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Everything posted by Alexandra

  1. Carley's sister sent me a link to a fund that has been established in Carley's honor. Those who would like to contribute can click the link and do so -- one good way to continue her extraordinary generosity. https://support.abt.org/carleybroder
  2. Thanks for posting that, Anne. Blankstrup is such an interesting dancer.I remember seeing him as an aspirant (even then, he was fascinating to watch in class). It's hard to think that this means the official end of his career. I hope he'll continue to perform, somehow -- if he wants to, of course. Happy birthday, Mads Blankstrup!
  3. Very sad news, indeed. Carley was such an important part of this site. She added so much to our discusisons, as people have said, and she also was invaluable behind the scenes, managing membership, which is quite a task! (Deleting probable spanners, helping new members through the process, always with her kind and gentle patience). Rest in peace, Carley.
  4. Very sad news indeed. He was a beautiful dancer, always an artist.
  5. I'm coming very late to this thread, unfortunately, but still, a very heartfelt WELCOME, Ilona. I am very glad you're bringing us news and reviews of what's going on in Germany (and wherever you travel).
  6. There are quite a few photos on the web that show his jump -- impossibly high, it would seem, but not for him. I've read several places that people who saw him when he was young who had also seen Nijinsky that Babilee was the only dancer who matched that great Russian. Drew, I also saw him in the Bejarst -- I think it was "Life." He was in a boxing rink. He was not young, but he was extremely powerful.
  7. Thank you so much for this, Ilona. It's a lovely review -- and there are so many photos!!! It's sad to think of Malakhov stepping down, as a dancer as well as director of the Berlin Ballet (I first saw him one summer at Wolf Trap with some Bolshoi students; he was 18, and already a mature performer.)
  8. I can't help because I've never seen the company perform (just a few bits on video). I hope you tell us about the production, Sasha, and anything else you see. We're hungry for reports from Europe.
  9. I'm so sorry -- I just found this post! (I've had trouble logging in for reasons we cannot determine! Thank you all for your thanks! AND for posting. Thanks for reminder that this site was founded to be a place for civilized discussion of classical ballet -- I hope we remember that when the spring season commences. AND thanks to Helene who keeps the site going, dirac who posts the Links, and Carley handles at least membership requests per day!!!
  10. Sandik, thank you so much for your kind comments. (And I'm sorry for those who found the title scary. Any news about this website would be on About the Site, if that helps! (Not meaning to imply that any is being planned!) sandi, the demise of libraries is very scary. I keep thinking it must have been like this among the bards back at the time of the invention of the printing press. "Who would want to read, when they could listen to us?" they would have said.
  11. The next time I have a week free I might set up a Ballet Alert! Blog on danceviewtimes.com, and post some of the articles there, but it won't be soon, I'm afraid.
  12. Dear members and visitors, I wanted to let you know that Ballet Alert! (www.balletalert.com) has been taken down as of today. NOT the message board, i.e., what you're reading not. But the site that spawned it. balletalert.com has been dormant for some time -- i.e., no new content has been added -- and the newsletter Ballet Alert! ceased publication quite some time ago. We have retained the URL name, but there will be no website. My most sincere thanks to all readers, and contributors, and espeically Marc Haegeman for the beautiful cover photo. Alexandra
  13. Ilona Landgraf has posted a review in her dvt blog of new works by Jiří and Otto Bubeníček: Happy Czechs!
  14. A review of The Maryinsky Ballet in Ilona Landgraf's blog: Glitter Globe Classics Plus a Fresh Breeze
  15. Here's Ilona Landgraf's review of "The Nutcracker" in Hamburg. A Crisp Nutcracker [quote[John Neumeier's “Nutcracker” is free of any association with Christmas. This Hamburg production, like John Cranko's earlier version for Stuttgart, converts the winter-holiday fairytale for children into a ballet for all seasons. Substantial content has been added, and watching it becomes a pleasure for adults, too. Christmas or not, this Neumeier has become a much loved classic during Hamburg's winter season.[/quote[
