jbtlse

Giselle--I can't get away from it--it follows me around. Guaranteed wherever I am the local company is doing Giselle. It used to be Swan Lake--but then I saw an amazing one so it put me in my place. Dracula IS awful--but I'm not running into it as much.

I've seen Boston Ballet's Nutcracker twice and Jose Mateo's Ballet Theatre twice--I'll see them both many more times this season!. Boston Ballet I'm a bit self-conscious about reviewing it because I saw it press night (12/4)--and professionals reviewed that! I thought it was the best danced Boston Ballet Nutcracker I've seen in years--the company looked well-rehearsed and the dancing was fresh and clean and energetic. Because I have seen this Nutcracker consistently for many years (and many times a season) it makes clear what has been suspected--Mikko Nissinen has really revived this company! My hope is that the crowds that come for Nutcracker will be inspired to return for La Fille mal Gardee and beyond. One thing I don't like though is the new Nutcracker advertising identity--too garish! JMBT I hadn't seen this Nutcracker since it moved to the Sanctuary Theatre--it is amazing how they transform the church into a theatre--and it is very successful. The audience size is 250 so it is a very intimate experience. The sightlines are great and you can really see the dancers' faces and feet--which is certainly a different perspective. I particularly like Jose Mateo's Waltz of the Flowers (my favorite part in BB is Snow). Sometimes, though, I think the stage is too crowded with dancers. I hope I have the energy and opportunity to see some of the other Nutcrackers around town--particularly the "Urban Nutcracker"

I feel like a traitor admitting this, but I didn't like any of them. The dancers looked very taut (I mean that in a good way--they appeared in shape and well rehearsed) and the choreography probably was an exhilerating way to start the season for the dancers, but the program didn't sing for me. However I admire what Mikko is trying to do--it's the right direction even though this one didn't work for me.

Today I saw "Esmeralda" by the Festival Ballet Providence (George Lyssenko choreographer)--it was of particular interest because several of the dancers who were let go by the Boston Ballet last year ended up there. (I did recognize some BB staff and dancers in the audience which was kind of poignant) Aleksandra Koltun who was formerly a Principal at Boston Ballet is really stunning--she was Esmeralda. (The other former BB members were Alex Lapshin and Gleb Lyamenkoff) And I really liked the ballet--I thought they did a great job with the dancing and acting--the scenery was simple but effective and likewise the costumes. The men in the company were really impressive--well-rounded and strong--this was a definate improvement over the last time I saw the company--probably at a children's performance last year. The guest artist who was Quazimodo was phenomenal--Cornel Crabtree--his bio says he was formerly with NYCB and MCB--it was a character role with a lot of physical dancing. Additionally Jose Mateo's Ballet Theatre (of Boston) is performing this month--I am hoping to get to see them in their new studios this time!

It was in today's Globe-but I'm not too savvy about linking! "Maelstrom" (Morris) and "In the middle somewhat elevated" (Forsythe) Onegin (Cranko) after Nutcracker "La Fille mal Gardee" (Ashton version) Balanchine program: "Movements for Piano and Orchestra" "Ballo della Regina" "Prodigal Son" "Romeo and Juliet" (van Dantzig)

I saw Coppelia--when I was in grade 7 (mid 70s)--in NYC--not sure which company--I was completely hooked--listened to the music over and over and danced in my room. Reinforced by other trips to see ballet (was lucky to live a quick train ride from NYC)--particularly seeing the Joffrey as a freshmen in highschool--went in on the train with a friend (a first)--remember a woman dancing with long hair worn free--wow! I love being dazzled by dance still and love sharing it with my daughter--other daughter and husband are not quite as enamoured! Now I participate in a ballet outreach program in an urban school system (I'm an academic teacher not a dance educator!)--and I just love seeing those kids dance as much as any professionals--often I get teary-eyed watching them!

I don't--although I always wistfully pour over the NYCB schedule--I live too far away to realistically commit to a series! Sometimes I am fortunate enough to get free tickets--or I buy half price tickets--or my daughter gets student rush tickets--somehow we see every ballet our hometown company does. We just do not have to fluidity of funds to invest in a subscription! We try to see most dance that comes to town--but usually again through half price day of purchases or if I'm really organized through a local organization that offers discounted advance purchase tickets.

