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


Senior Member
  • Posts

  • Joined

  • Last visited

Everything posted by bart

  1. Just learned that MCB's production of Balanchine's THE NUTCRACKER will return to the Kravis Center (West Palm Beach) next December. Dates for Miami, Fort Lauderdale, and West Palm are: ADRIENNE ARSHT CENTER (Miami) Dec. 19 (7:30) Dec. 20 (2:00 and 7:30) Dec. 21 (2:00 and 7:30) Dec. 22 (1:00 and 6:30) Dec. 23 (7:30 Dec. 24 (1:00) KRAVIS CENTER (West Palm Beach) Dec. 27 (7:30) Dec. 28 (2:00 and 7:30) Dec. 29 (1:00 and 6:30) Dec. 30 (1:00) BROWARD CENTER (Fort Lauderdale Jan. 3 (7:30) Jan. 4 (2:00 and 7:30) Jan 5 (1:00) I don't know about Naples, since MCB is presented there by venue and does not do its own marketing. This is the first time that MCB's Nutracker has played at the Kravis Center in several years. For a long time, they were stuck with dates in November, especially when they were competing with WPB-based Ballet Florida's very popular 2-week run right around Christmas. After Ballet Florida folded, MCB tried one last time, with only 2 (or 3?) performances in late November. When MCB withdrew from West Palm, the Kravis itself presented a touring Russian Nutcracker for several seasons. With dates like this, MCB has a real chance of making the Balanchine Nutcracker a Palm Beach County tradition. I hope the marketing department does everything possible to make this work.
  2. From the MCB Facebook page, also emalled to subscribers -- : No specifics, but they say that details will follow. MCB announced its programs for next season just last week, so I wonder when and where the results of this "project" will be produced. Personally, I wish they could do a couple of small tours within their performance area-- with small cast, easy-to-tour productions -- during the regular season, A lot depends on the availability of dancers at any given time. The Time Out interview (published in Jan.) is long and interesting. At the end Peck mentions a future assignment from L.A. Dance Project, but nothing about Miami. Here's the Link to the interview: http://www.timeout.c...ork-city-ballet
  3. Cristian, thanks for correcting me. Of course, Tchaikovsky Pas de Deux.. This must be the 10th time I've made the same mistake on B.A. Jack, I have the same book but not the cover, so didn't notice your error. There are11 photos from Episodes spead over 4 pages. In 2 out of the 11, women are being carried upside down. The Episodes photos come directly after a series from Agon. Both sets look as if the come from the same work. . Agree 100%, based on a comparison of Catoya and Delgado in the Don Q pdd last program -- and Catoya / Arja in Tchaikosvsky pdd in this program. It's not just personality but also Catoya's way of presenting herself and the quality of her movement. Her dancing this weekend in the Tchaikovsky was like pure silk draped around a core of high-tensile steel.
  4. Re: the Kent-Mitchell Agon pdd clip. I think they first danced this as a partnership in 1962, and subsequently in 1965 and 68. However, based on the filled-out appearance of Mitchell's torso -- and the color film -- it looks like it dates from 1972, when Mitchell was performing as a "guest artist." Anna Kisselgoff's review is here: http://query.nytimes...78AD95F468785F9 What a program -- Stravinsky Violin Concerto, Agon, and Symphony in C. And what casting! I love Darcey Bussell in that 1995 clip. She projects more glamour than the role probably calls for (Adams and Kent conveyed tension as well as control), but her physical beauty puts her in the same camp as those earlier dancers. Anna Kisselgoff, 1993: http://www.nytimes.c...-food-food.html
  5. Jayne, clearly I'll have to do more research on Jardi Tancat. Thanks for your information Agree entirely.Also agree with Helene's lack of enthusiasm for West Side Story Suite. On the positive side, WSSS is a ballet that could benefit from MCB's amazing sense of ensemble (comradery, teamwork, generosity to each other). This is a company in which the dancers really seem to relate happily and spontaneously with each other on stage. Watching them move so smoothly through the complex formations and maneuvering required by Ratmansky and Scarlett, I had the feeling that there is almost nothing they cannot do together. Thanks, Jack, for the link to the photo of the "inverted ballerina." You brought back an isolated visual memory, and I have the feeling I'll have to do some serious research to reconstruct my memories about Episodes, prior to the performances next year. Birdsall, I agree that Arja seems sure of shot at Kitri next season. She was given a chance to dance Catoya's signature role -- Tchaikovsky PDD -- this weekend. So did Jeanette Delgado, who has many Kitri qualities. There are a number of promising Kitri-Basilio partnerships, and a couple of Espadas, too.
