roughly 20 years since Balanchine's death, it's a bit unrealistic to expect all new commissioned ballets to adhere to something Mr. B would have approved of. Do we even want new choreography to be made in the Balanchine aesthetic? Because afterall, it will never be Balanchine. Wouldn't we rather the new work be an expression of the choreographer's own aesthetic and sensibilities? In the case of a panegyric, as Eifman's ballet seemed to have meant to have been, the honored choreographer's aesthetic should have been re
  5. :offtopic: My middle school band teacher used to tell us this story as well as one about maggots growing in a clarinet whose reed had not been cleaned for a long time. Rachel
  6. I understand now after that clarification, vrsfanatic. I may not have the discerning eye and knowledge of the syllabus to say that Mezentseva was not executing movements correctly, however, I can say that those two girls in back of her in Beginning III were quite terrible; I would say an insult to Mezentseva and ballet technique in general, not just the Vaganova technique. Could you give me some examples of incorrectly executed steps, just to broaden my understanding of the technique? Also, if Mezentseva were to perform the steps as she had but in a higher level, would they still have been inc
  7. vrsfanatic: I agree that Mezentseva may not have been executing the steps in the manner that they would have been performed by a student of that level. However, I was more under the impression that she was called in to demonstrate, not an actual producer. But again, how can a "prima ballerina assoluta" execute third year material (because I saw the Beginning level 3 tape) like a third year student would? Thank you for the warm welcome Alexandra. Rachel
  8. My only experiences with GM have been through watching a demonstration of classwork with the Willis Ballet, followed by a series of clips from pas de deux, as well as Backstage at the Kirov. I believe that Mezentseva represents the Kirov style in its transition period. This transitory period was the divide between the great dramatic ballerinas of the sixties and seventies, more along the lines of Kolpakova and Maximova, and the newer phase of Russian dance starting in the late 80's, which I would say started with Assylmuratova and progressed to the present. I think she embodied the Kirov schoo
  9. Yuri Possokhov, Gonzalo Garcia, Sergio Torrado, Roberto Bolle, I always thought Zoltan Solymosi was every inch a dashing prince, Carlos Molina, Joaquin de Luz. Rachel
  10. I was thoroughly impressed with the matinee performance on Sunday, April 18. Not having seen SFB since Jewels of 2002 and having been disappointed with that performance and the general look of the company, I think that the company was in great form last night, everyone dancing well. Starting with Monotones I and II. I: the piece was well rehearsed, synchronized, executed well. Ashley Wheater explained that Monotones I was created to have more of a worldly feel in conrast with M II which supposedly reflected Man's landing on the moon. Since M I was worldly yet not earthy or passionate, it seeme
  11. What about the room behind the stage specifically built for the dancer's to warm up in while being admired by their patrons? They said it was a unique design of the Palais Garnier and I'm assuming that round rehearsal room was as wel. I enjoyed the clip of the POB students executing the adage tremendously. What gorgeous dancers! Rachel
  12. Is this the lead of the waltz of the flowers? Rachel
  13. Ms. Jaffe is the director and founder of Princeton Dance and Theater Studio along with Risa Gary Kaplowitz. Rachel
  14. Mr. Johnson, in my experience, I have found that a definited beat of the toe from the back to the front of the knee helps my coordination tremendously. Rachel
  15. The man must have pure lines and clean technique. The tours must land in a clean fifth. I love seeing a very supple plie that allows each movement to flow into the next, as if the dancer was tempting gravity. I like a man to have slim beautiful legs, not overly developed, but long and streamlined. Most important is the man's ability to just stand and look like a prince. Although it is the man's job to present the woman beautifully, I love to see a man who can simply stand in first position and distract me from the ballerina. Ahhhhhh! Rachel
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