ami1436

Yes, thank you........ her voice sounds so.... I dunno. Different than when I've heard her before.

This 2004 article from the NYT on her is still one of my favourites, and the label 'self-effacing diva' sometimes seems to fit:

http://www.nytimes.com/2004/03/14/arts/dan...acing-diva.html

The more recent NYT article, where she speaks of dance as failure, saddens me greatly:

http://www.nytimes.com/2009/05/06/arts/dance/06ansa.html

All the reports I've had from friends still in London are that her recent performances, particularly in Rubies, have been fantastic.....

There is one misconception that I'd like to clear up: a highly arched foot is not always naturally weak. Some are, some are not. An example of a well-arched, strong foot is Alla Sizova.

Thanks Hans -- this is what I was trying to say with regard to Rojo, but you are much more articulate here!

bart -- your post made me smile! If you haven't figured it out, I'm a Rojo lover, and have watched her closely in class, rehearsals, performances.... Often people say that those with high-instepped, 'bendy' feet also have weak feet, and indeed this is often the case -- it takes time to develop the strength to stabilize oneself vertically and horizontally -- and boy, has Rojo got it. She's far from weak. Her moment in Giselle, Act II -- going from 5th through sur la coup de pied into a developpe in seconde -- is seriously mesmerizing. As her foot leaves the floor, it's so articulate, almost sexy, and then pauses at the ankle -- the developpe becomes a process of relinquishing womanhood........ and I'm digressing..... but there you go -- her foot spoke.

Simon G -- sorry for being quick earlier. To put it simply, the debates on youtube, etc, often include the type of discussion we are having here: aesthetics vs. use -- and thus I think the details are actually helpful. As to why the OP has yet to return... not everyone is as obsessed as I!

Well... my humble opinion is that he's just not a MacMillan dancer. Carlos needs big slamming solos. He surprised me in Ashton's Rhapsody with some nuanced musicality, but really -- I'd rather see him as Ali, Basilio, Acteon, etc..........

That's it! Sort of behind the hospital........

There's also a late-night Pita place... can't remember the name... but it's in Georgetown. Also in Georgetown, on M street, is an awesome South Indian cafe -- Amma's Kitchen.

And that's all from the food gallery -- can you tell I have yet to have lunch?

Anyways, did no one see Manon last night, with my beloved Tamara? I so wish DC could have seen this with her and Cope.... his Act I solo is beautiful.

Do you think perhaps we're getting somewhat over-involved in the politics of feet and the use of such within the dance technique of classical ballet from what the OP intended? This thread is evolving in a ballet connoisseur's dissection of the use of feet for ballet technique.

Actually -- no! The OP was remarking on comments on youtube, etc -- and you get comments re: bad feet on several ballet greats -- truth being, these feet aren't bad, and many of us consider them to be 'good feet' ------ it's all subjective!

And this is probably getting a bit board on boards........

Yes, when Gelsey was ill/at her weakest (the Baryshnikov at the Wolf Trap dvd), she seamed barely able to stand up.........

As for feet, a bit of dancer terminology. The curve underneath your foot is your arch --- the top curve is an instep... And it's the high insteps that are notable in folks like Ferri, Herrera, Rojo, etc. Yes, they often have higher arches as well, but it's the high instep that makes the s-curve on the outside of the leg (especially if one is hyperextended).

Rojo's feet can be seen more clearly here:

Again, I think the use of the feet is more important than the 'genetic aesthetics' - but I think Rojo has both.

Tamara Rojo has those gorgeous bendy feet - but she's extremely strong as well, and her feet are some of the most articulate I've ever seen. I could probably just watch her all day, rolling down from pointe, bringing her foot from fifth to sur le coup de pied (an astonishing moment in her Giselle...)....

Thus, for me, it's not just the line that I care about -- I want an *articulate* foot... I want it to *speak* to me -- to facilitate technique but also further the dance....

I know that 7-11! By Jefferson House?

Next time, if it's still there (it's been a long time since I lived in Foggy Bottom!), I recommend Mehran on K? or on Pennsylvania! It's Pa: http://mehrankabob.com

It's a small little Pakistani cafe; prices have gone up over the years, but still affordable. Open until 1 weekdays, 3 am on weekends..... I'm veggie, but loved their stuff, and it's good sustenance if you like your curry!

I hear you on Pennefather. The first time I saw him do anything 'major' was the Don Q pdd with Tamara Rojo at a gala. Rojo practically wiped the stage with him. He has *moments* -- he's gotta work on consistency.

Lauren Cuthbertson is out with glandular fever. It has been a tough year for the RB in terms of injuries/illnesses.

cinnamonswirl, what did you think of Pennefather? I admit, I ask because I'm not necessarily a fan -- However last year when I saw him in Diamonds he impressed me. I saw him in Month maybe last season or the season before -- and felt like he was slowly starting to 'get' acting a bit more, so I'd like to hear about his growth, since I've now not seen him for a while!

I think Zen is lovely in Month -- she's really such a versatile dancer.

