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Amy Reusch

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Everything posted by Amy Reusch

  1. Welcome to Ballet talk! (and thanks for all your great work helping dancers in transition!) Now it's tempting to mis-identify some one else in the photo! Let's see... who could I say looks like.... (Just kidding! I hope you liked Nora Kaye).
  2. If you're curious to see it live, I just noticed New York Theatre Ballet is mounting it in April: http://www.nytb.org/season_repertory.htm
  3. Looks like it's coming out in May 2008: http://www.upf.com/book.asp?id=GOLDNS08 But it can also be ordered through the Amazon link at the top of the page (which will help support Ballet Talk).
  4. OH... I see it was Petukhov who choreographed that bizarre Romeo & Juliet that came through a few years ago. I hope it's the traditional Giselle that they're touring? Has this tour touched down in the US anywhere yet? ... I better stop answering myself on-line... but maybe some others are wondering along the same lines: It looks like it's been in Chicago: http://www.nwitimes.com/articles/2008/01/1...3d10080e9bf.txt and it would seem to be the traditional version, although the article appears to be a preview rather than a review. In this situation, I miss the old Ballettalk format of
  5. Sounds too good to be true, but I'm delighted! I wonder what circumstances would permit a venue like Jorgensen would book the Yacobsen miniatures... I'm guessing they'd have to carry a season of two evenings of famous ballet before they'd add a third "experimental" evening... hard to beat the kind of free pre-marketing a ballet like Swan Lake has... They did bring in that wild Romeo & Juliet (darn, choreographer's name doesn't jump to mind) that a Russian company toured af ew years back, but then it had the Romeo & Juliet name. I'm guessing any company that wanted to tour a
  6. Okay.... I guess it's just me... but I'm now wavering between company # 3 & company #7 from Natalia's post... I really suspect it's company # 7 that will be playing the University of Connecticut.... but I can't find proof. Maybe (?) someone at Jorgensen Auditorium can tell me, but generally they're not well informed... I think it was last year that they advertised Swan Lake with a photo of the Shades scene from Bayadere... I can't believe a company that rates between the Kirov and Eifmann would be playing at this kind of venue.
  7. Thank you, thank you for the info! I don't hope that we'll get the performance San Francisco gets, but at least that sounds much better than I had hoped for! I will encourage my students to go. Unfortunately I teach that evening. Maybe it's worth my cancelling classes and arranging a group rate instead. Not sure how my director would go for that, but I'll float the idea. Most of my kids have never seen a real live professional ballet dancer, it would be worth more than class to them. And I agree with you, Paul, about the production values. This won't be like the Coppelia that came thr
  8. I was curious to find some info for an upcoming performance at University of Connecticut so that I could encourage some of my students to go. Here is the billing: http://www.jorgensen.uconn.edu/event_detail.php?eventID=41 And here is what one finds at the St. Petersburg Ballet Site http://www.spbt.ru/?lang=eng&p=theatre...;last_rnd_id=11 and a little later in the same press release: There is this website for Saint Petersburg State Academic Ballet Theater of Leonid Yakobson: http://rus-ballet.com/static-jizel-1.htm but it's a little vague. I'm guessing the performance will be
  9. I'm probably totally crazy on this, but I kind of think the dark haired woman in the center of the shot looks a bit like Joysanne Sidimus... but it's been over 20 years since I last saw her and at a later date than that photo... (and you're probably going to tell me that's Nora Kaye). http://images.google.com/imgres?imgurl=htt...:en-us%26sa%3DN
  10. Yes, to truly preserve a work, it has to be performed regularly and seen by the next generation. Hopefully mounting modern dance classics is a process still undertaken by university dance departments...
  11. I wonder, when that sort of thing happens, is the problem always with the DVD or is it possible different DVD readers (players) have issues?
  12. Perhaps that's because good lighting design is transparent? People tend to notice lighting when it's bad.
  13. Who composed the music for this early (-ier than Prokofiev) Cinderella? Curious.
  14. Excuse my ignorance, but what exactly was a benefit performance? Did the ballerina get to keep the box office?
  15. From Alison Leigh Cowan in the NY Times: http://www.nytimes.com/2008/01/09/arts/09s....html?ref=dance And there are some lovely photos!
  16. I keep wondering about the framing. It must be wonderful for the wide shots, but I wonder how it affects the tighter shots... are they as strong? Watching football on HD the other day, it seemed like they've decided extremely wide angle lenses are the way to go, exagerating the closer subjects but still keeping a full background... adds a lot of movement but in a rather distorted way... is it too much for classical ballet? I trust there are no problems with the music marrying to the image at this high quality compressoin? I find it very annoying when the music drifts to a different time
  17. It was a wonderful thing to see these films, so rare. I was fascinated by how Doubrovka moved as she taught... such an interesting way of moving... so light. She was trying so hard to get her students light on their feet, as if she could raise them vicariously just by rising herself as she watched them... Every major ballerina has a special way of moving unique to herself, and Doubrovka almost fluttered it seemed. I wonder how she looked doing something as earthbound as Les Noces. Watching Allegra Kent talking, it was equally fascinating, as if she's still so full of movement that it
  18. Thank you so much!! I wasn't getting very far with my digging. I bet the exercises are brutal...
  19. After the Jan 5th Dance on Camera screening of Sleeping Princess, a documentary on Olga Spessivtseva, there was mention in the discussion of her writing a book of her practice exercises. A voice in the audience called out claiming to have a copy, but I didn't see who spoke. I thought perhaps it was you, rg? I'm very curious what might be in it, for, while obviously technique has developed since then, I suspect there are some things which have been lost, particularly in pointe work. I wonder if the book(let?) is decipherable to one who doesn't read Russian? I tried to see on-line if the
  20. One more... Todd Bolender's Souvenirs ?
  21. Here is the obituary: ERNESTINE STODELLE KOMISARJEVSKY CHAMBERLAIN Ernestine Stodelle Komisarjevsky Chamberlain – celebrated modern dancer, author, teacher and one of the foremost chroniclers of modern dance in America – died on January 5, 2008, at the age of 95 in California. Born May 6, 1912 in Oakland, California, Mrs. Chamberlain studied ballet as a child at the Metropolitan Opera School of Ballet in New York. She began her professional dance career as a member of the pioneer modern dance company of Doris Humphrey and Charles Weidman, becoming a soloist with the Humphrey-Weidman Dance
  22. Now that it's been mentioned, it perhaps ought to be pointed out that he was not a blood relation as his parents had adopted him. We were all horrified, first by the crime and then that it touched Ernestine's family. Worried for her, I asked someone close to her how she was surviving the ghastly situation and was given to understand that by that late stage in her life she was no longer much aware of current events. I would hate to see remembrence of Ernestine turned into a discussion of Joshua.
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