  6. Thanks for posting that, brokenwing. I'm taking the liberty of reproducing the blog listing, which also include performance dates at each venue. (Naples not included, since MCB does not self-produced those performances.) Four Balanchine, all of of them top-shelf. (I haven't seen Episodes in a long, long time. I actually saw it first with the Martha Graham portion intact. I wonder whether this is an MCB premiere. Ballo della Regina was last done at MCB in 2004 -- Serenade, in 2008 -- Concerto Barocco, in 2009. Based on this week's performances in West Palm, they are dancing SO well right now that I am looking forward to seeing how each will look now. Lopez is making interesting casting choices, especially in the opportunities she is giving to younger dancers in the second and third casts. This adds to the suspense and fascination of the whole enterprise. Ratmansky's Symphonic Dances (the closer in Program III this season) will be repeated next season on Progsram II. It's so incredibly dense -- with so much going on, so much worth looking at on the often crowded stage -- that repeating it strikes me as a great idea. Rachmaninov is not my favorite composer by a long shot, but this score works beautifully for the kind of dance Ratmansky is creating. I am entrance by this ballet, though I recognize that it might have benefited from a little bit of editing, on the principle of "less is often more." Looking forward to seeing a 4th performance this afternoon. Don't know Wheeldon's Polyhymnia, but am looking forward to it. I've seen bits of Duato's Jardi Tancat. It was performed in West Palm (Duncan Theater) just a week or so ago by Ballet Hispanico. A friend tells me they did a fantastic job, including dancing in silence for a while when the music tape went dead. West Side Story Suite sounds like a sharp programming choice. (I thought of it during the first and third sections of Symphonic Variations, which includes sections in which the men are often massed into what looks like military formations.) Like you, I'm not thrilled by Don Quijote. This production has always had a semi-lifelessness to it that is hard to explain. (I can appreciate the effort but am underwhelmed by the effect.) Maybe Lopez can do more with it than Villella did. You have to take these war horses seriously. and this is especially true about the "comic" sections, which can be deadly when they don't work. I suspect Villella -- who was fairly open about not really valuing Don Q except as entertainment -- was never able to do that. [Edited to add: Just noticed Cristian's comments above. Sorry to disagree with you about DonQ, Cristian. Like you, I am surprised by the repetition of Theme and Variations. By the way, Catoya and Penteado were at the absolute top of their forms in T&Vs on Friday night. Natalia Arja took another step in the directions of real ballereina-dom on Saturday night. Captivating, charming, technicallyi strong, and very promising for the future.] I have taken the liberty of copying the full program -- including performance dates -- from the MCB blog. Subscriptions are already being offered to sale -- with mailings to subscribers going out next month, I think -- so it makes sense to mark these dates on the calendar right now.
  7. Very useful, Jayne. Think about all the money ballet students will save in tuition fees! Not to mention all those boring hours in class. No. 15 -- the girl with waggling her hands and bent wrists -- reminded me of similar gestures in La Valse. To my amazement, I tried it and found that ... I can do it TOO. I can also wiggle my hips while keeping my arms over my head (the correct position for males). It's a start. Thanks to you, I am seriously considering embarking on a ballet career. I may, however, have to read the article a few more more times before I can claim to be "amazing."
