ami1436

Wow. While there are some nice parts to ENB's production, I hope this is a good deal better than that.

DeborahB, your notes on the audience made me smile. I lived in England for most of my 20s, as a grad student, and spent way too much time doing things related to ballet, much to the dismay of my supervisors! There was a group of us that took advantage of student offers, cheap seats in standing/the back of the amphi, etc....... We went to the ballet because we loved it and we loved the Royal. I admit that if I was standing I'd often dress more 'comfortably' for sure.... but the few times I got nice seats, I most definitely dressed nicely! I get tired of the idea that if young people are at the theater they are going to be rowdy and dismissive. Grrrr! In any case, regarding Somova and SB -- remember that the RB audience is fairly protective of their version, including the lovely mime... I haven't been able to stomach Somova since I first saw her. I admit I had the same first reaction to both her and Zakharova -- whose face was plastered on the front of Mariinsky programme in London a few years ago: 'Wow, so pretty, can't wait to see them dance'.... after seeing them dance, not so much, for all the reasons that have been hashed out here. That said, I can see Somova's overall approach perhaps being more suited for Balanchine (or Forsythe!), rather than Petipa.

Another way to find the 'trick' to making your dvd player multi-region is by searching on Amazon for your player -- then check the comments section. It's a bit of work, but it's worth it. I just bought a great dvd player, not expensive at all, and the codes posted by other reviewers were a big help (and also helped me decide to purchase it). I also always run my electronics purchases by a trusted, techy friend who relishes being the go-to person!

I discovered this through a friend when it came out, and have been watching it over and over -- especially that gorgeous first arabesque into a penche. SIGH SIGH SIGH. I feel that another friend's comments are pertinent here -- he noted that it wasn't just beautiful dancing, but here is a peasant girl who was asked to dance and makes up this lovely little solo along the way -- her demeanour fits perfectly into the story.

Just want to thank everyone for this thread -- I love the Danes, and thought I'd watched most of what there was on Youtube, and here is a whole new treasure chest! I will have to save this for after work!!

There's also a great book on Ballet Mime -- I'm traveling right now and thus don't have access, but will post the title when I get back home!

Great thread! On TV, as a child living in a small town -- Gelsey Kirkland. I've written it elsewhere, but I didn't even register Baryshnikov in that Nutcracker as a child -- whenever she wasn't on screen, I'd wait impatiently for her to come back, and I'd try out 'her part' on our coffee table.......... The mystique continued as one of my teachers who had danced with NYCB would occasionally drop in a story about Gelsey (or Farrell)........ discovering, when I was much older, the trouble she went through (euphemism......) as a dancer broke my heart, but also somehow solidified my fascination........... In performance, I had the opportunity to infrequently watch performances while in college, but it wasn't until I moved to England for some years that I really had the chance to fall in love again -- this time, first, with Tamara Rojo. Exquisitely beautiful -- those feet, her lines, that face, her style, her proficiency, and her commitment to performance -- she redefined ballet for me. Of course, as I watched, I added more dancers to the list, but these were my first two loves....... As I write this, I also realize that most of my faves are short -- like me. I grew up a good 4-5 inches shorter than the next-shortest girl in class, and always thinking I was 'too short' to be in ballet -- especially as we had a good group of girls between 5'5 and 5'10!!!!!!!!

Thank you so so so much for those links!

Jane -- you know how disappointed I was that he didn't dance his last two scheduled shows! Someone, buy me a ticket to Cuba now!!!!!!!!!!!!!!!!! I need a fainting emoticon. eta -- i just realised this was last night. Ugh!

While I was too young to have seen her live.......especially while living in out West -- she inspired quite a few in my generation to start taking ballet lessons. In the televised Nutcracker performance with Baryshnikov, I honestly didn't even register him -- I was entranced by her, and started trying to mimic her on our coffee table! I have many, many friends -- and acquaintances on BT4D -- who also cite that performance as the one that got them into classes.

