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Amy Reusch

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Everything posted by Amy Reusch

  1. "That said, on the topic of smaller venues like college campuses and early dancer exposure, isn't that what ABT II does? When I was at Indiana University, they swung by for a few performances (Kylian, a classical pas de deux, and a random piece to Holst's "The Planets") and masterclasses." ~ Choriamb ---- Perhaps these do not make it onto the ABT online performance calendar? I find it odd that there is nothing much on there. One would think this was the final season. [just finally saw Mussel's post... I can't think why anyone in marketing would not want to indicate those performances coming up... even if ticket sales were not yet available... even if money comes from donors more than ticket sales, filling seats and demand for those seats is important... and the buzz of people talking about upcoming performances ... ]
  2. I wish there were tour funding for ABT to hit the 50 states. Dancers learn to perform by performing. Perhaps all the rep could use more performing. They are performing nowhere after the first week of July, not at all in August... Only two days in September... Only three days in October... Not a day in November...Nothing in December....? (yes, it is too late now, but truly, there dhould have been more on the schedule for this great company.) It would be rough, but I'd love to see them do the old Ballet Russes tours, 2 days here, three days there... There are college campuses all over America that have performance spaces... Ok, they cannot stage like the Met, but, ABT could show something! Why on earth can we not have the so called National Endowment for the Arts fund tours again? Yes, I'm dreaming. Can we start a petition? Crowdfunding? Anything? I know. Dream on. But perhaps the internet which continually evolves could bring to flower a little ballet for the U.S....
  3. McGregor does not tickle my fancy, but I did like the Dawson. How about an Esmerelda?
  4. Something by David Dawson... The trailer for his new piece at Dutch National looks so promising. But this is ABT so really, I guess we're talking full lengths.... .... .... ... Paquita is my vote.
  5. Is it perhaps due to ABT's financial structure as opposed to NYCB's? NYCB nurtures dances up through SAB and has always done so... ABT now has a school and is training some nice dancers (I'm watching Calvin Royale's career with much interest), but can ABT's international star headliner system accommodate the bridge from unknown to new star? Is it an executive management problem more than an artistic one? Are McKenzie's hands tied by the institution's business plan? People give Misty Copeland a hard time for her impressive self marketing campaign, but isn't she just taking on the celebrity fostering necessary for an artist to headline ABT? A campaign that ABT seems unable to engage in for its own dancers? How did Hallberg manage to float to the top? Technique & artistry, of course, he is a treasure! But did something else help? ( honest question)
  6. Meanwhile, this Sleeping Beauty seems a wonderful thing... What will Ratmansky revive next? Does McKenzie get no credit for shepherding it?
  7. I miss the old floating grand jetés... Sometimes it seems the craze for flexibilty has come at a sad cost... The loft does not have to disappear... Halberg manages both flexibility and elevation. Worst is grand jeté with an oversplit. It seems a misunderstanding of the use of the step... Not that there cannot be a range of dynamics in grand jetés -- Sometimes what one wants is a darting slashing grand jeté -- but that the floating jeté should be lost.... Perhaps it is because Nijinsky has left the collective consciousness of the step's possibilities...
  8. Anne Bass then? (Trying to think of someone with big bucks who has enough of a passing familiarity with ballet that s/he can remember the difference between Kevin McKenzie & Peter Martins ( as Koch could not)
  9. Yes, but doesn't Tbilisi still deserve her attention? I too feel like it's time for a female director for ABT... but whom? Cynthia Gregory? It would be nice if it were an American born dancer...
  10. Didn't he use to omit the POB in his list? Wonder why he changed his mind?
  11. I like how doll like the Nijinska Florine make-up is... Of course everyone in the ballet is a fairytale character but the wedding guests feel somehow more so..,.
  12. Well, if Corella took over ABT, based on what he's done at Pennsylvania Ballet, he would immediately fire all the ballet masters and mistresses. I think there are some pretty good ballet masters and mistresses at ABT right now. I'm not so sure they should all go.
  13. I like the team prospect. I vote McKerrow & Gardner, with Susan Jaffe as second choice. (Could it be a triumvirate? Wasn't it something Iike successfully with Lucia Chase?) What did Steifel make with Royal New Zealand?
  14. It's interesting that Forsythe was changing things given that it is hardly a new piece... Was he changing steps or aspects of steps?