  8. Congratulations on your 100th post, AlbanyGirl, and thanks for your contribution to this thead especially. Quiggin, I'm grateful for your point about Tchaikovsky Suite No. 3. Nancy Reynolds quotes a critic who thought that this work had a "split personality." Llike most people, I usually see Theme and Variations as a stand-alone work, without the sections Balanchine added to it. On the few occasions on which I've seen the multi-section piece, I tended to think that it was a bit disjointed in terms of style. It never occurred to me that this might have been a comment by Balanchine on the romanticism/classicism dichotomy, with romanticism actually leading to (or culminating in) the triumph of classiscism. Cristian, thanks for those links. Dupont is a gorgeous Sylphide, though not the most ethereal. She is more glamourous than "fairylike" in its original sense, but lovelyi to watch nonetheless. Fracci's Giselle with Vasiliev is a marvel, especially considering her age at the time. I prefer it to the much earlier ABT Fracci-Bruhn film, with its over-active camera work.
  9. Yes, thanks, Jayne, for the summary. Politics and reduced funding seem to play a big part in these changes. I was interested in the comments on Malakhov, whom Duato describes as a "good friend.": Although the the city tried to convince Waltz to remain in Berlin, the government lacked the cultural funds to do so. Trying to persuade Waltz to stay, while being quite willing to let Malakhov go -- these choices tell us something about the nature of cultural politics of Berlin nowadays. (It also tells us something about the consequences of German "austerity" budgets.) Polina Semionova's decision to move to ABT in New York seems to have been timely.
  10. Yes, it's Maximiliano Zomosa. But all the Joffrey dancers were great, including those bizarre diplomats who start if off. Thank you, sandik, for posting the link to the video. This brings back so many memories of that first City Center set of performances. I was a student at the time. The Vietnam War (with its obsession with military hardware and "body counts") was at its height. Everything -- I mean everything -- was affected by this war, especially if you were young.. This ballet had an effect on me more powerful and enduring than just about any dance work I've seen. I think it was the bitterness of the satire at the beginning of the ballet --even more than the tragic events that develop when the war begins -- that was most shattering. I came back to see it two more times. The emotional and visual memories have never really left me.
  11. Off topic: . . No wonder I get lost whenever I try to drive down to Miami.
  12. Romantic and Classical seem to be categories, in ballet at least, that have different meanings for different people in different situations. I'm inclined to be persuaded by Quiggan's comment: However, as Quiggan concludes ... One genre of ballet definitely associated with Romanticism is ballet blanc. I've been skimming through some ballet books and came upon this, from Balanchine and Mason's 101 Stories of the Great Ballets. It comes from the chapter on Les Sylphides, an early 20th century work clearly conceived as an act of homage to Romantic ballets of the early-mid-19th century. Include those qualities in a ballet with a plot based on, let's say, Byron or Hoffmann, and you have something close to what cubanmiamiboy, in an earlier post, referred to as .Most of us, I bet, would include other things in our idea of "Romantic" as well. -- characteristic movements and poses, involving wrists (gracefully curved or drooping) , head (often tilted), eyes (so often cast downward or glancing to the side), upper body (very flexible), feet often but not always on pointe (softer, gentler than the typical pointework was to become later on,) , etc.. As in this print of Marie Taglioni: http://en.wikipedia....-in-zephire.jpg -- idealized, almost always tragic love that is passionate but rarely sexual; -- librettos that intertwine real-life and unreal worlds, mortal life and afterlife; Or am I wrong about this? Also: what am I leaving out? Also: who are the great "Romantic" dancers -- in style and type, even if not in repertoire -- from the days of Taglioni to today?
  13. I like this, from Michael Kaiser's report: Re: the school. MCB's school has become a major feeder of new young dancers into the company. It has also worked as a finishing school for several of the amazing Brazilian dancers now rising through the ranks, Rebello, Cedeiro, and Arja among them.. It's encouraging that the new director has worked with -- and been highly endorsed by -- Jean Pierre Bonnefoux and Patricia McBride, who come from the same Balanchine tradition as Villella and Lopez. Here's the full MCB press release: http://www.miamicity.../NewsPDF445.pdf
  14. Jayne asked: I just checked the Heats site. Ticket pricing seems to be much more variable and complicated than tickets in a ballet or opera theater. Top price (individual tickets) for 4 listed games in January was $450.00 for the best seats. Lowest prices were $10-20.00. There seemed to be an awful lot of seating options for over $100.00. Top price (individual tickets) for Program III at the Arsht Center was $175.00. Lowest price: $20.00. Seats in the orchestra -- the most expensive section -- are sold out for opening night. I don't know about the Arsht, but the Kravis Center has half-priced rush tickets available for purchase on the day of the performance.
