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About Sonora

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  1. In Martins' version for NYCB, are the first-act fairies named or otherwise identified - cannot recall.
  2. Charles Ives' The Unanswered Question: was Balanchine's ballet to the music called Ivesiana? When was the last time NYCB performed it? I don't have a good reference. Thank you!
  3. Eiko and Koma are on a national tour with their newest piece, “Cambodian Stories”, in which they collaborate with young Cambodian artists. I saw them at Gammage auditorium in Tempe, Arizona... Apparently E and K taught in a Cambodian school for visual arts, and were impressed by the ability of some of the students to "inhabit their bodies" and to express through movement, even though they had never before had dance classes. They returned to the school a year later and developed this piece that merges dance and art, creating both simultaneously. Eight young men, bare-torsoed, wearing brigh
  4. Is the detailed casting for all performances listed somewhere?
  5. Part is glorious in her femininity and musicality, the long, harmonious lines of her legs and feet, and her expressive ports de bras. She more than made up for the sketchiness of the plot and character development. I thought Gomes seemed a bit small for her. Hallberg and Tidwell were all one could ask for. It is difficult to tear one's eyes away from Hallberg. I imagine he and Part would look well together.
  6. I performed in Coppelia first as a young student and, although I loved dancing it, even then thought it was an unpleasant story in places and the score programmatic. Ib Andersen just did a new Coppelia for Ballet Arizona, and I found it thoroughly enjoyable; apparently so did the audience. They seemed charmed by the mime and humor, the corniness of the story, and the pretty sets and costumes. Most impressive to my mind was the choreography for the corps in the first and third acts. Wonderful czardas and mazurka, delightfully musical and fresh. Lots of fine dancing by the men.
  7. It might interest some to know that Nikolaj Hubbe is currently staging La Sylphide for Ballet Arizona, Ib Andersen's company, in Phoenix.
  8. I just had to comment on an earlier description of Part as "a princess who spins velvet on the moon" - somehow that beautifully captures her intriguing qualities.
  9. I agree with Ari's comment about wishing ABT would take Balanchine on the road to audiences not reached by NYCB. I'm not sure, though, about the blurring of repertories. That's a very interesting question. How much Balanchine at ABT would constitute a blurring? Then there's the question of the blurring of repertory across the plaza... I loved the chance to see those particular ballets, presented in full-evening format, and thought it was fascinating to see ABT perform them, even if, as someone said, there might have been 'quibbles'. I like Ari's idea of ABT doing the Balanchine they have, b
  10. Curious to know what provokes your response to the question. Personally I felt that ABT's Balanchine program was ambitious and on the whole very well performed. But then, I was extremely happy just to be able to see Mozartiana, and Ballet Imperial, and Theme, three all-time favorite ballets, in the same evening! These ballets are so gorgeous and so joy-making!; but in addition they have a great deal to give dancers as well as audiences. I think the dancers cast in them can only have benefitted, both technically and artistically
  11. I actually thought Corella's double tours/double pirouettes were very clean and academic, and that in general he began the ballet (T&V) beautifully, and one felt optimistic. However as things progressed both he and Tuttle seemed to struggle, falling farther and farther behind and losing the clarity, energy, and ease they had initially promised. As for the corps, I thought it looked quite good in this most splendid of ballets. Mozartiana - what is missing? Veronika Part was beautifully serene and spiritual, and came closest to losing herself in the rarified atmosphere of the ballet, but B
  12. I find I'm not able to reach the old Gottlieb reviews via the links Ari mentioned. I keep getting bumped to the May 29 piece on Raymonda. Am I missing something obvious? I would like to go back and read some of his work.
  13. Theme and Variations, Mozartiana, and Ballet Imperial on the same program (punctuated by Tchaikovsky PDD) was an almost overwhelming array of riches. I will comment at this late hour only on Tchaikovsky PDD and Xiomara Reyes' debut: she was lovely! like a breath of fresh, sweet air. Her musicality was wonderfully fleet natural, and she looked thoroughly joyful throughout, partnered solicitously by a generous Julio Bocca.
  14. Jumping back to Bugaku - can someone who has seen it describe the ballet? What is its length? It seems a somewhat odd choice for the gala, but I wish I could be there to see it.
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