aspirant

Not exactly a year in review, but perhaps just the home-stretch highlights: +finding up-and-comers coming into their own: Sakurai, Birkkjaer, Green, Kupinski (x2), Lambrette, Cuni, Haugland. +Riggins, Boetcher and Gad lighting up an otherwise very dull Odesseen. +Schandorff's mischevious Sylph, Boejesen's sweet one, Blangstrups brooding James +Cavallo as a queen in TPC #2 +Yao Wei-enough said! +MP Greve in the middle, TOTALLY elevated.

Just wanted to state for the record of cyberspace that Cuni and Cavallo were each stunning in their roles last night (PC2 and Serenade). Was also very impressed with Boejsen and her ability to avoid the ever-so-open arabesque normally associated with B's ballets.

Fairchild packs a lot of power for her size, and utilizes it smartly. More than anyone I've seen in the past five years, she has hairpin technique--and without turning into a complete zombie from the neck up. Watching her first workshop performance, I was literally open-mouthed at the speed and crystal-clarity of her footwork. There is always discussion about tall dancers, but very little about small ones. Both are equally as difficult to hide in the corps line--and I think that this is one (of many, many) reasons to get Fairchild out of the corps! She was really spectacular in Steadfast last year, which I think falls into both the Effy and Sylph categories (what with the fireplace exit and all!).

Does PA Ballet II work in the same manner as the ABT Studio Company?

a ridiculous proposition: La Sonambula The Steadfast Tin Soldier Prodigal Son (the danes know their drama)

Perhaps some sort of letter writing campaign is in order--bring more dance to Denmark now that you've got more places to put it!

So performing at Kgns Nytorv and at the new Opera house in the main space AND in the smaller space at the opera house? I don't know if there are enough people in all of Denmark to sell all those potential ballet seats! Perhaps the touring companies now won't get stuck at Tivoli, where it seems like the number of 'bad' seats outweighs the good about 2 to 1.

off topic, but rubria doesn't have PM options yet! Danseshus has rotating teachers every week or so for the morning ballet and modern classes (with names like Tim Rushton, Sorella Englund and Wally Cardona) KKA is better for your wallet, and has some interesting folks but the facilities aren't great. Sceneindgang is just opening (on Sunday actually, with a free performance and gratis classes all week--check out their schedule online for ballet and modern) and is replacing the old Dansverkstedet on Meinungsgade.

With the recent posting of NYCB Nutcracker casting and Megan Fairchild's debut as SPF (along with past talk about her in Coppelia 4x) I've started wondering about the tendency that seems to exist for corps dancers to be pushed into the spotlight. Teresa Reichlen, Ashley Bouder and Yao Wei could be added to this list--which is just culled from the two companies I've seen the most of. I've been through the discussion about Paloma Herrera and how she "burned out" early from overuse, but that isn't my question. Why is it that companies give these opportunities to fresh-faced, newer corps members rather than some of the more experienced corps or soloist dancers? Is it a chance for them to showcase their talent and learn how to perform as an individual artist, or is it a chance to save money by having them do roles above their level and still pay them at the bottom rung? Is it a way to let them know they are doing well, so that they won't get the idea to go somewhere else? Do you think that it gives people false hope of getting promoted if they are regularly scheduled for roles and not getting moved up? Please don't misunderstand, I am more than happy to see these (mostly women...but men too-Amar Ramasar, Kristoffer Sakurai come to mind) folks get to strut their stuff, but I'm curious about when is too much without the reward of getting your photo in the program! Especially since some dancers seem to speed through the ranks, while others "do their time" before inching their way toward premiere dancer status.

That sounds better than all the elbows that I've been seeing as of late!

I am intrigued by this tangent of "what is good enough to get someone cast". In Piano Concerto, for example, there is such a huge need for technical virtuosity that in my opinion I would rather see less drama and more phenomenal batterie than vice versa. If you don't have the chops, this is one place where you are exposed. I'm not trying to say that the emoters should be stuck in the 'easier' roles, because I think that it is just as difficult to choreograph your face as it is your feet!