Saw it Tuesday night--which included an informance by Citydance( an outreach dance program between Boston Public Schools and the Boston Ballet)--it was sure inspiring to see those kids (ranging in age roughly from 9-18) dance! Daughter commented that Corybantic Ecstasies didn't fit with "American" theme as it was Greek mythology. But it was certainly different in flavour from the other two. I must agree that I thought "Dionysia" part was quite different from the rest of the piece--really I thought I was watching an entirely different ballet! Really enjoyed the other bits of that ballet though--interesting choreography with a beautiful classical line. Also have to agree that I didn't quite understand the plot of "Slaughter..."--was enjoyable but didn't think it really worked as a separate piece. Saw Tara Hench as "girl"--didn't think she was quite voluptous enough (would've liked to have seen April Ball) and Zach Grubbs as "hoofer" who was likeable and I generally like but, well ballet dancers aren't all necessarily trained in "broadway" dancing--would be curious to know who was and wasn't previously trained to tap dance/soft shoe for both this and "Rodeo" (I vaguely remember reading Reagan Messer is--however I didn't get to see him in either) In "Rodeo" Jennifer Gelfand was perfectly cast as the "cowgirl" and Viktor Plonikov was larger than life as the "Head Wrangler" Thought Christopher Budzynski did a great job as "Champion Roper" but would've like to have seen Reagan--particularly because I think he's one of the dancers whose contracts wasn't renewed and I'll miss him. Daughter liked "Rodeo" best--certainly it's a happy little piece of old fashioned fun. All in all wished they'd chosen a more Balanchine like piece of Balanchine choreography--particularly to compilment/contrast Wheeldon. Did I mention those Citydance kids were great? [ March 21, 2002, 01:15 PM: Message edited by: jbtlse ]

Let's see--general feeling from my perspective has been positive. Despite a lot of changes things seem to be really looking up. With the dismissal of the Russian contingent it will be interesting to see what happens to the school next year--I am wondering when it will trickle down to there. I must say some of the dancers released are favorites personality-wise of the students--it's always sad to say goodbye to nice people. I do remember reading speculation about Morris leaving--because he's been so good that's hard but certainly understandable.

Sometimes skaters flub a bit but their passion sustains them and they win--Elena and Antun often win like this and deserve it--they are stunning and vulnerable--I am often moved by their performances--even imperfect ones. However last night I thought they were awkward--and they made some errors. The pure love for skating was not evident in their eyes and movement--it was however to be found in Sale and Pelletier's skating--they are charming and very refreshing--and stylistically very different. When champion has been defined by one style for so long it is very hard I'm sure to get out of that pattern. Also different people like different styles--judges are people and in skating their preferences do make a difference--as either a fan or competitor that has to be taken as part of the sport. It must be terribly frustrating to know you've aced it ( and you can win because you have won versus the other team)--but ultimately it is beyond your control. That doesn't mean I enjoyed Sale and Pelletier's performance one bit less because they did not end up winning a gold medal--it was inspirational! I watch skating (and dance) because I enjoy it so much--it makes me happy and Sale and Pelletier's performance last night made me (and them) really happy! It's ironic--I think the adrenalin that fuels competitions makes those performances the most exciting to watch--but the scoring and ranking I could do without!

I'm a little self-conscious about offering my not expert opinion...but I had a great time at the Wang Center this afternoon seeing Swan Lake! I must admit I've seen Swan Lake a few times and initially wished that they were bringing something more unique to Boston--but I was won over. Act I was jubilant--all those peasants waltzing and polonaise-ing around made me happy. The sets were intricate and sumptuous--that inner curtain thing (sorry for the not technical term)--was magnificent! The corps moved as one--it's such an important part of this ballet and it was lovely. There was a lot going on choreographically--but I didn't feel it was distracting--or that I was missing anything. I thought the longer tatty swan maidens costumes were very swan like and fluffy. The very best part was that the audience (probably close to a full house--and the Wang is huge) was enraptured. With the current chaos at the Boston Ballet it was wonderful to see evidence that there is an enthusiastic audience in Boston hungry for good dance. I left thoroughly entertained--and moved--as did everyone else it seemed!