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Helene

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Everything posted by Helene

  1. I hope they'll release the TV only offerings to "on demand". Some of them are on the schedule for TV after they've been released on demand, like La gazza ladra, on TV next week, but I watched part of it on demand earlier this morning. Maybe it will also work the other way around.
  2. RAI is presenting free screening daily, many marked for 30 days from the start date -- one released per day -- of La Scala productions, including the ballet. If your buttons aren't translated, click the "Riproduci >" button. Here's the schedule: http://www.teatroallascala.org/it/calendario-trasmissioni-rai.html Here's the search link for La Scala: https://www.raiplay.it/ricerca.html?q=la+scala Direct links: Don Q (Osipova/Sarafanov, Nureyev Prod) Sleeping Beauty (Semionova/Andrijashenko, Nureyev Prod) The calendar says there was a Zakharova/Bolle Bayadere on April 2, but doesn't mention 30-day access, and I don't see it in the search results. There's a Le Corsaire (Anna-Marie Holmes Prod) that is scheduled to release on April 21 and be available for 30 days. For opera, besides the casts, La Scala performs operas that are rarely performed, at least in North America, like early Mozart and Not Barber of Seville.
  3. Bayerische Staatsoper is also doing free streaming: https://www.staatsoper.de/en/news/online-schedule-until-19-april.html Through April 8, they're showing the modern dress Lucia di Lammermoor from 2015 with Diana Damrau and Pavol Breslik. She does the mad scene with a gun, and this is one to see as well as hear. Also through April 8 they have their second Monday concert, and members of the Bavarian State Ballet perform excerpts from Lady of the Camellias (Neumeier) The Lady of the Camellias - Choreography: John Neumeier Act 2, Country Variations: Prisca Zeisel (Prudence) and Dmitrii Vyskubenko (Gaston) On the piano: Simon Murray Taming the Unruly - Choreography: John Cranko Act 2, closing-Pas-de-Deux Laurretta Summerscales (Catherine) and Yonah Acosta (Petrucchio) Other operas playing now are through April 13: Parsifal, with Jonas Kaufmann, Nina Stemme, Rene Pape, Christian Gerhaher through April 18: L'Elisir d'amore, with Ailyn Perez and Matthew Polenzani And starting later in April: from April 10: Portrait of Wayne McGregor from April 11: Die Frau ohne Schattent from April 18: Boris Godunov
  4. It's easy to see why the last Olympic champion would suffer from burn-out: she had won everything there is to win in skating, and the chances of her being able to repeat, given her technical content, which was high for 2018, but no longer, are extremely slim. (Whereas the two-time Olympic champion in Men is trying for his third, and he'd be the only man to have done so.) There's a ballet analogy there for some dancers, who are given a lot young, and like, Gelsey Kirkland, are cautionary tales. But, at least in Russia, there is a tradition of having a personal coach, a reverence for the classical rep, and the idea that a dancer goes deeper each time she or she dances a major role, plus there's new rep that comes in every season. Most young skaters aren't burning out: they're being surpassed in competition by younger and more technically able skaters, where working through puberty isn't an option: it takes too long. While there are always phenoms in ballet, and bumper crops of incoming graduates, most dancers don't generally get kicked out of the company when someone younger is better, at least immediately: they stay in the corps and don't get solos, whereas, the two-time World Champion from 2016 and 2017, who was injured in the last Olympic season and missed Olympic gold by a couple of points, didn't qualify for the national team for 2020 and lost funding.
  5. Their mom moved to Moscow, like a lot of ballet and figure skating mothers do in order to get the training they want. (They have two older half sisters who are also professional ballet dancers in Europe.) It was their idea, and I remember in an interview when Julian Mackay talked about how his brother, who followed in his footsteps, was fluent in Russian in a very short period of time. I'm not sure how long she stayed. I'm not sure if Nicholas Mackay has graduated yet, but I've been following Julian Mackay on Facebook for quite a while, and it looks like he's been thriving in Russia. He had a brief period in London, I think right after he graduated, but Russia is where he wanted to be.
