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Everything posted by Alina

  1. Boston Ballet first did Onegin around 1995 and repeated it a few years later. I am really looking forward to seeing it again.
  2. We were fortunate to have the Royal Ballet in Boston last summer dancing "Swan Lake" Ms. Yanowsky danced Odette/Odile on saturday matinee. She was warmly received partially because she is Yury's sister and there were many fans in the audience but I felt her performance with Jonathan Cope was first off, techniqualiy strong but also sensitive and showed great promise for a young and blossoming ballerina. She has a soft, gentle delivery for the statuesque presence she has physically. I very much enjoyed her performance!
  3. Yury is already a principal at Boston Ballet and thankfully will be with the company next season. He has been with the company for about 8 years now and has steadily developed in to a wonderful and exciting performer.
  4. I saw the "American Trilogy" Program opening night.It was particularly fun to see a few corps dancers have a featured moment. Frances Perez-Ball did a very credible job with "Rodeo" but the performance by Michael Johnson in "Slaughter" was particularly wonderful.He really rose to the challenge and was as equally powerful as April Ball, a principal with great stage presence and artistry. Seeing Christopher Wheeldon's "Corybantic Ecstasies" again and on the Wang Stage rather than the Shubert where it premiered was a treat. It is one of those ballets that has more depth and musical nuance every time you see it. Larissa Ponomarenko and Paul Thrussell were wonderfully sensitive and romantic in the pas de deux with seamless execution. Too bad they are really only seen by us Bostonians!
  5. On Larissa Ponomarenko-agreed whole heartedly!!!!She is very special!
  6. Having been well aware of the rumors and information from some more reliable informants I am happy BBC has hopefully closed this difficult chapter and will be moving on, continuing to present great ballet in Boston and grow to be an even stronger company. Happiest for the dancers and staff who have persevered through it all. For myself as a Bostonian, I only wish them the best!!
  7. I am in the process of reading this book. I am not highly motivated to finish it essentially labeling as ballet soap opera. It has not turned out to be a page turner! I have had a very hard time with the author placing actual people into fictional situations. I found the chapter on Balanchine and Suzanne Farrell quite offensive. In spite of what one might have imagined could have taken place, if you have a true reverence for the art and these artists contribution it seems out of place and disrespeptful to superimpose such a negative take on it. It really bothered me!!!!
  8. There is a lovely, rather unknown young woman dancing with Boston Ballet named Larissa Ponomarenko. Sorry more peple don't see her, she is a true and special ballerina.
  9. In reference to stagers of Balanchine works, I have been greatly privaleged to be part of numerous stagings and all tolled the commitment to the work and Balanchine that existed in these folks was well worth the bow and then some. In most cases the dancers stressed the importance to THEM for their stage presence even if the stager felt shy about the moment!
  10. I saw the same performance danced by Yenaida Yanowsky and Jonathan Cope. I really enjoyed it. I think many in the audience were aware of her being the sister of Yuri Yanowsky and were extra welcoming. She however would have pleased them none the less as she was very elegant, technically strong, and has a lovely presence. Jonathan Cope was also an attentive partner and danced with a clean, tasteful approach. The production design is undoubtably controversial but I found it fun, exuberent, and danced with lots of commitment. The orchestra also seemed very passionate. A good portion of the musicians normally play in the Boston Ballet Orchestra but they seemed to have an extra something.I also love Boston Ballet's production so I'm not going to compare. I'll just say they each are very enjoyable!
  11. The most difficult thing about seeing a dancer fall for me is two-fold having at one time been there. First is the possibility of injury. There is nothing worse than seeing a dancer hurt themselves seriously during performance. A dancer limping or even being carried off stage is for me one of the hardest, most devastating events to witness.It really gets you in touch with how fleeting a dancers career can be and how this art form is so immediate, one of the elements that makes it so unique and exciting. Secondly, if it is apparent that the dancer is okay a quick recovery and an "on with it!" attitude is greatly appreciated and admired I believe by a knowledgable audience. Yes, as others have posted there unfortunatly is a large population out there that views ballet as a sport with the attitude that any fault should subtract a point!
  12. Boston Ballet's Sleeping Beauty is the old Royal Ballet set which has been refurbished and is one of the most lovely visually of all their productions. The dancers at BBC are of a high calibre techniquely. Of all the dancers let go most of them have gotten jobs and in good companies. All of them will be missed. They are also losing some wonderful soloists and corps who are leaving on their decision. Christina Salerno and Lyn Tally are for me a huge loss. Of course the non-rehire of Alexandra Koltun and Alexi Lapshin will be felt by the public. Beautiful dancers-it is a sad moment.
  13. Alina