  15. Birdsall, thanks for that wonderful quote. I think that it is quite compatible with the Miami Heat publicity. What I get from this campaign is .... "There are all sorts of 'cool' in this world. This is ours. We think you might be surprised at how much you like it." This can function as a reminder to the larger community that MCB is in the major leagues for dance just as the Heats are for basketball. Edward Villella struck me as ambivalent about new directions in company publicity. It seems that MCB never fully capitalized on the big stories of his last seasons -- the triumphs in New York and Paris, and the Dance on America national telecast. Lopez has had first-hand experience of the kind of publicity that New York City Ballet has used to make potential audiences identify the company --and its wonderfully photogenic dancers -- with "New York" itself.
  16. This is one of a number of interesting and imaginative publicity initiatives that MCB has undertaken recently. Getting the dancers out of the studio and into the community -- making them better known among average Miamians -- is a great idea. MCB is a big asset -- financially and in terms of cultural prestige -- to Miami. It is something to be proud of. I only wish it were possible to make similar appearances in MCB's other regular venues (West Palm Beach, Fort Lauderdale, Naples), where the company sometimes seems to be thought of as a touring company that pops into town everyone once in a while, dances a couple of shows, and departs as soon as the final curtain falls.
  17. On another thread, sandik responded as follows to a post by cubanmiamiboy -- Sandik's question -- "Is the distinction between classical and romantic ballet a viable one today" -- made me sit up and actually think. I'd add a related question: How do we use -- or possibly misuse -- these terms ourselves? Many Ballet Alertniks will know the historical categories "romantic" and "classical" as they apply to ballet and can probably locate them on a time line.. We can most likely think of a "look" associated with each category, as well as at least a few characteristic steps and gestures. We can probably list some major works in each category. I have to confess -- and this is a purely personal response -- I tend to think of romantic as a stage in the development of classical -- almost like one of those species that evolve but never quite make it, eventually petering out while leaving beyond a small surviving rep, a "look," a "feel," some gestures and steps, and a lot of history. In other words, I tend to identify and think of "romantic ballet" mostly in terms of the ways in which it deviates from --- or leads up to -- "classical ballet." My favorite romantic ballets tend to be those already showing qualities which later would be central to the "classical" tradition. (Robert Greskovic, for example, describes Giselle as an example of "Mature Romanticism," Bayadere as "Romantic Turning Classical," and Swan Lake as "Romantic Classical") Another way I use the term, when talking to myself, is to categorize individual dancers by placing them on a kind of imaginary spectrum ranging from "romantic" to "classical." For example, Ulanova as a "romantic" classical dancer and Plisetskaya definitely not.
  18. An interesting question, which definitely deserves its own thread. I'll start one , in the AESTHETIC ISSUES forum, unless others would prefer to it to be in Everything Else Ballet. Here is its:
  19. A wonderful report. Thank you so much, Nanarina. I fell in love with the Berlioz score in my youth but haven't heard it much since then. Being able to hear it played by a major opera orchestra, and to see it danced by someone like Dupont no matter what the choreography, must be extraordinary..
  20. I've just had the chance to go through all the links which BA'rs have kindly posted here. It seems that Mr. Tsiskaridze has concluded that the attack on Mr. Filin is really a sub-plot of the much more important conspiracy against ... himself. I know that Tsiskaridze is a great dancer, but he certainly seems to be the employee-colleague from hell. He is protected by tenure for life -- seems obsessed by his own grievances -- believes that he can intervene in everything about which he disapproves -- is convinced that he is the only one who can straighten out what he describes as a dysfunctional and immoral institution -- and cannot avoid making extreme statements about just about everything. He continues to dig his own grave, it seems to me. How odd that a performer who excels in an art that is essentially mute should have so little ability to keep his mouth shut.