  6. Julian Mackay used to post here early in his training at the Bolshoi Ballet school. I don't see a link to the CNN interview on his Facebook Page or on his brother's yet, or to a crowd-sourcing campaign. I wonder if they'll try.
  7. Thank you so much for posting that: it will be a treat after I finish my tax return!
  8. I haven't tested to see if the Zurich offerings are available longer than advertised, but the Verdi Requiem was always meant to be a longer online run, from today (Sunday, 5 April) through Saturday,11 April.
  9. Sarah-Gabrielle Ryan collaborated (virtually) with other PNB dancers to create this video collage of movement from One Thousand Pieces. (I love Luther DeMyer's Christmas lights!)
  10. If it ends with Kingdom of the Shades, or even the pas de deux, that's a pretty good opium dream.
  11. Opernballet Vlanders has operas (La Juive, Parsifal, Rusalka, with subtitles in NL, DE, FR, EN) as well as two dance performances available for streaming from their website: Ma mere l'oye (Jeroen Verbruggen) Bach Studies (Benjamin Millepied)
  12. Yes! I'm watching it now. It should be available until tomorrow morning. You need to create an account and log in, but to create one, they only ask for First Name, Last Name, and email address, and then you create a password. They might send an email confirmation before they activate your account, but once you have it, you can log in and see what's on their daily roster, for as long as free access lasts. If you need to, click the > to get to Die Frau ohne Schatten on April 1, then click the tile with Die Frau. https://www.staatsoperlive.com/live If you're not logged in with an account, the button should say "FREE". (If it's disabled, it means it's not yet available.) If you're not logged in, it should take you to the Culturell site to log in or create an account, and then when you set up the account (and maybe log in), the button will say "Watch Video". From the top menu, you can see the cast. Here's a link to the list; tomorrow is a dance performance of Peer Gynt (Choreography by Edward Clug). https://www.wiener-staatsoper.at/en/staatsoper/news/detail/news/the-wiener-staatsoper-is-closed-but-continues-to-play-daily-online/
  13. Today's taped live performance by the Vienna Opera is Die Frau ohne Schatten from 2019. Before the opera started, the head of the house gave a curtain speech. My German comprehension is pretty skeletal, but he started by saying he didn't have bad news, I think the speech was to commemorate the 150th anniversary of Vienna Opera or the building, and he spoke about the history, the conductors, the singers, etc., but he also gave praise to the ballet, named Nureyev and Legris, and he said the company had excellent dancers who either invoke or bring great emotion.
  14. I hadn't been out of the house for over a week, but, today forayed out with my paper towel/rubber bands/staples mask, and when I asked the young bagger guy how he was doing, he said he was glad to get a lot of work to get out of the house, because he has three younger brothers -- no further explanation needed
  15. Oh, that's great @ECat. I loved the chicken!
  16. Not ballet, but there's a lot of movement in this production of, of all things, Mozart's La Clemenza di Tito that was performed in the 2018-19 season by Opera Liege. (Scroll) The directions, sets, costumes, lighting and choreography are by Cecile Roussat and Julien Lubeck, and it's like Taymor on steroids with some Cirque mixed in. (According to their company's (Le Schlemil Theatre) website, they met studying with Marcel Marceau!) https://www.operaliege.be/spectacle/loperachezsoi/
  17. I was supposed to go to the World Figure Skating Championships in Montreal a couple of weeks ago, and until the week before, it seemed to be a game of chicken between the Province of Quebec, which ultimately called it off, the International Skating Union, which holds the TV and streaming contracts and may get a cut of the gate, and the Local Organizing Committee for the event, and, possibly, Skate Canada. For most of us, the underlying assumption was that it was an insurance terms issue, and we weren't surprised that the ISU didn't make a decision, but that PC made it for them. For commercial productions, there may also be an insurance issue, ie, the ramifications of canceling before or after there is an official stay at home/restriction for large gatherings in place. For ballet companies and other arts organizations, my gut is to respect those that are realistic about the season more than those who appear to me to be in denial about performances later this Spring. But there may also be contributing factors to the delay, like grant terms, the Board members, determining the demand for refunds rather than credits or ticket donations for the first round of cancellations, and evaluating any subscription cancellations or lack of renewals, so that they can analyze cash flow and financing, etc. It may be, too, that people are willing to donate smaller increments back, but if faced with getting a multi-hundred, or multi-thousand dollar refund, they might opt for the latter.