  16. Merry Christmas, to those who celebrate it, and Happy Holidays to all Ballet Alertniks!
  17. Has anyone seen this? Ilona Landgraf wrote about it for her danceviewtimes blog: Bleak Prospects for the Future
  18. A review of Hamburg Ballet's Christmas Oratorio (John Neumeier) by Ilona Landgraf for her danceviewtimes blog:
  19. Ilona Landgraf posted a new review on her danceviewtimes blog of Ballet Zurich's new "Woyzeck." http://danceviewtimes.typepad.com/ilona_landgraf/
  20. Review of the Joffrey Ballet's "Nutcracker" by Alexandra Tomalonis on danceviewtimes: http://www.danceviewtimes.com/2013/12/joffrey-ballet-chicagos-christmas-treat.html
  21. Ilona Landgraf reviews John Neumeier's "The Little Mermaid" danced by the Hamburg Ballet: http://danceviewtimes.typepad.com/ilona_landgraf/2013/11/the-triumph-of-love.html
  22. Sunday matinee was also a full house -- not always the case with this company. I usually run into New York friends over the weekend, but didn't on Sunday. It's a shame, as this week had much enjoyable dancing. I liked Magnicaballi in "Mozartiana." She had a bit of trouble, especially at the end, but this ballet is so hard (the men were both miscast and out of their depth, I thought). Magnicaballi gave a very thoughtful (not overthoughtful) performance, especially in the Preghiere. This season has depended a lot on the guest ballerinas. Heather Ogden is a Principal with the National Ballet of Canada, of course, and both Magnicaballi and Paola Hartley are leading dancers with Ballet Arizona. I liked Harley the more I saw her. She's extraordinarily musical. I thought the group did a good job with "Episodes," too, for the most part. I liked Hartley in the opening section and Ogden very much in the last. I can't say I loved "Romeo and Juliet," but I found it interesting. I liked both leads (Hartley with Michael Cook). I think this was Cook's best role here. This is one ballet that looked quite well rehearsed, but it's not as complicated as any of the Balanchine we saw. These are just a few quick thoughts. I'll write more for danceviewtimes, probably tomorrow. I do hope others who were there will let us know what you thought!
  23. I also went last night (to the first performance of Program B) and liked both "Pas de Dix" and "Agon" very much. The house (at least the orchestra) looked sold out, which was nice to see. I liked "Pas de Dix" because it was so dancey -- not a classroom exercise, as we so often see today in this and other similar works. It's not academic classicism, it's dancing to the music, and this the dancers showed beautifully. Even the clapping solo was a tempo, rather than How. Slow. Can. The. Bal. A. Ree. Na. Hold. That. Line. I thought both Ogden and Gurevitch were excellent and would like to see a later performance, as I'm sure it will be tighter. I've always been interested in "Agon"'s casualness as well as its tension. Last night, the men at the beginning could have come from a Robbins piece of the same time period, and it was quite a contrast to the way the ballerina is stretched in the pas de deux. I thought the pas de deux was a bit pallid -- but it might look stronger at later performances. I liked both Kirk Henning and Paola Harley in the two pas de trois. And I liked Paola Hartley very much in "Tempo di Valse" too. At first glance, I thought, "She doesn't look like a Balanchine ballerina," before I remembered that none of them did, until he made them Balanchine ballerinas and then, presto, there was a new "type." I liked Hartley's professionalism -- an experienced dancer among a lot of eager youngsters in the Valse -- and I especially liked her musicality. And for me, "Duo Concertante" was a misfire, partly because of the Bright Blue shoes/socks worn by the man. It was hard for me to look anywhere else. I thought Magnicaballi's dancing was exceptionally clear, but the piece didn't hold together for me. Michael Cook looked small for this Peter Martins role, and so I thought the geometry of the ballet was off. His quick, emphatic style also seemed off-key to me. The performances I've liked of this ballet in the past had had a mysterious quality about them, and I missed that. I enjoyed the evening and was glad to see it. I'm going again Sunday afternoon (I couldn't attend the opening). There were quite a few Ballet Alertniks there, and I hope you'll write!
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