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Amy Reusch

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Everything posted by Amy Reusch

  1. I didn't realize Warburg was ever listed as Director... somehow I always thought that was Kirstein's position...
  2. This lends some light to the So You Think You Can Dance controversy with Alex Wong, doesn't it?
  3. Looks like there was a big rock to leap off of in the set...
  4. Cute! I wonder no one else has made use of it?
  5. It looks so different... Is it from the 4th Act? When Seigfreid discovers Odette amongst her maidens? The feather on his head is something I haven't seen done in many places... You have seen so many Swans, have you seen a similar costume?
  6. And there's the cane! (still fascinated by a tool's disappearance from modern dance pedagogy). I think it's interesting to see so many different renditions of the position... makes me wonder if he wanted a natural turn-out in it rather the traditional 5th sousus... also the hands... some of them have that one hand higher than the other like Doukodovsky used give... and one wonders which focus he indicated, some of them look at the floor, some just tilt and gaze downward... some just turn... Judging by the way some are right up against the back wall, it was posed for the photographer rathe
  7. I can't imagine there was less scrutinizing outside the theater. I suspect the costume didn't seem so risqué when Toumanova dropped her collar bones back down... it was just an unfortunate moment.
  8. I'd be worried too, in that pose in that costume... [posted while duffster was posting.. I concur!]
  9. My personal apologies on the state of http://www.dancer.com/dance-links/index.php I haven't been able to keep up with it.
  10. So sorry to hear this. We've lost another window to a world now past... So grateful for his many contributions, I cannot begin to count the times I've learned about ballet and dance from his efforts. RIP
  11. Yes, I'm inclined to think of Stravinsky's sound not being as "thick" but there are moments in say Firebird & Petroushka... or in some of his wind orchestra pieces... but not like Tchaikovsky & Mussorgsky's sound ....
  12. I know that professional dances are given at least a new pair of pointe shoes for each performance, but I don't know the rehearsal situation or the annual allotment... For instance, does anyone here know how many pointe shoes per year a corps dancer at NYCB would get? Just curious... Perhaps because of this mention in an article about the Scottish Ballet's new digs: http://news.bbc.co.uk/2/hi/uk_news/scotlan...est/8260824.stm
  13. I'm tempted to say "I don't know anything about music, but I know what I like..."! I'm not sure how one would describe the similarity between Tchaikovsky, Mussorgsky and Stravinsky, but, there's almost a thickness to the sound. Ok. I better give up. Thank you for all the helpful information! The New Yorker article by Elif Batuman was in the April 27, 2009 issue, p. 22. "The Bells: How Harvard helped preserve a Russian legacy." Like the typical NYer article, it's a vastly entertaining read.. including a bit about Boris Godunov exiling a bell to Siberia. OK... to correct my earlier un
  14. Probably my difficulties with Allegro Brilliante have more to do with my relative tone deafness or scale ignorance than anything else... ... and I'm racing at the moment, but when I find a quiet moment, I'll dig out the NYer article. The gist of it that I remember (and untrustworthy memory at that) was that the bell ringer who appeared to be a kook was actually something of a rare genius... and that they now believe that he could as he claimed hear a 1000 microtones. (between pitches? between whole tones? out of my league here ).. that the russian bells were all slightly different and pitche
  15. A ballet russe before Les Ballets Russes?
  16. In my insophisticated way, I was wondering about Tchaikovsky's tonality today, because Allegro Brilliante's music has been stuck in my head and I keep catching myself trying to hum it and getting lost... and started wondering if it might have been influenced by the Russian microtonal style carrilons which I've never heard but have been wondering about ever since reading that recent New Yorker article about the Harvard carrilon... there's this sort of deep orchestral resonance in Tchaikovsky's music that makes me wonder if microtonal harmonies are happening within the structure that weren't ty
  17. hmm... cream puffs, little clouds, angels... hmmm... I'd be grateful if something came up on this one... having something interesting to think about during Nut prep season would be a kindness...
  18. Villella was taped coaching Rubies & Tarantella ... I believe it's still in the pipeline... http://balanchine.org/balanchine/index.html I believe you mean the Trust rather than the Foundation. It gets confusing, but it's the Trust that oversees the rights to ballets while the Foundation.. hmm... their mission statement from the website now looks pretty broad... I thought they were a non-profit to support the quality of the Balanchine legacy, but they don't license the ballets, even if they work to keep the quality up, they don't have a say in who gets and who doesn't get the ballets
  19. Now that's a tour I'd like to see "Dictators of the Dance"! (oops... sorry, it's not Labor Day yet here in the States, so I imagine it's still Silly Season). I love the mind in the feet... it's what I think of Nina Ananiashvili's dancing...
  20. If you find out, please post here... I'd love to see her dance live...
  21. Wow! Some awesome photos there... ( look at this one of Cynthia Gregory: http://www.willoughbyphotos.com/gallery2/m...HR_+53.jpg.html )
  22. Add another one who is delighted to Yumelia is dancing for the Joffrey! Bravo Joffrey, Brava Yumelia!
  23. If her repertoire included Aurora, wouldn't that qualify her as a ballerina? (Honest question).
  24. Another Thank You... the photos were fascinating and unlike others I had seen of St. Denis, and I would never have come across them not being in the habit of researching St. Denis. One of the reasons I adore Ballettalk is being exposed to work like yours.
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