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Everything posted by chauffeur

  1. Is it fair to say that MacMillan maybe is an acquired taste? I just remember, in seeing his Gloria earlier this year, thinking that it took some concentration and commitment on my part to see and hear what he was trying to say. For me, it was kind of like reading an author like Thomas Mann -- a little dense with ideas and not immediately accessible. It was well worth the effort, but I can see where some (like a young student!) might not be as willing, especially when compared to Balanchine whose choreography I continue to find almost "talent-proof." It doesn't seem to matter how old or exp
  2. My daughter was at the Friday night performance. She looooved the Balanchine Symphony and was not moved much by the MacMillan Song. Another opinion was that Greta Hodgkinson seemed off in her dancing that night, which breaks my heart to hear because I was absolutely mesmerized by her in Autumn of Kudelka's Four Seasons last winter. She gave Cote, Kish, Zehr and Konvalina big thumb's ups for their performances. Anyone else see the bill and have a thought?
  3. My daughter, as an NBS student, got to see the show last night and said it was wonderful (though she said she did prefer the Royal Ballet version that we got to see in June). She said Sonia Rodriguez and Aleksander Antonijevic were really good as Aurora and the Prince. Now, curiously, Brett vanSickle went on as the Bluebird: the online casting list (I know, subject to change) had Dong Hyun Seo listed. But my daughter said van Sickle was really, really, really good -- and not just because she and her classmates got to see him on the subway after the show (and compliment him, of course). I
  4. Or possibly Cory Stearns. He's an American who did his finishing training with RBS.
  5. Streep is an absolute master-class in acting. As I think most critics are saying, she is the reason to go see this (although Tucci is also quite wonderful). I was a little bummed with the major storyline changes in the latter half, although in the film medium, I suppose it works better. I remember feeling a little too stressed with the book as we experienced Andy's breakdown with her. But, at the same time, the Miranda character was unrepentently, unredeemingly negative in the book, and the film Miranda is actually more believable.
  6. I really prefer to take this approach, too, though much of it stems from an inability to identify and remember many of "the steps." I'm the same way with cars -- couldn't identify a make and model if my life depended on it. I find that when I focus too hard on the details, I lose sight of the overall production and, for me, the experiences loses so much of its power and emotion. It may be the Taoist in me, but I just hate to overanalyze. I admire and respect those who do want to (and can) delve deep into the details, but I enjoy my blissful ignorance and gut reactions immensely!
  7. those fish-dives by Cojocaru and Kobborg do deserve special mention! I think that was the first time in my ballet-viewing career that I have ever seen them done and not felt fearful for the ballerina's well-being. They were so powerfully yet beautifully executed. Such snap, crackle and pop!
  8. Awesome points, Mike. It calls to mind what I saw on Cojocaru's four-partner Rose Adagio support. Her first two turns were lovely and "adolescently" ambitious for their enthusiasm. I seem to recall there was a bit of a highly human bobble and hesitation on the third. But she regained her confidence on the fourth and finished it with the panache and chutzphah you'd expect to see of an Act I Aurora. I predict that Cojocaru, 7 years from now, will find a way to make even a bobbled third turn part of her character.
  9. On the Royal thread, I said that I felt like I didn't need to know the specifics of what this piece was supposedly about. And, even a few days later, I'm finding I still feel the same way. Perhaps I'm more forgiving of the creative urge. I tend to assume the best of the creating artist (in this case the choreographer) and try to process a work very (and perhaps too) generously. But it does raise the question for me, in reading people's various reactions to this work, if we, as audiences of the 21st century, haven't changed substantially from even a few decades earlier. Why is it so impo
  10. Ewww, Sarah Kaufman from the Wash Post had some opinions similar to mine about Thursday's show. I totally disagree with most of her take on the mixed bill, so she's not allowed to agree with me on Thursday. anyway, on the "best Aurora" debate, I just have to say that Cojocaru is the best I've ever seen live. I never saw some of the other great names invoked perform live, so it's entirely possible that she could be the best a lot of us have ever seen -- even if she's got room to grow. Again, I am very excited to watch this already wonderful ballerina continue to mature!