(And I agree with you about the programming of Chroma and DGV... and with Month! The program must be a bit discombobulated!)

As for Shipulina's technique (pirouettes, etc) -- I think Sunday was an exception. Again, I felt that ten days prior in Chapel Hill she looked tired -- and I felt that she was probably happy just to get through Sunday. I also wouldn't put her up there with Alexandrova/Osipova, etc... but she is technically competent, and I would MUCH RATHER see her over Somova..... despite a few fudged pirouettes from fif-first....

As for her feet -- I also don't agree -- but (and I apologize to the suppliers on this thread, but this is just my opinion -- and I don't think it's true for everyone dancer who uses them) I really don't feel that her pointe shoes are aesthetically pleasing on her feet. I'd love to see her in a bit more 'traditional' of a shoe, like she used to wear.

And, finally, as for the Bolshoi/Kennedy Center casting stuff, they ignored one of the most basic rules of life (in my opinion): always have a backup. And a backup for the backup. Seriously!

(Sorry for the repetitive paragraph/sentence structure -- I need more caffeine....)

I also schlepped up to DC for the Sunday matinee -- am pleased that I had the fabulous company of some other BT-ers and used the opportunity to visit family and friends..... but was disappointed with the change in casting.

I've seen Shipulina many times in London -- and found her pleasant enough in The Bright Stream, Symphony in C, etc. I've also seen her as Queen of the Dryads, and while perhaps not quite regal enough -- always technically competent and able to hold the stage.

On this tour, I saw her opening night in Chapel Hill, as Queen of the Dryads. My first thought was that she looked tired. In fact, it seemed she could barely even project to the audience. To be fair, the stage was small and slippery, but I'd never seen her dance in such a reserved manner. Vasiliev was Alexandrova's Basilio, and feet covered in rosin, danced well. I believe that was the only performance Alexandrova and Vasiliev did in in Chapel Hill -- am unsure why Alexandrova didn't get more Medoras in DC?

On the other hand, Shipulina danced in every Chapel Hill performance barring one -- including a Kitri and an Odette/Odile, and if I have it right, she did Friday night, Saturday night, and Sunday afternoon as Medora in DC........ if anyone is exhausted......!!! I didn't expect Shipulina to provide an Alexandrova/Osipova-esque performance, but I also feel that I've seen her dance much better in the past -- more able to connect, as opposed to going through the motions.

Sheesh -- I just returned home a little while ago to see that Leigh has already continued our silliness! (And I still am secretly hoping for an Easter Egg Roll in the Jardin!)

Seems like some new info just added in the past few days --- pity there couldn't just be a section stating who the competitors are! Anyways, they are listed here, in the Round 1 Program order:

http://nyibc.org/2009/performance.php

I think we in NC may have lucked out -- replacing Uvarov was....... Vasiliev! When I saw that on the cast sheet I was a bit scared -- he's short! They're about the same height flat and she towered over him en pointe -- but he managed very well, including the one handed lifts. The biggest issue height-wise were finger pirouettes.... a larger problem may have been the stage.... it's small for this company (I felt that in Act I and Act III they maybe could have not used the entire set -- especially the back stairs, and that in Act 1 they could have had less people on stage during the main solos). They did change some choreography to deal with the stage size, and considering the amount of rosin used, I'm guessing the stage was pretty slippery -- luckily no accidents.

However, I'm downplaying everything.... it was a fabulous performance, with a sold-out appreciative audience that stopped everything after the Grand Pas for a standing O -- and another full standing O at the end. I'll write more, including casting, in the morning.

Is it too late to add?

I'm with Giannina on Rojo and Cope in Mayerling (which I luckily have seen live) -- and also in Manon. (Cope makes a better DG than Acosta, and is so much more alive with Rojo than Guillem).

Balanchine -- I'm with CMB for a Theme and Variations; would love a good quality Tarantella as well.

And, I like the idea of an Ashton tape -- maybe also with Rhapsody? I think Symphonic Variations would be fab, and Month.... and maybe Enigma Variations?

Wheeldon's Tryst...

I'm sure I'll think of more -- but I probably need more caffeine in order to think!

just a note -- now it looks like they don't know who will be Basilio tomorrow!

And Shipulina replaces Nikulina on Saturday

http://www.bolshoi.ru/en/season/press-offi...x.php?id26=1175

Those three young Billys were fabulous!

Just to add -- I'm totally frustrated by how expensive the tickets are!

Thanks, Emi -- the 'gala' is a dinner followed by premier seats for Swan Lake (an expensive dinner at that!):

http://www.carolinaperformingarts.org/perf...ab-8f1838e4cf36

With all the changes in casting at the Kennedy Center, I thought I'd check to see if Chapel Hill's casting is still accurate?

That NYT article has been on my mind all day. The part where she says that dance felt like failure... I hope some day she realizes that for many of us of her generation, she's been positively inspirational.

Can I add to this list? Two people who I used to see in London, who used to blow me away: Alexandra Ansanelli and Tamara Rojo.