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  1. After Boston, they're scheduled to be at the Kennedy Center (per the KC website). A mixed bill is listed, as well as Sleeping Beauty. Don't know of anything else; hope this helps.
  2. Wow... wish I could go! It looks like the Royal Ballet will be doing Ashton's Cinderella. RoyalOperaHouse – The Royal Ballet Hope this helps!
  3. Any word/feedback on Robert Gottlieb's new one, George Balanchine: The Ballet Maker ? Just received an "Amazon.com alert" that says it was just published on Oct. 26, 2004. I haven't been keeping up very well lately, so sorry if I missed any discussion about this earlier/elsewhere. Thanks!
  4. I think the "Margot Fonteyn in America" exhibit at the Perf. Arts Library is on until Sept. 3. Hope this helps!
  5. It looks like Ballet Nacional de Cuba will be in San Diego, too... Nov. 12 & 13. Info. at the website of La Jolla Music Society. La Jolla Music Society
  6. It'd be exciting to see them come to the West Coast, period! Let's hope... eventually, anyway...
  7. NextStage

    Jason Reilly

    I saw him as Romeo when Stuttgart came to CA earlier this year and was impressed. He's good-looking, had nice, clean technique (including strong, beautifully placed, consecutive tours en l'air!), and was quite decent dramatically, too. Had I not read later that it was his debut engagement in the role, I never would have guessed!
  8. Giannina, that would be quite cool, indeed! I nominate you to be organizer of such a west coast Alertnik get-together... :yes:
  9. Sorry I can't answer any of the questions... Just thought I'd give a "heads up" that San Francisco Ballet has Monotones I & II scheduled in their 2004 season. It will be performed w/ Symphonic Variations (SF Ballet premiere) and Elite Syncopations in April. Got this info. from the company's website.
  10. The company is scheduled to perform at the Cerritos Center for Performing Arts (So. California) on November 14 and 15. The venue's website is www.cerritoscenter.com. Hope this helps.
  11. Although I didn't get to see very many of her performances, count me in as one who really enjoyed those I did see! I agree with many previous posters that Tcherkassky danced with a soft, lyrical quality (that belied inner strength)... It seems that I tend to like dancers who have clean technique and use it expressively in on a more subtle than bravura manner. And am I correct in thinking that Baryshnikov actually set Clara in his Nutcracker on Tcherkassky (even though Gelsey Kirkland dances on the video)?
  12. Sorry I can't report, as I didn't attend. The Pacifica Choreographic Project performance was during the same time as ABT's engagement at OCPAC, so perhaps that was a factor in (non?) attendance. I hope it was successful, considering...
  13. Okay, okay; yes, I went (same performances as Steve). Also saw their Swan Lake in Berkeley... much preferred La Bayadere. For what it's worth, I'll remark on the main dancers/dancing more than the choreography or production values, since that's what I tend to watch more. Galina Stepanenko danced Nikiya to Nikolay Tsiskaridze's Solor, and Anna Antonicheva was Sergei Filin's Nikiya; I preferred the latter pairing. Stepanenko is a strong, solid dancer (her fouettes in Black Swan were doubles into à la seconde for the first half, on a dime...); IMO, perhaps too strong as Nikiya. I liked Antonicheva's softer edge and her characterization better. She did not bowl me over with anything in particular, but I thought she gave a technically secure and dramatically appropriate performance. While most of the audience went wild over Tsiskaridze, I was not as impressed. I can see potential, but was disappointed that he didn't seem to do justice with his physical gifts (above-average flexibility, long legs, good feet, nice overall proportions)... he was inconsistent in fully stretching his legs in jetés, and in fully pointing his feet (looked "sloppy" to me, especially in Swan Lake). To his credit, though, Tsiskaridze did make use of his potentially beautiful line during perfectly-placed double tours en l'air, and that was exciting to see (and he was much better as Solor than I thought he was as Siegfried). I quite enjoyed Filin's performance... his dancing was powerful and elegant – nice ballon, light landings, clean lines. He, too, did beautiful arrow-straight double tours. I felt that Filin was a stronger and more