The second Serenade cast (with cuni, hojlund and greve) was quite good. Each of these women has a distinctly different take on their role than the first cast, which is also exciting to see. Ringdahl was noble, if a bit casual at times. I have a question, however about the hair in Serenade. I have seen this ballet a great deal, and can't say that I ever recall actually "seeing" when the dancers hair comes down ---and she pitches her hairclip into the SR wing---more than with this group. Perhaps it is just that they have complex updo's? Is it a moment meant to be seen and have I just missed it all along? Octet with Blangstrup and Lindstrom (and Wei/ Sakurai again) was laden with more emotion than with the Schandorff/Bowman pair. They seemed to have more chemistry, and I have found that Blangstrup has a much more acute sense of emoting vs. overdoing it which Bowman tends to do. I think that Birkkjaer is certainly someone to look out for. I'm not sure if he is an apprentice or has graduated into the company, either way he is well on his way. Piano Concerto second cast was equally as dazzling as the first. Bojesen lacks a bit of the American "so there!" that is needed to punctuate the ends of some of the turns, but was still delightful with Massot. Both Still and Watson are having a time negotiating the many downstage double-pirouettes in the pas de troix, but I suppose that I would be nervous about falling into the pit if I were in their position! I must admit that this ballet alternates between being fascinating and 10 minutes too long for me.

Cuni was nothing but impressive last Saturday in Serenade. She has an enormous movement quality for such a 'little' dancer and also quite a lovely stage presence. She and Hojlund also danced the demi roles in Piano Concerto later than evening side by side.

Balanchine's Nut is performed in Stamford CT and uses local children along with the advanced students from SAB for most of the corps work. They faithfully bring in big names to do the pas de deux (I saw both Kent and Kistler in the past two years) and the audience is chock-full of children. The performance times are a bit strange, and I believe that the tickets are the same price for the entire venue (meaning: not too cheap). Perhaps this will be less of a hike for your Balanchine "fix"

Serenade was beautiful and also interesting to watch Rose Gad negotiate the role in the same way that Kistler has to--as both have, ahem, matured as dancers and are now caught in this piece that was made for students. Martins ballet was a lot of moving without a lot of steps if that makes sense. It smacks of several of his others, but I also found myself catching glimpses of much of the Balanchine rep within it--perhaps he was being sentimental. Of the two trios of boys, the second group was decidedly stronger and less affected than the first group who often seemed to be struggling with coordination. The pairing of Bowman and Schandorff was a solid one, they are technically gifted dancers. Schandorff for me, however, made the pas de deux sparkle--with very little return from her partner (who, admittedly was kept busy contorting her into sometimes lovely and sometimes horrendously akward shapes) Wei and Sakurai again had this problem of the woman trying to inject a little life into the movement with her face and the man stuck concentrating on catching her off the turn or splay. I think they are more than well accomplished (both hover around the 20 year mark I believe) and perhaps suffered from a wee bit of "opening-worldpremiere-martins-whoa i'm in the corps still-queen is here" jitters. PC2 was a tight ship from head to toe. I disagree with Kay, however, and feel that this was an exceptional role for Cavallo--she did not appear as flat as in many of the story ballets I have seen. Claire Still has a remarkable jump and near hairpin precision (though her pirouettes were a bit off) but she is not a 'ballerina' by any stretch of the imagination. I should also add that this is a difficult ballet, and I am remiss to think of more than one or two others who have the technical prowess to pull it off. As for the bows, i second all comments and would add another "mini" to Neary's dress. It is amazing to me that she and Simon are cut from the same cloth, so to speak. They couldn't be further away from each other.