    Boston Ballet

    Just a short apology for believing Theodore Bales was a female, totally my mistake assuming that another person highly involved in the Boston arts scene named Theodora were one in the same.My opinions are as stated and at least no gender bias or association had any influence in them. But my apologies are authentic and although our viewpoints are so opposed I do respect his right to opinion.
  14. In reference to the Boston Herald review for " The Hunchback of Notre Dame" by Theodore Bale (see links March 30) I could not disagree more adamantly. Although I have personal reasons for being positive I feel Ms. Bale’s opinions to be so opposed to mine which I believe to be educated and well versed in the art of ballet that I felt I must speak out. The work is dark, and very complex. But I feel it is the way of the future in dance. A true theatre piece, taking the dancers beyond being merely dancers to being actors challenged to find roles in all that they do. Dancers desire to think and contribute in unique and special ways; The bottom rung of the corps is required to find a character in this work. Ms. Bale complains that Mr. Thrussell has no choreography! Well for any one who realizes what it takes to execute the intricacy of the choreography this is the ultimate insult. The choreography is detailed, working from dancer to dancer in timing and exactness that a dancer without intense concentration and ability would fail and probably injure themselves if they were not completely focused in the process. On top of that the dancer is constantly required to keep character. Did she suddenly expect the dancer who is portraying a severely disabled and deformed being to suddenly dance in a way opposed to the character being portrayed! It is not a “pretty “ ballet. But for me it was one of the strongest, moving dance works I have had the pleasure of witnessing. Along with the magnificant emotional, and poignant score by Philip Feeney I found the whole evening completely captivating. I will also mention that through most of the evening you could hear a pin drop in the audience they appeared so absorbed by the drama before them. I hope that the Boston public already discounts the local reviewers opinions and will attend this performance to form their own opinion and numerous theatregoers will see a side of ballet and dancers that stretches beyond their previous expectations.For me it was an evening not to be missed.
  15. Surely not to be mentioned by anyone but me and maybe a few Bostonians is a ballerina named Elaine Bauer for her Dying Swan. Her interpretation was inspired by the greats mentioned but she then worked throughout her career to perfect and find her own moving portrayal. I've seen all the films and some performances by many great ballerinas but hers was certainly as credible and moving. I couldn't read this without thinking of her special performance.
  16. Tatiana Terekhova and Sergei Berejnoi are currently still in Boston. I believe they were never officially "let go" and their future is yet to be determined by their choice as well as by Boston Ballet. They were to go to the Bolshoi this past year and return for select times to coach the classics. However when everything fell apart at the Bolshoi they stayed in the states and at Boston Ballet. They are very well respected by the dancers. They both still take class. The last time I saw Terekhova, about six months ago she was still jumping like a teenager! They are also caring and delightful to be around!
  17. Tatiana Terekhova and Sergei Berejnoi are currently still in Boston. I believe they were never officially "let go" and their future is yet to be determined by their choice as well as by Boston Ballet. They were to go to the Bolshoi this past year and return for select times to coach the classics. However when everything fell apart at the Bolshoi they stayed in the states and at Boston Ballet. They are very well respected by the dancers. They both still take class. The last time I saw Terekhova, about six months ago she was still jumping like a teenager! They are also caring and delightful to be around!
  18. A big pet peeve for me has been critics that seem to go after dancers or choreographers with either the intent to "make" or "break" their careers based solely on their own personal taste or even at times personal relationships. This action I find immoral and a disgrace to their profession but I've seen it happen.
  19. In reading back my post I want to add two things. First I apologize for so many misspellings. I'm really addicted to spellcheck! Secondly, I didn't intend for it to sound as if the program was not danced well and at a high caliber. These dancers are at a high level both techniquely and artistically.
  20. This post is with much thought and heartfelt. I looked at the question all day and finally felt an obligation to respond.My amatuer review may be a bit Pollyanna-ish but it is how I felt as I watched and I feel many audience members shared my viewpoint.I attended the opening night of Boston Ballet's Winter Reperatory season entitled "Celebration of Dance" which was comprised of Jerome Robbins "Interplay" , Rudi Van Dantzig's " Four Last Songs", and Balanchine's "Theme and Variations". First off, hats off to Anna Marie Holmes for her fine and tasteful programing. A wonderful mix of the best. The program mood flowed perfectly in my perception. Interplay was danced exhuberantly and obviously staged and coached expertly by Judith Fugate and Jean Pierre Frolich. The dancers were appropriatly joyous and in sync in it's fun jazziness and intricate musicality.Rudi Van Dantzig's Four Last Songs stretched the dancers to new limits and challenged them both pysically and emotionally. I think perhaps this ballet was a wonderful release for all those dancers lucky enough to be given the opportunity to dance it during these stressful times and they all did so admirably and with conviction.On top of that it is tecniquely difficult but the emphasis must be drawn from that to the heart of the work. To see the dancers enter in to a new and spiritual place artistically was moving and inspiring. Finally Theme and Variatons is a great masterpiece and a hurdle for any dancer. Victoria Simon who staged it did not compromise the tempo to accommidate the dancers and they fought for it admirably. Alexandra Koltun danced the leading role with command,triumphing over a debilitating archilles tendon rupture less than just a year ago. Simon Ball partnered her galantly and executed his variations with calm concentration and elegance. I'm not saying every moment was perfect or danced as well it can be but I was moved by the dancers commitment to the art void of all the turmoil, the Artistic Staff's follow through, and all the administrative staff that contributed to the evenings sucess. I'm sure someone out there is probably far more critical but my final feeling goes back to how tough dancers can be when their art and growth becomes truly paramount.
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