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Amy Reusch

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Everything posted by Amy Reusch

  1. I think doubles certainly add an element of risk and skill (requiring strong center of balance), and if one is trying to do doubles in the same amount of time as singles (though usually a double replaces two singles in fouettes), there is significantly more force... as the dancer tires, center of balance can begin to go awry... slight errors begin to accumulate that are easier to save with a single than with a double.
  2. Not to mention that doubles are actually a "rest" for the dancer (one less relevé ... one less whip of the leg)... and changing spots is impressive from a technical standpoint but doesn't have much more to say aesthetically.
  3. Odile's fouettés are meant to be hypnotic, if you listen to Makarova...which I like to do. The problem with gimmicky tricks is that they get old fast. Fouettés are a pretty old trick. 32 is like playing one note over & over & over...
  4. Interesting that the Chicago - Grand Rapids flow continues! Happy to see a female choreographer being fostered. Brian Enos a choreographer? Gosh! I was mixing him up with Brian Eno the composer! I wonder how often the name has thrown people...?
  5. I saw Moscow Festival Ballet's "Giselle" last night, a dreary cold rainy Tuesday night in Storrs, CT at Jorgensen Auditorium at University of Connecticut. It was the sort of weather that brings out injuries in dancers, so I am grateful for any effort they made, particularly on this stage. I have to explain that although the University of Connecticut built this auditorium from scratch as a performing arts venue, the sight lines from the orchestra do not allow the expensive seats to see the dancers below the knees unless one is in the very back of the house where there are some risers, and t
  6. I returned Saturday night and Mearns did not disappoint!! She was absolutely sublime! And all of it looked better. Which gave me the happy thought that maybe long after Mearns steps off the ballet stage (far in the future), we will still be able to enjoy her artistry in this repertoire... how old was Annabelle Gamson when she danced her last Duncan?
  7. Vipa, I think it is fascination with a legend... just as we try to put new male virtuoso dancers in Spectre de la Rose... we all want to catch a glimpse of a legend... And of course, no one alive has actually seen Isadora dance (except for that flurry out from the shrubbery & back in again... which I feel I caught a glimpse of in Mearns on Sunday). Who knows how much of what the disciples passed on was the disciples interpretation of what they remembered... what was disciple and what was Duncan? We have a sense of Duncan's spirt from her dancing and a sense of the strictures
  8. Mearns was very successful with many of the solos... as one might expect of a dancer with such a heart.
  9. In fairness, tricks are easier to make a short video statement with. I was just surprised to see Swan Lake sold that way... sure the black swan pas de deux, but some stuff that came out from the company on facebook was about how well the dancers were technically handling the "difficult" white pdd, as if the technical tricks were the focus of that choreography. I've never seen the "tricks" there promoted as such rather than the soulful expression... very weird.
  10. Is it possibly all the emphasis on competitions rather than on artistic quality these days? Maybe they don't see beyond the tricks? And this is their way of measuring themselves against the rest of the world?
  11. It is surpriisng how quickly dancers are forgotten, it is truly the most ephemeral of the arts... I apologize for being off topic of PA B's Season, but wouldn't Julie Kent with David Hallberg make a great artistic management team for ABT?
  12. It seems this was the case... his family posted on Facebook: "Sean was diagnosed in January with a recurrence of the tumor that ended his dancing in 1986. He was placed on radiation, but his immune system could not tolerate the effects of that therapy. He died quickly and peacefully in his beloved Palm Springs; his family was there, and he was well-cared-for by the professional staff at the hospital."
  13. I don't recall Swan Lake selling poorly back in the Christopher d'Amboise days... is this low turn-out something new? Maybe that poster image isn't helping much...
  14. Any info yet on the casting? The site just says "Bolshoi principals, soloists and corps de ballet". (well, one would hope so!) I've been interested to see this ballet for a while now. The trailer pretty poor, I usually bring a few friends, but I'm not sure I could use this trailer to entice anyone... https://www.fathomevents.com/events/bolshoi1718-flames-of-paris
  15. So exciting!! I have never seen the company live but their costumes and productions look inspiring! I was so disappointed that ABT's new Firebird made so little of Osipova's gifts. I will keep my fingers crossed for Andersen's, the music is so ravishing.
  16. No more Cranko? That's a shame, their performance of Cranko's R&J used to send chills down my spine.
  17. You found Krysanova mechanical? And Sandik, I couldn't agree more about the Norwegian curling team.
  18. And when Romeo launched himself skyward... assisted by the male market community...
  19. I loved how admiring of Paris Juliet's handmaidens are... there were many nice dramatic touches...
  20. One thing I did not understand... they said several times that this was the New Stage... which I see from Wikipedia was built in 2002 to the left of the historic theater... but weren't all the sudience shots and the talk of the chandelier from the historic stage? Isn,t the Bolshoi stage actually a rather large stage (or is this a misunderstanding of mine?) and was it simpler to remount the Canadian production onto a smaller stage? i would like to add that I wasn't crazy about the lighting design. I did not like the dancers moving forward out of their light and I didn't like th
  21. I did feel Ratmansky made characters beyond Romeo/Juliet, Tybalt/Mercutio more vibrant than in other productions.... Lady Capulet is given some serious acting, the friar too... there were recognizable characters among the townspeople... they did not just all blend into each other.
  22. Thank you for the Ratmansky interview... I missed that. I understand what he is saying but I felt several times during the production that Lantratov's stage make-up was underdone and that he would have read better if we could see his eyes... the rest was ok, make-up wise but we need to see the lover's eyes more...
  23. There were parts where Ratmansky's genius shone through and parts I found tiresome. I think part of the trouble is that we all fall in love with our first production. I went with some ballet fans some of whom had never seen a Romeo and Juliet (it is a big production to mount) , and others who had actually danced in productions of it. I missed Cranko's market scenes. I wished he had done something with Commedia della Arte characters for the buffons, but if he did, I didn't get it. i kept wanting to see a predecessor to an Entree Grave and a Saltarello, but the knights did not ca
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