Thank you for the reviews! Although I've seen R&J loads, if these two dance it in DC, I might be there. Carbo, your note on walking reminded me of when I saw Monica Mason coaching Ansanelli as Juliet, when she had just joined the company. It was supposed to be another dancer who was injured, Ansanelli stepped in having learned nothing of Juliet before. In the dramatic scenes before Juliet goes to Friar Lawrence (and obtains poison), and when she decides to take it, there is, of course, walking. Ansanelli, at first, attempted to walk like a ballerina, toe ball heel. Mason kept commenting (and I paraphrase) -- walk, walk normally. You're a young girl about to fake a death -- you're not thinking about walking like a ballerina! The difference that just *walking* made was immense.

She was so stunning! I mean, I heard the interview, watched it all, watched her tie her shoes....but my jaw is still on the floor with how stunning she looked! I need whomever helped style her!

Thanks so much! I've been following Seo since she was at the Prix, and Stearns from his time at RBS. It's like watching kids grow up! In the best possible way!

Is this Seo's debut? And Stearns? Eagerly awaiting reports!

That roster is like a who's who of youth in ballet (well, an abridged version!). I remember thinking they cleaned up with a few prize-winning Prix de Laussanne dancers!

I usually enjoy Marianela, although I will be honest and say that I have not seen her much in the past two years, especially as I moved away from the UK last July. However, her Lilac Fairy in every production I saw was lovely -- for me, to believe in the story of Sleeping Beauty, I need to believe in the Lilac Fairy as representing all that good, warm, and light-filled in this world.. ... and she makes me believe. (And now I am corny!). As for Soares, I think he initially demonstrated a lot of promise, especially leading up to his promotion. However, he was injured soon there after, and in my opinion, has never danced with the same strength and ease on stage since. It's a pity, because I do really believe that he was dancing well, and there are certain roles he excelled at.

Just to clarify -- did he not carry her in on his hand (one handed lift, she's sitting on his hand and I think he's holding her leg in front of him?): Sylvia Pdd entrance I like Bolle -- until he has to act. Then it's like there are cartoon balloons above his head telling the audience what he's thinking! Well-stated carbo. Your description reminds me exactly of how I feel about Steven McRae -- full of promise, but almost needs to tone it down a bit and discover performing vs. over-dancing.....

Sandy, I'm with you. After seeing that number, but also even the amount that RB corps make annually... man... way more than those starting in my field make.

anyone know where Kaiser or Hernandez are going?

Yes -- there's a difference between: hyperextension - the ability of the joint to travel beyond straight extreme flexibility and... hypermobility syndrome -- which is beyond extreme flexibility, and may include weak tendons, ligaments, a lack of collagen in joints, etc. Hans will probably be able to explain this more fully/more eloquently! Ed Watson is another extremely *flexible* male dancer: http://www.telegraph.co.uk/telegraph/multi...06_1174522a.jpg But back to feet -- I've always enjoyed how Ivan Putrov uses his feet when jumping -- they are fully articulated and make a nice line. There's a youtube vid of him at 15 (and super skinny!) that just hints at it -- I'll see if I can find something better when I get back from class!

I've seen that line in women's jumps too. Grrr. It ruins both the picture in the air and the arc of the jump, as well as the efficiency of everything. Just no!!!!!!! Meanwhile, I hear so many young 'uns talking about getting their 'oversplit leaps'.

Regarding the second year corps wages at the RB -- London's expensive, but that's more than (okay, I'm basing this off two years ago) an annual entry-level departmental lectureship on Masters Programs in many Universities across Britain.

Wow! No worries! It's SO good for us to all step back now and then, and start from the base to re-examine our thoughts. I've loved this discussion!

Alina's always had that bunion -- I think they are more pronounced in some shoes than others. I've seen an old (like maybe used 3 years ago or so) pair of her Blochs (I forget the style), and she's worked them well to accommodate her feet. Us dancers do crazy things to our shoes. I'm a full-fledged adult with my own salary, and when I told my dad yesterday that I was buying pointe shoes this week -- he was very relieved that he wasn't buying them 'only to have me cut them up'. !

The other issue with that photo of Zakharova is that the ideal of line is completely lost -- she's displaced her torso, taking it off the vertical axis in order to achieve the line of her leg. I don't mean to harp on about Rojo at all -- but I can recall pictures of her quickly. Here, you still get a nice curved line (albeit less pronounced), but also a lovely placement: http://www.danceeurope.net/site/issues/050.jpg