  15. I am not crazy about the marketing of the 2014-15 season, and the program names do not thrill me. However, Whitney Jensen in the Cirio premiere "Fremd" [not a typo] does. Wow!!!!!! Talk about focus, stage presence & moving with intent... This dancer was phenomenal. Backtrack... This was the Sunday 5/24 matinee. Theme & Variations... How long have regional companies been presenting this? Boston does a pretty good job of it. Misa Kuranaga starts off showing us why she is a principal dancer... Beautiful arms, grace & aplomb despite the vertiginous tempo, throws off gargouillades as if they were nothing but charm and a smile. But as the ballet goes on, it appears Chroma's style has worn off on her and it drifts into this Balanchine piece... That beautiful penche framed and partnered by the bourreeing girls should not be an oversplit. Can we just set a rule that if there is a tutu, one should not do moves one would not do in a skirt? Please save it for 21st century leotard ballets or hiphop videos. But Kuranaga does give one a lot to love, as does the boyant Jeffrey Cirio. Everytime he floats I forgive the snapping changes of focus. It is a loss to the field that Baryshnikov does not coach the male principals in this ballet. Cirio has sparkling line and execution, but there is regal carriage to the speed of movements of the head that he could recieve a little coaching in. Let it be said that he did not drop Kuranagawa. The piece was delightful and the orchestra a pleasure to hear. Next came the Cirio premiere "fremd". It starts off as if in a cave, Cirio on one half of the stage, two couples on the other. This piece might gain something from being watched from the balcony. From the orchestra it was difficult to see the floor was lit in different colors. One immediately thinks of McGregor and somewhat later that the choreographer perhaps wants to dance for NDT. One has to choose whether to watch the soloist or the couples. I had trouble getting past the similarities to other pieces to see the piece on its own credentials until Whitney Jenson took the stage... And then WOW!!! She owned the movement and the music. Paul Craig was her worthy foil. Thus tuned to see the music, I mean the movement, I enjoyed Emily Mistretta as well, but Whitney is someone to watch for. The Vertiginous Thrill of Exactitude was hard on the eyes. The lighting, by the choreographer, was so stark and brilliant that the images burned into the eye, but unfortunately not as one would wish...I felt the lighting made the movement harder to see. I kept thinking of the youtube clips I've seen of the ballet and thinking the lighting had not seemed invasive there, and realized that of course on video the engineer/cameraman could close down the iris to a better exposure... So I watched the rest of the piece through squinted eyelashes and appreciated it much more. Yes,the clips are right... The turns in this piece are stunning... But I was a little disappointed, though not by the turning.. There was style drift here too... as if Balanchine hands were invading Forsythe. Had it been Agon's style invading, it would have been fine but it was something more flowery... As if the muscle memory for moving that quickly brought along a few artifacts from Balanchine's more traditional classical pieces. The Concert was itself, fully a pleasure and refreshing at this time of year when it rains, butterflies flit and so many dance lovers are immersed in coaxing the next generation through perhaps under rehearsed recitals. Was Tanaquil Le Clercq the original hat lady? Who inspired the piano hugger? Did Allegra Kent ever perform this ballet!? It is a treasure, though I suspect younger generations do not understand about hats being de rigeur. It is good fun, perhaps not to repeat too often, but once every seven years or so? Next year the ballet turns 60. And who doesn't love Chopin? Played under the influence of Victor Borge by longtime BB accompanist Freda Locker. Every accompanist deserves the finale of this ballet. I rather wished I had one of the umbrella's ealier in the day to protect me from underwatched children inthe balcony. Perhaps they would make a good souvenir item in the ballet's gift shop. Boston Ballet. It isn't really fair to call it a regional company. They moved beyond that years ago and the proof was on the stage today. So glad to have had the opportunity to have sat in the audience and gotten picky over minor imperfections... It hones the edge of my understanding of these pieces and Boston Ballet's talents.
  16. You are right, of course. I just thought press attention might be split but they are at different times after all...
  17. My thoughts too!! How will Nikolais play today? Kind of takes the focus off the Limon anniversary, but still, Nikolais!!
  18. Karen, ABT may have had the recording already, but the expense was not the cost of the making the recording but rather of clearing the rights to broadcast and sell that recording.... a very different thing. I still prefer to see the dance to the music.
  19. Abatt, do you mean in Petipa's staging of Giselle or strsight forward Petipa like Sleeping Beauty?
  20. A non dance friend came up to me today in $tarbux and was just bubbling over with how wonderful the PBS documentary on ABT had been and how she planned to buy it for her sister... How she had never known half the history nor realized how ephemeral dance was and how it only lives from performance to performance... And on & on about the oral tradition and how much it has changed over the years eith each era adding a new element... I haven't seen it yet and imagine from having seen the promo that It will hit a nerve... But perhaps for the non ballet going public it has opened their eyes a little...
  21. Watching the late Plisetskaya in Don Quixote, I was mystified by the man with the monkey puppet behind her. It seemed a surprising amount of business to be going ehile the balletina was dancing. I have not read Cervantes novel, but the internet tells me there is a puppeteer character... Is that Ginés de Pasamonte ( at 2:11 in this clip? http://www.youtube.com/watch?v=9wbgEHxGVOw&feature=youtube_gdata_player Or at 3:20 in the clip on this page (same exact clip but clearer) http://balletoman.com/552-don-quixote-plisetskaya-liepa.html
  22. okay... this is odd... but that flash clip of the homeless girl... I swear I used to see exactly that character in real life in the late '70s... always wondered about her... is that recreated from someone's memory? (I guess I should add that I mean a particular homeless person... there have been countless homeless in the city in the last few decades, but this image speaks of a particular child...)
  23. " At some point I won’t be here anymore—I’m sure they’ll get to do other ballets again." I wonder, is he planning only a short stay? Or does "they" refer to the POB but not necessarily the current dancers?
  24. How much improvisation was worked into the original? I have been under the impression that Pavlova's version evolved over the years.
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