I am still awaiting the day where I warm up to Davidsbundlertanz. Generally, the second go-round for me is always better, even if I loved it (or hated it) the first time. I also have a habit of loving it if I know anyone who is dancing. I have noticed some hostility toward Vespro (which, I will rant and rave about at the drop of a hat) and was hoping that all of the nay-sayers might give me a few words about why I don't think I have ever watched what happens downstage in Glass Pieces, as I am mesmerized by the corps and their silhouette line in the back. But those costumes, eep. I suppose now that the 80's are back in that it would be a prime time to have it in the rep. Fell in love with Red Angels for many many reasons, including but not limited to the music, casting and choreography.

Hojlund is indeed performing full time this season. I'm looking forward to seeing her in Serenade this week.

Oh, they weren't being obnoxious in the way that sometimes occurs when a large group of young dancers are trying to show their appreciation as if it were a basketball game--but it was just nice to hear a few bravo's from the back of the house in (yes carbro, i agree) fond appreciation for their friends and mentors.

Well, at the second go round it became a little clearer, although I can't say that I have much stronger ties to it than at my first very apprehensive assessment. I realized this time that there is so very little dancing, and so very much more commotion with props and costumes and such that it was hard for me to focus. I will second the comment about many members of the audience saying their fond farewell at the intermission (apparently when it premiered in Hamburg there wasn't one!) but those who stayed on to the, somewhat bitter, end were the foot stomping sort. Riggins was truly a breath of fresh air in the role, both with his interpretation and technical gifts. Kupinski (Dawid this time, not to be confused with his equally talented brother Marcin) seemed a bit aloof, but sound in his easily accomplished triple pirouettes (inside, whilst holding a briefcase!) The entire company seemed to be onstage at one time or another, which leads me to wonder if they've got any days off coming up!

The company members not on the stage were obviously in the house last night to see Hübbe and the newish cast of Etudes (I love it when you can hear them all in the back of the orchestra cheering on their friends) I'll second Effy's post (though can't say that I have the ability to compare this James to one in years past). Hubbe seemed to be thoroughly involved with the ballet, not simply filling his role and then watching all the others that he had coached. I was most impressed by his use of stillness in the mime sequences. There have been criticisms of the tempo here, but I think that this might be due in part to the "mushy mime" that sometimes happens. With this James you had some time to digest what was said and let it register. Particularly sweet, was the somewhat befuddled Bojesen at the curtain who against her will kept getting dragged into the limelight by Hubbe who, after taking his flowers from Frank Andersen and a solo bow, refused to go up alone again--and so they had a funny little bit of bowing to each other, knowing that the foot stomping was indeed in his direction. (This isn't to say that Bojesen didn't deserve her fair share, she has a lovely and innocent quality about her--especially when first appearing at the window)