attentive partner than Tsiskaridze. Filin and Antonicheva had a satisfying rapport with each other, considering that I found, for the most part, a lack of dramatic expression and "chemistry" between the principals (both in 2002 and on this visit). In all the performances, I most enjoyed watching the gorgeous Maria Alexandrova. On top of clean, elegant technique, she brings the "right" dramatic expression and a musical movement quality to her roles. In the Swan Lake I saw, she danced a warm "friend to the prince" and Spanish. She stood out to me as one who consistently invested in her characters. In La Bayadere, Alexandrova was a marvelous Gamzatti (Friday evening) and third solo shade. I was very surprised to find that she's not yet a principal, having remembered her well from the Bolshoi's visit in 2000. On Saturday, Maria Allash also did a fine job as Gamzatti. Tall and regal, she was very secure in her technique and characterization. I was impressed by the clarity and precision of Morihiro Ivata's dancing as the Golden Idol. I wish I had seen him as the jester in Swan Lake (but NO, I don't like the jester in Swan Lake; it's just that their production has one...). As mentioned by others, the corps de ballet was notable for its stylistic uniformity and generally excellent unison. The company has been on tour in the U.S. for little over a month now, so I can forgive the few wobbles that existed (fatigue factor!). All in all, I enjoyed seeing the company again, and I'm grateful that I had the opportunity to do so.
  14. Another piece on Merce from Sunday, July 21. This was in the L.A. Times, by Mark Swed. http://www.calendarlive.com/top/1,1419,L-L...l-66565,00.html
  15. Chiming in late, but better late than never, right? I hadn't originally planned to attend any of these performances, but by chance was able to catch those of July 11 and 12. As Jacqueline mentioned, the opening night cast was quite an assemblage of talent and the audience absolutely ate it up (Giannina would've hated all the clapping and whooping...)! Corella deservedly brought down the house with his exciting pyrotechnics and joy. I felt that Ananiashvili and Bocca danced well, but not with the oomph and commitment that I've seen from either of them in other performances. Many have commented on Murphy's recent improved characterization of roles, but I still do not see it, personally. Technically, of course, she is solid. I agree that Birbanto was well-danced and acted by Joaquin de Luz. On the second night, I felt that Ethan Stiefel was "over the top" as Conrad, and he seemed to really be pushing the bravura steps in "competition" with Gennadi Saveliev's Lankendem. Saveliev did a move I'd never seen before – kind of a barrel turn with an extra whip of a leg over the other before landing (yes, audience was gasping in surprise and then roaring), and he did the deep plies. Although the excitement level was high, I think both got out of control at points, lending to some sloppiness. I was more pleased with both lead women – Paloma Herrera danced well as Medora (this role seemed to suit her temperament, and she looked good physically), and Xiomara Reyes was a pert Gulnare. Herman Cornejo danced a very satisfying Birbanto. On both nights, the corps looked quite good; unison and clear patterns were evident. Saving the best for last, my favorite performances, far and away, were Jose Manuel Carreno's. He danced Lankendem on the 11th and Ali on the 12th. As usual, he greatly impressed me with his elegant, solid technique and expression_– as crazy as it may seem for the roles, I felt he brought a degree of dignity to them both. And, quite simply, the quality of his movement takes my breath away... At any rate, while I had wished that ABT brought something other than Le Corsaire to Los Angeles (considering they'd danced it in Orange County in the recent past), I was glad to see the company again, and perhaps the success of the short run may be a positive step in the direction of bringing more major ballet to L.A. The Disney Hall is scheduled for completion in little more than a year, and that will supposedly open up the Dorothy Chandler for more dance/ballet. I know that the two friends who went with me to the performances really enjoyed the ballet and would probably go more often if it were more readily accessible. We can hope, at least (and must start somewhere)!
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