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brokenwing

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  1. I'm more of a listener here than a writer, but I did want to note that I don't take the lack of curtain calls to be any sign against 'Fairy's Kiss'. MCB has never done them (I suppose the audiences are just impatient), with a very pleasant exception being 'Serenade' (and maybe 'Glass Pieces') last program. Christian, it sounds like you are as big of a Delgado fan as I am, and if that's the case, I imagine you are excited about her debut in 'Walpurgisnacht' today. A major ballerina in a major Balanchine role. <3
  2. Sohalia, I'm so glad you enjoyed it. It sounds like a great program. One thing I was going to point out is that 'Bourree Fantasque' first movement is often cast with a taller woman and shorter man, to emphasize certain comedic moments, i.e. when she kicks him in the head, or when he comes in to hug her. Do you think some of the mishaps were choreographic? If it was that and it didn't come across to you, it's still problematic, just thought I would share that little tidbit of information. I for one, can't wait until they're performing 'Bourree' in NYC!
  3. Allegra actually was quite short; this is what enabled her frequent partnering with Villella. It's her larger than life presence and beautiful proportions and line that made people think otherwise.
  4. The Joyce announced their upcoming season via the NY Times and they are presenting MCB in ballets by Balanchine and Tharp and works by Peck, Scarlett and Ratmansky that were commissioned for the company. With NYCB and ABT seasons following almost immediately, it should be an exciting time to be in NYC!
  5. I've never heard of a ballet being contractually an opener or closer. MCB performed 'Serenade' last, both on tour last season and in the rep the year before. I'm sure B's Swan Lake could be programmed last had they wanted it that way, but it also makes perfect sense as an opener, since, in my experience, it always has been. By the same token, Fancy Free is almost always performed last, so I doubt they considered moving the ballets from their traditional slots.
  6. Kathleen, thank you for your wonderful commentary. Jack, as Kathleen later clarified, I don't think she was indicating that the work should be censored, nor should any work that is 'chilling'. The problem isn't that it's chilling, the problem is the commentary Robbins is or isn't putting into the work. Had he presented the purse snatching scene as intentionally disturbing, it would be one thing, but the viewpoint he seems to hold is that it's a perfectly acceptable to harass women in this capacity. We aren't meant to feel any ill will towards the sailors, and indeed, neither does the woman. She comes racing back in with them a scene later with a big smile on her face. Granted, I've seen the scene done with more malicious intent and I've seen it done with less. It leaves me with a feeling of ickiness, no matter the case. I don't like seeing a work where the choreographer condones (near) violence against women. I have a very similar problem with what I consider to be one of the greatest musicals of all time, 'Carousel'. The most gorgeous melodies, characters that draw you in and captivate you... but then we're supposed to just be okay that Julie was abused and that real love understands that the abuse came from a good place. It drives me crazy! 'Fancy Free' and 'Carousel' are both masterpieces, but it's difficult to not want to hit the fast forward button when the misogyny comes in, and I'd imagine it's difficult for many in a modern-day audience. How do we present these masterworks while not endorsing violence against women? It's not a question I have the answer for. Robbins is a big offender, in my book, for a number of ballets ('The Concert', 'In the Night', 'The Cage'), but that's another thread.
  7. Finally announced but no real details: MCB will tour to Lincoln Center as presented by the Joyce some time after their 'Midsummer' production this spring: http://www.miamiherald.com/entertainment/performing-arts/article39567972.html
  8. There are now several Instagram posts featuring Garcia rehearsing with Herrera. Perhaps Martins gave him permission to take this wonderful opportunity.
  9. Hmm, MCB has only performed Company B once in the past 15 years and it was on a program with Allegro Brillante, Tchaikovsky Pas De Deux and Symphony in 3 Movements, which I would consider very balletic. Maybe you're thinking of something else? I, for one, love Company B, and while I also adore pointe work and classicism, I don't think having it present is completely necessary to call something a ballet. After all, Company B was actually choreographed on a ballet company. Whatever we want to call it, I think it is one of the great works of the last quarter century. Heartbreaking, hysterical, nostalgic, athletic... It spans so many emotions and themes but never makes you aware of the transitions.
  10. I'm not a fan of everything Lopez has done, but I do find the continued claim that she is trying to make MCB a 'Morphoses South' to be more than a little silly. The repertoire has been extremely faithful to everything Villella set up, with the choreographers of last season (Balanchine, Robbins, Tharp, Taylor, Cranko) all having been programmed by Villella in the past, and her addition of Justin Peck is hardly controversial. At the same time Villella, for all of the wonderful and beautiful things he brought, has been lionized in a slightly excessive manner. It was a fabulous artistic coup (and publicity stunt) to bring in Farrell, Verdy and McBride to help coach Jewels, but none of those women worked with the company past the 90s.
  11. Curiously, after previously announcing they would do the 1953 'Valse-Fantaisie' with four principals, it's obvious through the casting that they will perform the more popular 1967 version with two principals and a small corps.
  12. The website has been updated to reflect a number of promotions. Jennifer Lauren to principal soloist Emily Bromberg and Jovani Furlan to soloist Mayumi Enokibara and Ella Titus to corps de ballet Congrats to all!
  13. The 'Valse-Fantaisie' ABT is performing is Balancgine's rarely seen, first crack at choreographing to that music, the 1953 version from the larger 'Glinkiana'. Miami Cuty Ballet last performed the work in 2010, and maybe Farrell Ballet has done it as well, but NYCB only does the later version. This one features 4 principals and no corps de ballet.
  14. Repertory has been announced for Chicago Dancing Festival: One show each of Allegro Brilliant and Sweet Fields. http://www.broadwayworld.com/bwwdance/article/Chicago-Dancing-Festival-Sets-Lineup-for-9th-Annual-Event-Running-825-29-20150708#
  15. Sara Mearns failed to execute the 32 fouett├ęs in her first performance, opting for 16 and then a pique circle after. I didn't hear anyone complaining then, and it certainly didn't hurt her career. I think it's silly that that one component of a near three hour ballet could ruin a performance, but maybe that's just me. For what it's worth, and in no relation to my opinion of Misty, I don't enjoy Lopatkina's dancing and wouldn't ever consider her to be a definitive O/O. There's no accounting for taste, I guess.
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