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Amy Reusch

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Everything posted by Amy Reusch

  1. I assume the training only up to age 11 is temporary and will be pushed back as the institution grows? Perhaps this is because they want to assure that they are turning out high calibre students by age 17 rather than trying to put a year or so of retraining onto dancers trained elsewhere? Many decades ago, I studied with the new principal, and have nothing but respect for her. The way the ABT system has reached out to improve standards across the country and across a wide variety of schools is to be admired. Only a minescule fraction of students can make it into the elite schools like SAB
  2. From my memory of the video, Sarafanov is anything but sloppy... A very perfect technician with beautiful line. I would like to see him dance Theme and Variations.
  3. Still wondering about cough drops... I came across this Australian Ballet description of the Divertissements, and Mother Ginger in particular... and now wish to know if anyone in the forum has ever seen an image of the mentioned tin of sweets? http://www.behindballet.com/the-sweets-of-the-nutcracker/
  4. Thanks for taking the extra time to explain why Sarafanov didn't look right in the entrechats... from the unhappy descriptions it seemed like he was "acting struggling heroically" and it did not make sense that this was problematic... I think maybe Albrecht's struggling to continue to dance while managing to keep the struggle virtuosic ... yet not clumsy nor overacted... is worthy of it's own thread... it seems such a subtle distinction... between the acting seeming too real vs seeming too acted vs just right...
  5. I can't help but be struck by all the "shhh" comments Markova makes and the "shhh" pose in the varation ... it is at the chin at 10:51 and Markova then speaks a moment about "it's not just to say to them 'shhhhh'"...... ... and wonder if perhaps the Sugarplum weren't the soothing cough drop after Prince Whooping Cough's tarantella?.... Perhaps the prince was more of an elfin prince then than the knightly prince we have him as? I wouldn't want to push this idea, I'm not sure it's a good idea, but it kind of fascinates me that possibly there is yet another interpretation... After all,
  6. It does not sound like the partnership between Osipova & Sarafanov has gained anything since the 3D screening of their Giselle a few years back. Anyone who saw them then and now notice any differences?
  7. It's a shame they didn't get some of the Denishawn costumes... For a while they were in the keeping of UCLA's dance program, but there was a dispute about the way the costumes were being cared for and perhaps they are no longer there... I wish I remembered the details. I don't know who guards the Denishawn legacy these days... Are there any Denishawn dancers still with us?
  8. Could be... St. Denis really seemed to understand that how the costume moved was half the dance...
  9. There was a gorgeous Ballet Imperial tutu, with the lace exagerated so that it could be seen as such from the audience. They had a dress Elssler danced her Cachucha in as well as a pair of her green slippers. Such tiny narrow feet they had back then, the metatarsal arch surely was more arched than most girls today have. The jewels costumes glimmered & glitzed beautifully. Rubies was missing the tutu... Was what they use now originally over a tutu? There was a willi costume from the Franklin DTH Creole Giselle... No photos, so my memory, so rapidly fading, must serve... There was
  10. Just went to see this exhibit and was floored! It is free and up only a few more weeks... Get to it before the year ends!!! The Elssler items!! And I had no idea the Garaham dresses were so beautiful... And the unusual darning on Pavlova's slippers... And how on earth did Fonteyn balance so beautifully on those rounded tips? So much to see! Karinska's work up close... Do not miss this one!
  11. Baker's Dozen (Tharp) Bella Figura (even though it is not classical) Etudes Vienna Waltzes Cranko's Romeo & Juliet It has been said before, but please see Agon. The Concert.
  12. Beautifully shot... Have only watched the corps episode so far... I hope they bring out the art as reason for being in the episodes I haven't watched yet... Competition can be found anywhere, take up running if that's your soul's inspiration...but Balanchine & ballet... There's so much more to it than "winning"... The first episode is so well shot, and cut, that surely Art will come out on top very soon?
  13. If you see Sacre de Printemps, you should try to see it on the same bill and immediately following Les Sylphides, to get the full "shock" treatment as the original audience did... though I don't think anyone actually pairs these two together any more. I'd add Bright Stream to your list, and more Balanchine. I haven't seen a Spectre yet that explains the legend's lustre... Nijinsky must have had a truly unique stage presence.
  14. 'twas ever thus... the hiring of family members, friends & lovers... there are examples throughout the history of ballet... But it's better when the family member fills an opening, than when someone is let go to make room for the family member. There are diplomatic ways of drawing on the talent resources of friends and family, and then there is what happened to Gribler, DeGregory, Hadley, Sheridan & Juska.
  15. For some reason I thought AGMA had a prescribed time tor dancers to be hired. I thought all that took place in the Spring. How does it actually work then? Can a sudden replacement be made if a dancer quits? I guess AGMA would not want to ever make hiring a dancer difficult. It must be easier than say the POB's rules?
  16. Thank you. Sometimes there seem to be uncredited sub-choreographers... Such as Shiryaev in Petipa character dance... And I wondered if a scene like that battle scene might be such a thing. I thought since fight choreography is its own specialized field in modern theater, perhaps it was also a specialty back then. I can well understand how it might have been a difficult scene for a choreographer famous for needing to hear the music before choreographing what with how chaotic the music in the battle scene gets. Tchaikovsky is such a good storyteller, he even gives us a sense of the chaos of
  17. Well, PA Ballet will surely be doing 19th Century rep.... And surely the Balanchine Trust sends their own people... As would be the case with Cranko & Tudor, etc... But it was nice when the ballet mistress had danced so much of the rep, as corps and principal... Wonder what the rep will be for 2015-16. And her husband, Eddy Tovar, is a fine dancer as well. http://harttweb.hartford.edu/community/dance/harttworks/guests.aspx Will he teach or audition with everyone else in the Spring?
  18. Corella has brought in a new ballet mistress, Samantha Dunster, from the Community Division of the Hartt Conservatory at the University of Hartford, where recently Corella directed a summer intensive. http://harttweb.hartford.edu/community/information/HCDnews102114.aspx?flush=true#Chair%20of%20Dance I wonder how much of the repertory Hadley was very familiar with, Dunster knows?
  19. We don't seem to have a topic about the battle in Nutcracker (please correct me if I missed it) Specifically, I'm wondering about the bugle calls... I imagine there was some authenticity to the bugle calls in the original score that members of the audience would have recognized... Is anyone aware of a guide that might let one recognize the calls? Do we know who choreographed (or helped choreograph) the original battle?
  20. Unfortunately, that link has been cut off... here is another... Perhaps Tchaikovsky's nanny taught him this song?
  21. Is the POB style influential outside of France? Well, I think the Ruusians have been trying to emulate it for years now, not particularly successfully... Sylve Guillem seems to be what they've been going for to the point where the old Russian style is not much in evidence... Look at the Bolshoi! It may be doing much the same rep it did in the 20th century, but the look is so different.
  22. I wonder how it compares to the Lacotte "Paquita" bits of which were in the Wiseman film... Would love to see this... Hope it will be available via youtube afterward the way some livestream events seem to be...
  23. I wonder if it comes down to identifiable "style", (though leaving Paris out is absurd..)... I'm not sure how I would differentiate ABT's style from various other companies.... So many of their dancers are trained elsewhere... and I'm not sure the resident choreographer has had time yet to imprint a style...
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