  18. Staatsoper unter den Linden has a few ballets on repeat among operas. This is the 1999 Patrice Bart Nutcracker with Nadja Saidakova, Vladimir Malakhov, and Oliver Matz, and, according to the website will stream until noon, Wednesday, April 1, the DST equivalent of CET. (Most of Europe changed to DST this past weekend, so this should be 6 hours behind in EDT, and 9 hours behind in PDT)
  19. From Ballet West came the following press release in my inbox: BALLET WEST CANCELS CHOREOGRAPHIC FESTIVAL SALT LAKE CITY, UT--Following directives by government officials, Ballet West has decided to cancel the Choreographic Festival, originally scheduled for May 14-16 at the Rose Wagner Performing Arts Center. The Company plans to stage Nicolo Fonte’s Bolero and Sir Frederick Ashton’s The Dream on June 12-20 at the Capitol Theatre, (originally scheduled for April 17-25). Ballet West is offering three options to ticket buyers: a refund, a voucher for next season, or to donate the value of the ticket as a charitable contribution to the Company. Executive Director Michael Scolamiero said, “The cancellation of the Choreographic Festival has tremendous impact on Ballet West’s financial health, and we hope our ticket buyers will choose to donate the value of their ticket. We will gladly send buyers a tax receipt for their donation.” Additionally, The Frederick Quinney Lawson Ballet West Academy will continue to be closed with the goal of resuming classes on May 4 and moving Spring Performances to late May or early June. The Academy will provide a mix of free live-streaming classes, private sessions, adult ballet, and building a Ballet West Virtual Academy to host modules and curriculum for all ages. Ticket holders will receive an email today with instructions for each option regarding canceled performances. Patrons may also call Ballet West at 801-869-6920.
  20. Not a video yet, but to counter the post above, posted on the All Arts newsletter: Starting on April 2, for 10 weeks every Thursday, Dolly Parton will read bedtime stories. from Imagination Library's YouTube page;
  21. I think orchestras are going to get crushed by this from both sides: as orchestras, which tend to have many, many more performances than their dance and opera counterparts at the same level, and then as accompanists for one-off chorale performances, subgroups that perform chamber works, as dance orchestras,, like the Phoenix Symphony does a subset of productions a year for Ballet Arizona. And, especially for dance companies, live music historically has been the first to go, as they are the sibling art form that can be performed to recordings, however odious that is for pieces that were meant to be performed to live music. I think this is where organizations will be able to go scorched earth with union contracts, and, if given the chance, raid the pension funds, which are delayed compensation, not benefits. Similarly, dancers, who aren't all that protected with one year contracts, two guaranteed if they have the right contract and are at a company long enough, are subject to being part of roster cleaning by guillotine, not by 1000 cuts.
  22. Maybe not cheerful, but i couldn't stop laughing:
  23. I wonder if this holds for individual arts organizations, rather than presenters. I hope not. They'll already have a big enough liability on their books for tickets next season, because, in general, the default for not donating tickets or going through whatever hoops to ask for a refund, is an account credit. I have no idea how they track individual ticket sales sold from box offices, because I rarely buy tickets in person, unless I'm there for something else on a subscription. Then when I go to the box office, they add it to my account. Do organizations create accounts in the moment, if you just walk up to the box office and have never purchased (or have been tracked) before? I was trying to figure out how to get all of my donation info in the Seattle Opera online form, and when a chat window popped up on screen, I figured I'd give it a try. I thought they'd be slammed and would want to get rid of me as soon as possible, but they processed the ticket donation right off of chat. I wasn't going to abandon ship or change my mind, but it was probably easier, and they had a live offer right there
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