  11. OK, first of all, my daughter and I win the award for "Lengths That People Went to in Order to See Wednesday Night's Show" (though Leigh still wins the overall competition on lengths to see the RB). Picture if you will, a woman and her daughter, sitting in an airport in Columbus, Ohio, getting their 12:15 pm flight to BWI cancelled because of "bad" weather, and being told they might get on as standbys on the already full 5:10 flight. Which would get into BWI at 6:25. For a show that starts an hour away at 7:30. Well, long story short, we made it onto the 5:10 flight. Which got into BWI
  12. It took me 5 years of living in DC before I could drive to the Kennedy Center without ending up in Virginia! And danged if our cab driver didn't nearly do it to us on Wednesday night (but that's a whole other story for the other Royal thread). anyway, I just wanted to check in with my take on the Thursday SB (shout out to Pat, Art and Susan, met under the Kennedy head). You know, I appreciate the historical debate on the costumes and production value as much as the next BT person, but for me, what the Royal has imported is gorgeous, gorgeous, gorgeous. I loved the richly elegant restraint
  13. Whoop-de-do...yes, that's exactly the term I was looking for!
  14. wild guess here, but given the dual mention of ABT and outrageous jump, I want to take a stab. Might it be a "540"? We saw Cornejo, I'm pretty sure it was, do it in Corsaire this past winter (though not in the coda pdd). I don't know ballet terms at all, but it looked like he extended one leg straight out then twirled the rest of his body around this axis a couple times (it didn't look like 3x, though 540 would suggest it was; either way, it was truly jaw-dropping stuff). A corps member we know told us afterwards what it was and that they call it a 540. He seemed to indicate, too, that t
  15. We saw her perform as Odette in Swan Lake (in Sydney) two years ago, and she was superb! Great technique, but it was the artistry and acting ability that blew me away. I wish the rest of the planet could see more of her. She really is something special.
  16. I've only begun partaking of NBoC this year and have seen Kudelka/classical and Kudelka/contemporary. But the reaction I'm having to the repertoire is wondering what more depth of talent will do for the company's performances. I think most of their senior artists are on a par with some of the best that I've seen in companies like ABT and Australian Ballet Company, but there's too much of a drop off in quality once you get into the second soloist and below ranks. Kain's new hires and continuing reshuffling of lead couples should be interesting.
  17. Forgive me if this is heading off on a tangent, but it's been driving me nuts and Googling didn't yield an answer. Isn't Legate semi-famous in dancing circles for also competing in something like cycling or swimming or triathloning? I seem to recall reading somewhere that he did, but I can't find confirmation. I just always love hearing about dancers who are able to do something physical outside the dance realm.
  18. Argh, just deployed the "no harm in calling and asking for the same or similar rates" strategy for weekday dates in June, and it was a no go! But thank you, Leigh, for letting us know! and whoo-hoo on that casting! We are very happy campers with much to look forward to!
  19. Well, I'll air my pet peeve that I schlep with me from sister site BT4D: For the sheer volume of little girls in tutus that we have in this country and the magnitude of dollars being spent on their training (and competing ), it galls me to know that very few of these families are also spending any money to attend professional dance performances (unless their child is playing the Third Village Urchin from the Left). THERE is the missing audience that could be keeping a lot more companies afloat. I wish more teachers would emphasize the importance of seeing professionals dance. I don't thi
  20. As great as it would be to see public monies spent on bolstering ballet, I just don't see it happening, even in a more liberal political climate in this country. We always have been and probably always will be a culture that largely expects artists to make their own way in the world. And I do agree, Leigh, that shifting tastes for the arts and entertainment underlie a lot of the decline in audiences and revenues. It seems that many midsized companies are changing their repertoires to suit these changes, heading more in the direction of musical theater even. What will happen to the classi
  21. How about anyone who observed the growth days of the 70s when ballet was so popular for a while -- or even in earlier decades? What followed those growth phases? Was it retrenchment and then rebuilding?
  22. I'm still a relatively new observer of the overall dance scene, but I can't help but notice that in the last year, at least in the US, there's been a lot of what I could consider mid-sized companies closing or faltering. Off the top of my head, I'm thinking of Oakland, Ballet Internationale, Ohio, Ballet Pacifica, and now Augusta. I'm sure there are others. Is this part of a normal growth cycle in the dance industry? I know in most other industries, growth is followed by shrinking which is followed by growth, and it just goes around and around through the decades. Has this occurred befo
  23. Thanks, all, for the input! Sounds like we better eat a good dinner before the mixed bill show and prepare ourselves for a night with lotsa good dancing. Yum! And, Starr, I'm sending you a PM.
  24. Still no casting list for Kennedy Center <sigh> but I did just notice that the description on the mixed bill has been expanded: >>The company will also perform a program of mixed repertory to include two Ashton works--La Valse, with music by Ravel, and Enigma Variations danced to Elgar's beautiful score--as well as company dancer Alastair Marriott's new work Tanglewood, which uses the music of American composer Ned Rorem, and Sir Kenneth MacMillan's Gloria, an evocation of the tragedy of wasted life in World War I that is set to music by Poulenc. << Any thoughts on the addi
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