After a (somewhat gentle) nudge from Mel and Alexandra, here is the visual spectacle that i saw. i think i am going to wait and see what happens tomorrow night before trying to make any sort of commentary, because right now i am a bit befuddled (maybe that was already commentary!) First, I should mention that I have never referenced my program more in my life than at this performance, with perhaps the NYC performance of Movin' Out coming in a close second. Strangely enough, both of these vastly different events share the linking theme of the Vietnam war. The ballet is divided into 28 scenes, listed in the program in ways like "Calypso's Grotto", "Sirens", "The Stranger". Mind you, it has been some years since I picked up Homer, but I thought I had the story under control. The stage is set with two semicircular walls that provide multiple entrances through two separate sets of doors along the inner and outer walls. These walls provide a standing platform 20 feet into the air with one ladder descending into the dancing space and some chairs, a railing and a TV that projects the dancing going on below. (Think of slicing a 20 foot tall doughnut in half, or 1/2 a swimming pool--complete with ladder). Additionally there is a tongue that projects from center stage across the orchestra pit and 3 or 4 rows deep into the house that is used for dancing/walking/lying down. The ballet follows the story chronologically for the most part, with flashbacks and visual re-tellings of Odyseus' story of his journey. The costuming indicates the Vietnam war-- O. dressed in fatigues along with his fellow soldiers, round and pointed hats of the villagers during the rape and plummage scene. The sirens of the sea are swathed in royal blue ballgowns that drape 10 feet behind them in a train that makes for quite a swirling picture. Calypso is clad in jeans and sunglasses, while Circe the sorceress has on a rainbow sheath made of fringe that matches the painting on the back wall. The cyclops is a giant round ball of ostrich feathers with a headlight that blinds the audience. Penelope's suitors near the end appear James Bond-esque with tuxes and white scarves and spats. The ballet opens (no curtain to start or to end, no curtain call either) with people clad in white pajamas atop the doughnut moving slow-mo (which continues the entire ballet, with the cast of characters ever changing, entering and exiting and looking at the TV). Then we see Telemachus Odysseus and Penelope enter riding bicycles. O. has more costume changes in this 21/2 hours than Madonna's last tour! The music is both pre-recorded and live orchestra interacting throughout. There are vocals occasionally, and large silences or very quiet periods, along with machine-gun fire and a long and lovely cello soloist who appears onstage. The lighting is either very bright, full stage or very smokey/murkey most of the time. Props are abundant, from swaths of cloth as costumes, to a giant red fabric--the shroud that Penelope weaves and unravels whilst biding her time. Chairs, fabric, on-stage costume changes by many characters, boots, guns, a briefcase, a hospital bed. Everything but the kitchen sink is an appropriate phrase. In the program, Neumeier is quoted: "Ten years of wandering, ten years of returning, ten years of healing after ten years of war! Without war the Odessey is inconceivable. For me it's about how a human being rediscovers himself after a ten-year war: how he finds his way back from this male-defined macho world of battle and war and rediscovers his feminine side. It is called Penelope." He also likens his desire to create story ballet in his own way as an aquired taste and when asked about his (lack of) success in America attributes it to a 'different diet'. That is just the beginning I suppose. Your further questions will be helpful for me to understand this!

Some things to consider-- *The "marketing department" at the RDB consists of, as far as the website suggests, one person, who is also in charge of all of the education and outreach events that they produce. I cannot think of a single other major international company where this is the case. *Programming a season, and I am sure that I am preaching to the choir here, involves more than just the marketing--but also the schedules of the people who are setting ballets, the time it takes to actually construct the work from the tutus to the lights etc. Add to this the Opera schedule with the same limitations. More than half of the works open in the first portion of the season, which is pretty impressive. I am not yet decided if I am in favor of their half-rep method, where occasionally there are dedicated periods to a single ballet and occasionally you can see three things in one week. I can't imagine what sort of trauma this must be for the technicians who are constantly changing from ballet to opera and back again. We should consider ourselves lucky that the ballet exists from September to May and not just for six weeks at a time. (maybe someone wants to pick up the debate and tell me the virtue of a 'ballet' or 'opera' season--i know you're out there *The Minister of Culture visited the ballet last week. Maybe he was confused, but I was told that he was there!

In an attempt to bridge the gap some years back, Elizabeth Streb's company performed at a ballpark after batting practice for half an hour. Granted, her work is as in-your-face physical as it can get, involving equipment to bounce off, but they reported a huge rise in the ticket sales for the 'real' show they were having that following week.

I've just returned from the epic, which truly was an epic--as the first act lasted an hour and forty minutes (I should have packed a lunch) Being a Neumeier newbie, I was hoping that someone could give me a bit about his 'schtick'. I have heard wonders about R & J some years back with Heidi Ryom. Thanks.

There seems to be this pattern of men making work and appearing in it (Bournonville, Martins for a bit, Hubbe now). Don't get me wrong, I think that he is going to knock my socks off--and expect nothing less---but just wondering how others feel about this? My two cents about Silja: I felt like I watched her eyelids for the entire ballet--as she spent most of the time looking about 45 degrees to the floor. Mind you, I was in the orchestra so it wasn't a matter of seeing the top of her head as well. And a question: in the original libretto, i believe, there used to be a mime scene after the Slyph's opening variation with James and Gurn that more clearly indicated their troubled relationship. Has anyone ever seen this done? I think that Flemming Flindt stuck it back in a while ago when he set the ballet in the states?