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atm711

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Posts posted by atm711

  1. Strange, but Maria Tallchief never struck me as a tall dancer--5'8"- really? Her leg  line was not unusually long, so her height must have been in her torso....I read recently  that Agnes Letestu was 5'-10".  LeClercq, on the other hand had all her height in her legs.....

  2. Thank you...the photos I've seen of them are truly beautiful. I was concerned about his height but his lack of it certainly did not hamper him.  He appears to be about Baryshnikov's height.  I met him about 5 years ago on his visit to NYC and have been following him avidly.

  3. On 1/12/2018 at 9:10 PM, kfw said:

    LeClerq most of all. And Marie-Jeanne. And the baby ballerinas. And out of curiosity, Robbins.

    Interesting choices!  Among ballet fans at the time she was often described as being 'quirky'---definitely out of the ordinary at the time.  She did not have a particularly  beautiful 'classical line' and I felt she was unsuited to 2nd mm of Sym in C.  We had to wait for Kent and were finally rewarded with Farrell.  She did however, have her inimitable  'wit'.  I saw Marie-Jeanne in 3 roles with the Ballet Russe - Concerto Barocco, Ballet Imperial (Tchai Concerto #2) and Baiser de la Fee.  I have seen no one like her in Barocco--she had long slender feet (for her height of 5'2") and she used them like daggers---wonderfully fast sharp thrusting of the foot.  Her pointes were firm and hard (not as mushy of what I see today).  She had the lead in Ballet Imperial but I can never forget the unbecoming costume she had to wear..(.the blue and white short tutu) .  She looked like she had no waistline! (outrageous costuming for her). As sharp as her technique was  in these two  ballets,  we saw a different Marie-Jeanne in Baiser de la Fee.  She danced the part of the bride and wore a long white tutu with a ring of flowers atop her head and she had all the softness and warmth of a Giselle.

  4. What a "dog eat dog world" it is!  As a ballet-goer for many years I have always considered my self lucky to have seen some of the "greats" in their final years.  Danilova, in her later 40's, Alicia Markova (short on technique) the wonderful Riabouchinska with scant technique when I saw her in the late 40's.  But, Oh their Artistry!!  I must have sensed the "handwriting on the wall" because this is the first time I did not have a subscription to ABT; and, for sure, not happy with their company ballerinas---who make good soloists, at least.

  5. Seeing "Onegin" again last night brought back my memory of meeting John Cranko when the Royal Ballet (then "Sadler's Wells) came to NYC in 1949 for the first time.  As students, we learned that a reception was being held for the Company at the NY Public Library on 42nd Street & 5th Ave and we managed to 'crash it and spent the evening sitting on a slab of marble talking to Cranko (who was a Corps member at the time) about Ballet on his part of the pond and ours.  He was so bright and articulate.  We didn't manage to see any of the 'stars' but believed we got the better part!

    At last night's performance I thought Simkin and Lane (Lensky/Olga) would walk away with the laurels--so compelling was their PDD---but Ferri and Bolle, after a slow start, held their own.  To see a passionate "Onegin" I recommend the film with Ralph Fiennes!!!

  6. Ive been lamenting for too many years that NO ONE has revived Antony Tudor's R&J and its gorgeous Renaissance sets. (Jo Meilziner??)  The usual excuse I have seen is that it is too expensive to revive it with the original sets.  It is  quite different from the other many versions.  It is only one hour long and uses the music of Delius.  This one is an original and imitates no one. I had hoped NYCB would have revived it in homage to Tudor, but we got Martins dreary version instead.

  7. I saw this with a different cast from above--Paolo Rodrigues and Victoria Jaiani.  This Juliet was on pointe.  There are  two great PDDs in this ballet and the performance fell short...However, if any one is at fault it is the choreographer---and it is not the comparison with MacMillan that kept creeping up--it was also Tudor and Bejart.  Mercutio was  lifted strait  out of MacMillan.  Rodrigues and Jaiani are two beautiful dancers.  If they did not reach the passionate heights of more celebrated casts, it was due to the choreographer.  The saving grace was using the Prokofiev score.

     

    one final comment on the costuming-----three periods were represented -- 1930s; 1950s, and 1990s......and the costumes looked alike in all three periods.......?????

  8. Yes, I too would like to know the year he said it!  I saw Kent in the role and it was her performance that revealed the beauty of the work.  (previously I saw Tannaquil LeClercq, but always felt she was unsuited to the role)---and then finally, the ultimate--- Farrell!!  I have always loved and responded to Kent's 'other world'.

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