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Tessa2

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Everything posted by Tessa2

  1. I was talking about both. Ray has complained in a couple of threads that the company's artistic vision lacks focus and isn't challenging the dancers (I'm paraphrasing, so hopefully that's what he meant) and I was wondering what he would like to see the company perform. I agree that Forsythe and Kylian would help to round out the rep, though I'm not sure whether other U.S. companies of a similar size are performing works by these choreographers (and if they aren't performing these works, I'm not clear about whether that's due to difficulty obtaining the rights or a lack of interest or something else entirely).
  2. I'm sure the steps are challenging on an individual level. I'm more concerned with how the company is challenged artistically--as well as how the *audience* is challenged. I know that PAB is versitile; they've shown that many, many times in the past. I think, though, that they deserve to perform better work. Ray, what would you like to see the company perform? Personally, I would like to see more Jerome Robbins. I thought the addition of three Robbins ballets to the rep in the past few years was one of the company's more exciting recent developments. I'd also like to see some company premieres of various Balanchine works. However, I recognize that the acquisition of these works isn't really up to the company - rather, they're at the mercy of the Robbins and Balanchine Trusts for the rights. I'm excited about Weiss's Messiah next year because of the link to the company's history and the fact that it will likely draw some big crowds (allowing the company to perform some more edgy and interesting material that might not draw such big crowds). I also think that Wheeldon's Carnival of the Animals is a fun and interesting choice. This question isn't really limited to Ray, I suppose - I guess I'm asking the board in general.
  3. While I'm excited to read about the Carmina casting, I was even more excited to read the article about the 2007-2008 season. I can live without seeing Dracula and Coppelia for the umpteenth time, but Weiss' Messiah and Carnival of the Animals? Sign me up!
  4. I saw Franklin Court on opening night and loved it! For me, Swimfins was by far the highlight - I thought Laura Bowman was darling and was amazed at her capacity to stand upright after being flipped through the air so many times. I have to say I didn't really "get" Bifocals at the time, but it makes sense now that someone else has explained it! Of the other leads, I particularly enjoyed Amy Aldridge and James Ady, who has beautiful hands (as my friend pointed out to me.) The glass armonica and the skeleton house frame were also really neat. This is a very Philadelphia ballet, I think! I have to confess that I skipped the Firebird entirely. I saw Kudelka's version the last time PA Ballet performed it and had no desire to repeat the experience. It wasn't completely dreadful as I recall, just not worth a second viewing. My generall recollection was one of a lot of glitz and spectacle and that the stage looked way too crowded.
  5. PA Ballet has stepped up its touring in the past few years- I know they have performed throughout Pennsylvania (including Penn State) and also did their Nutcracker in Cleveland for several years. The NEA's touring program is sadly defunct which is probably what prevents them from travelling further afield. I think touring is such a gamble for the presenters unless you have a "sure thing" like ABT that presenters may be reluctant to book smaller American companies. But I may be off base with that thought...it just seems to me that maybe for people who aren't as familiar with the ballet world, the Shangai Ballet and Russian Ballet Company X probably sound more exciting/prestigious than Pennsylvania Ballet. It's a vicious cycle- the company's reputation would almost certainly improve through touring once people see how great they are but they might not sell a lot of tickets without that big national reputation, which makes touring prohibitively expensive. But these are just my musings...
  6. My understanding is that the trust is very generous with certain ballets (Serenade being a prime example) and quite stingy with others, such as the full length Jewels and other rarely seen works. I think companies (and school-affiliated companies) prove their ability to the Trust over time, and as companies succeed with certain works they are given permission to perform others. At least that is the impression I have been given.
  7. Two promotions that are long overdue. Congratulations to both Riolama and James! I am also hopeful that this will free up some soloist spots for some of the company's great corps dancers.
  8. Hi! I used to post on Ballet Alert as Tessa, but I can't seem to get into my old account, so I've created a new one. I was interested to read about the return of Franklin Court- I've seen still photos of this ballet but never the real deal. From what I understand it was the standout of the Chris D'Amboise era at PA Ballet, so I'm very intrigued. The rest of the season is a little "meh" to me, only because Pennsylvania Ballet has done most of these works in the fairly recent past (and some in the very recent past!) It's the kind of thing that makes long-time subscribers a little nuts. Although I'm not sure how recently the Balanchine works were performed- I know Western Symphony was done at the Kennedy Center Balanchine celebration but I've never seen PA Ballet perform Prodigal Son or Theme and Variations, so that's something to look forward to. The news about the Edinburgh Festival is also very exciting.
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