Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

bart

Senior Member
  • Content Count

    7,250
  • Joined

  • Last visited

About bart

  • Rank
    Diamonds Circle

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    lifelong fan
  • City**
    palm beach gardens
  • State (US only)**, Country (Outside US only)**
    florida

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. For those of us who wonder how dancers are able to figure out what to do (and where to do it) in complicated ensemble numbers: http://balletoman.com/1314-vienna-state-opera-funny-ballet.html#vid
  2. In the very firsts video linked (firsts post), the best part for me is the end. An elaborate preparation for a pirouette followed by the final triumphant pose, but without the actual pirouette. Worthy of Carol Burnett, Dawn French, and other great ballerina wannabes.
  3. Balanchine did this on at least one occasion. I can't remember which ballet but I do remember 10 or so fouettes followed by the ballerina spinning away in a series of chaine turns. It made sense in terms of the music. But the 32-fouette tradition is so entrenched that even I felt let down when it was bypassed.
  4. A deciding factor might be the time and energy that the book group members have to spend. Another might be whether the book is available on Kindle. Copeland (288 pp.) and Ringer (288 pp) are available on Kindle. So is Kavanaugh's Nureyev biography , but that weighs in at 848 pp. Solway (635pp.) is not on Kindle, at least as listed on Amazon. Neither is Daneman's biography of Fonteyn (672 pp.).
  5. leonid17, you write: I can understand where you are coming from. But the effect of this is to create a dichotomy in which "Ballet" (strictly defined) is one one side of the dichotomy and "Everything Else" is on the other. I wonder how useful this is, except to the extent it builds walls around what has been called Academic Classical Ballet. What would you do, for instance, with the large number of "neo-classical" works produced in the 20th century? Though some of these contain only a few deviations from classical ballet, others go much further afield. Many would dispute your broad defi
  6. Thank you so much, phrank, for those links. They're educational ... and fun. I've only watched the second video and already I have a much greater respect for the fouette-sequence as an index of differences among ballerinas. Among the American dancers I know best, my preference was for Gillian Murphy (though the sweet face of Cynthia Harvey, caught (oddly) in close-up, brought back nice memories). Tiler Peck is remarkable, considering that multiple fouettes aren't a big part of NYCB's training. So many differences in the details. Doubles or not? If doubles, arms held en avant? or hands
  7. vrsfanatic, I was sort of hoping that my post would lure you into speaking up in defense of Vaganova. One aspect of the Vaganova story that I had forgotten while writing to leonid was the simple fact that ... Vaganova provided a template for what was missing outside Russia, and this was especially important in the years when the Soviet Union was more or less isolated from the larger world culture. You convince me! Let me add my own sincere for Vaganova and all the teachers who keep it alive.
  8. It's been fun rereading this thread, which asked us to to "list as many influential women we could think of who have had a profound impact on ballet in the 20th century." Inevitably, a topic like this leads to accumulation, as posters think of more and more figures who have had importance in the field. So far we have done a commendable job of reminding ourselves about just how many significant women in ballet there have been. Now, leonid suggests a re-focusing or narrowing down of the topic.. This is quite a challenge. The new criteria are that the person have a "truly wide world affec
  9. Thanks for the link to the Vanitatis story, Helene. It brought back memories of the long struggle Corella has had in his effort to create what was originally planned as a national classical ballet company for Spain. He began with so much passion and aspiration. But the timing was bad -- just as the Spanish economy was collapsing. Much of the story was chronicled here on Ballet Alert by members like 4mrdncr and CarolinaM. I love the article's opening line: And: It's sad but understandable that Corella is disillusioned -- and fed up -- by the experience. I hope that, after his far
  10. bart

    Reincarnated

    It's so good to hear your voice again, leonid. Welcome back.
  11. I confess I wasn't looking forward to this is much as the other programs this season. Don Q done in a way that is "not quite right" can be tedious. Fortunately, the opening night cast -- performing on sets provided by ABT that are a big improvement on what I remember from the past -- swept away my hesitancy. Mary Carmen Catoya and Renato Penteado were brilliant as Kitri and Basilio, with Catoya dancing better than ever, in my opinion. Catoya's characterization of Kitri hasn't changed much since the last time MCB did this a couple of years ago, except in the sense that seems to be freer, w
  12. I saw this in the company of a former dancer, current teacher whose parents were actually present at the premiere performance back in 1946. She remembers hearing them often refer to how impressive that was -- the sense of a return to light, hope, a sense of plenty. It was good to have the chance to see this reconstruction and to try to imagine what it must have seemed like to those who had survived and triumphed after so many years of War. My friend and I were both in agreement with ksk04's evaluation of the performances. The Lilac Fairy was not only "very miscast," but -- in my estimati
  13. I loved the programming this weekend, although a number of people in the audience were vocal about not enjoying the "modern" qualities of Episodes, especially the Webern score. For this audience segment, what came next -- Tchaikovsky Pas de Deux and West Side Story Suite -- seems to have saved the day. A almost people I saw seemed to be walking jauntily and smiling as they left the hall. Episodes -- a work I've been looking forward to all season -- got first-class, often thrilling performances by both casts. Highlights for me -- Tricia Albertson in the first Section (Symphony) partnered el
  14. Thanks for the correction, mira. I misremembered something I read in the press about his selection for the Taylor solo. Looking forward to seeing him on Sunday.
  15. I had forgotten that he was with NYCB for a short time. Did anyone see him there? Symphony In C seems a great fit but I would love to know how deeply he went into the other NYCB rep.
×
×
  • Create New...