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Andre Yew

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About Andre Yew

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    audience member, student
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  • State (US only)**, Country (Outside US only)**
  1. Lately it seems like Carmina Burana is the new Dracula. Someone once asked Stravinsky what he thought about Carmina Burana, since like his neo-Classical works, it reworked old musical styles in a modern way. He kind of huffed, and said something like "That's not neo-Classical. It's neo-Neanderthal!" --Andre
  2. Good stage faces can look goofy in real life since many features are bigger-than-life. My favorite female proportions belong to Sylvie Guillem, Patricia Barker, Svetlana Zakharova, Polina Semionova, and Darcey Bussell. I guess I like long, hyperextended ballerinas with amazing feet. --Andre
  3. I got to see Diana Vishneva twice as Aurora when the Kirov toured with SB a few years ago. On one of those nights (Saturday evening), she performed the only perfect Rose Adagio I have ever seen, and she did it with such ease. I think she can elevate any production. Unfortunately, we'll probably only get the ABT principals when they come out here. --Andre
  4. Don't forget the Royal Ballet's US tour this summer. They're doing Sleeping Beauty 7/5-7/7 in San Antonio, Texas: http://www.artssanantonio.com/ The RB brings out the dramatic qualities of the ballet that you don't really see in the Sergeyev production. For me, the Lilac Fairy-Carabosse interactions and mime, and its symbolic relationship to the whole ballet, alone are worth the price of admission. After reading all these impressions, I'm looking forward to ABT's visit with Sleeping Beauty this summer to California, in a so-bad-it's-good kind of way. --Andre
  5. Yes, I did go again last night (Saturday, Alex Theater in Glendale), and it was much improved. Serenade looked much better, and the dancers were really getting into the style of the other pieces, especially Rubies. It's too bad they only have 4 performances, because I think they could look very good if they had more time to get the choreography in their bones. What remained the same however was the very weak men's corps. It was kind of embarassing putting that quality of dancers on stage for the prices they were charging ($95 for the best seats), which were comparable the big touring compa
  6. Yes, I saw Thursday night's show. Colleen and Thordal once again introduced the show, which is a nice touch that gives a human face to the backstage stuff. Serenade needed a lot of work, especially from the corps. Some of the soloists were looking a bit rough as well. Brooklyn Mack was brought in to dance the man's role, and it wasn't flattering to his partner since he looked like he was in a completely different (ie. much better) technical class than his partner --- imagine one of those school performances where they bring in a professional danseur to partner the school girls. They also
  7. According to one of the preview articles of SFB's 2007-8 season, they will be filming Helgi Tomasson's Nutcracker and broadcasting it in HD over public TV, so get your VCRs ready! Not sure who's been cast. --Andre
  8. Just got my tickets too: orchestra seats for the last night of the Forsythe, and the first night of the Balanchine. --Andre
  9. I wish, but I don't think there will be --- they seem to be interested in directly broadcasting over the web. --Andre
  10. A new video website that seems to be based in Southern California has a bunch of short, free video features on various dance companies that have performed here. Companies include our LA Ballet, the Kirov, and Joffrey. There's even an interview with the dread critic Lewis Segal! http://www.dancechanneltv.com --Andre
  11. I saw the Friday and Saturday shows, and can't add too much to what's already been said. I think the men definitely looked stronger than most of the women, and the men had really nice feet as well. Peter danced in Napoli, and looked very good doing it. I hope we get to see him dance more. While I enjoyed all three pieces (the two Balanchine pas were especially beautiful), I thought Napoli looked the best coached and prepared. The audience was fairly full for the Friday show at UCLA, but really bare (less than 1/3 of the seats filled?) at Redondo Beach. Hopefully it will be better for the
  12. Reviving an old thread. I had a chance recently to see a video of the Royal Ballet dancing Symphony in C in 1997 (Yoshida/Sansom, Bussell/Saunders, Benjamin/Trevitt, Bull/Cassidy), and I found their interpretation to be just delightful, because it so highlighted all their English qualities. They had a soft elegance that's so different from NYCB's jagged edges. We often have discussions here about the right style and whatnot, but I wonder if there are certain ballets that better serve as vehicles for showing off a company's own style, and are the better for it because of the diversity of int
  13. I saw Death in Venice twice: once on Saturday night and again on Sunday. I thought it was much more comprehensible and enjoyable, after a fashion, on Sunday. There are so many things coming at you from the stage that it's hard to take it all in. The second time, everything seems to fit better, and the choreography seemed less like busywork to fill in time. I agree that the ballet was superbly cast, and the dancers are beautiful and technically accomplished. Helene Bouchet, dancing La Barbarina, had amazing feet and legs that went on forever. Dramatic acting was also an integral part of t
  14. Yes, there is quite a difference, but I also don't think there is a wider range of non-verbal communication for women than men as there are many things men use that women generally don't. Leonid, you are right. I should have said something less specific than "port de bras" in that sentence. I was thinking more about physical expression than just port de bras. --Andre
  15. SanderO, I don't agree that expression by ballet port de bras is inherently feminine or masculine, but perhaps that's not what you meant. I think guys can be just as uniquely expressive as women, and the tools given to them are neutral. One of my favorite mime passages is in the Royal Ballet's video of the Nutcracker with Alina Cojocaru and Ivan Putrov, where the Nutcracker is describing the rat battle to the Sugar Plum Fairy. I think this sequence shows a very male perspective on the expressiveness of port de bras. --Andre
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