  21. I wonder whether any real-world company could have held Reynolds for long. In addition to some physical problems and technical limitations .... Fortunately, she had many other skills and interests, got a Columbia education, and turned to editing, writing, and the creation of some of the most important projects for the preservation of American ballet history.. One of the bonuses of this interview is what she tells us about the process of writing Repertory in Review and her excellent survey of 20th century dance, No Fixed Points (with Malcolm McCormick), and the creation of the Balanchine Video Archives project.
  22. Many thanks from me, too, Jane. Reynolds has been central to what we know about ballet in America, especially the artistry of Balanchine . She has been a chronicler, teacher, advocate. I'm glad to have the opportunity to learn more about her own personal journey, and what motivated her to devote so much of her life to the mission of "Bringing Balanchine Back." I've printed this article (photos and all) and will preserve it inside the pages of my copy of Repertory in Review.
  23. The Winter 2013 issue of Dance View contains another in the series of "George Balanchine Foundation Interpreters Archive and Works and Process." Leigh Witchel reports on Gloria Govrin's sessions with Teresa Reichlen (Hippolyta, A Midsummer Night's Dream), Georgina Pazoquin (Coffee, The Nutcracker), and Emily Kikta, first movement, Brahms-Schoenberg Quartet). Every one of the articles in this series has been fascinating and educational, especially as to what the reveal about they way small and not-so-small details have changed inexplicably (and perhaps inevitably) in the years since Balanchine's death. The entire series tends to be made into a book. (And wouldn't it be nice if the Foundation could persuade everyone involved to allow a release of the videos as well.) Among the revelations here: -- Balanchine's use of the gliding motion of Georgian folk dancers in Coffee's entry; -- Govrin's choice of a tempo "that seems at least 20 percent faster throughout" the Coffee variation; [Pianist Nancy] McDill registers her surprise. "that's a lot faster. But then again, a lot of our rep has slowed down over the years. Govrin channels Balanchine channeling Tchaikovsky for her answer. 'He said to me, "That's what Tchaikovsky wanted.'" -- Pazoquin's admission that she is not about to do the Govrin version on stage. "Sotto voce to McDill, 'Do not tell people!' 'I wouldn't,' McDill assures her."
  24. Beautiful. Something deserving the word "awesome'" if that has any longer has serious significance given its overuse on our present day. I've seen this phenomenon occasionally in early evening but did not know they were starlings. Amazing to think that murmerations like this are composed of vast numbers of individuals. I don't know how they got 'murmer' for the sound of starlings, but I do love 'dissimulations' for the visual effect. Thanks, dirac, for the Wikipedia list of collective nouns. i have seen 'clouds' of bats, also at nightfall, and now know what to call them.
  25. The Alistair Macaulay piece is in today's NY Times. It's not so much a performance review as a statement of impressions. Positive about the dancing; rather negative about elements of Scarlett's choreography. Changes at the Top, but the Dancers Endure Macauley singles out Catoya, Jeanette Delgado, and Rebello, along with Emily Bromberg, Jennifer Lauren, Nathalia Aria, and Chase Swatosh. Duo Concertant isn't discussed, except in general terms, nor does he refer to what I thought to be the most powerful performances of the weekend -- Patricia Delgado and (especially) Renan Cedeiro -- in that work. I do love his comment on the ballet itself ... Macaulay's response to Euphotic is more single-dimensional than I would have liked, but I do get and mostly agree with his point: This was indeed jarring. To watch Sara Esty (and Zoe Zien in the other cast) being hauled around and finally tossed (and dropped) as if in a blanket was awkward and ugly on several levels. No wonder this woman, at other times in the movement, seems to be expressing something like anger, as she races back and forth across the stage, avoiding contact with her colleagues and often not even acknowledging them. The lift-obsessed trio I mentioned above is another example of "manhandling," though my own objection was more aesthetic than moral. I was interested in Macaulay's implication that this particular element seems tailored for Miami, while it is not present in Scarlett's work for the Royal. Why Miami, I wonder? And -- if Macaulay is correct -- why do the Miami dancers (including the the women, who are given a great deal of dancing) love dancing Scarlett's two Miami pieces so much?
  • Create New...