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About FauxPas

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  1. If I remember correctly, Waterbury mentioned that she was approached by a pimp looking to employ her as an escort on account of having seen the explicit and personal videos that Finlay shared. Unless this pimp is a NYCB employee with a dicey side gig, then Waterbury's photos were shared outside the group chat circle which consisted of at least 20 people. So I agree with Kathleen O'Connell above.
  2. By the way, Sarah Lane's dancer page is still archived on ABT.org. If you look at the top under her name it says "Joined ABT 2003/Principal 2017-2020" So she is no longer a principal and no longer a member of the company. https://www.abt.org/people/sarah-lane/?type=performer
  3. I would say the handwriting was on the wall when sometime during the 2018-2019 season, Lane became professionally (if not personally) alienated from two of her most crucial artistic collaborators: Alexei Ratmansky and Herman Cornejo. Both these men are known as good colleagues and Ratmansky was an ally and mentor to Lane. When Sarah lost their support and collaboration, her days at ABT were numbered. I won’t assign blame or guilt since I don’t know what happened but Sarah must have done something professionally or personally to lose their support.
  4. Perhaps because the Fall 2020 ABT season was canceled, Sarah has been given enough months of lead time per the union contract before the next ABT season? If Sarah Lane is being notified now that her contract is not being renewed as a principal dancer, she has a certain number of months to look for another job. It is still a not nice way of going about things but that is show biz, folks. Also, of course any soloist promotions will not be be made until late 2021. But new soloists need to be developed from the corps which means that dancers need to be chosen and trained in soloist roles.
  5. All of the principal promotions (and one soloist promotion) are richly deserved. Sarah Lane has also not updated her Facebook page which states that she is an ABT principal and company member since 2002. She has a bunch of online master classes scheduled. I wish Sarah the best wherever she goes next. San Francisco Ballet has a repertory that would suit Sarah well. So does Pacific Northwest Ballet. I do see that with all these promotions to principal, the soloist roster is rather scanty. Arron Scott and Alexandre Hammoudi have both retired this past season without an actual farewell
  6. In the 1970's, ABT played its Spring/Summer season at the New York State Theater (now the K*ch). In fact, the videos of Makarova in "Giselle" (with Misha) and "Swan Lake" (with Nagy) are filmed at the NY State Theater. They could open their season after NYCB closes in late May and play until July. Most of their productions are designed to tour different theaters so the sets are flexible, so why not move their Spring season to another house? One problem about extending their Met season into July is that the Metropolitan Opera starts prepping productions on the Met stage in July and star
  7. What makes Sarah Lane's IG post even more problematic is that if it is aimed at Skylar Brandt, we have a principal bashing a soloist for using money to get roles. Within the company hierarchy, Lane is higher in rank than Brandt. So it looks like someone who is privileged and powerful bashing someone who is trying to rise within the company. Maybe Lane feels that she is not privileged or powerful at all at ABT and that could be the problem. Of course, Lane must be very aware of the fact that she is not being cast as much as several of her colleagues. Even Ratmansky who has been very much a
  8. Sadly, NYSusan did not opt to go to Kolesnikova and the St. Petersburg Ballet Theatre, instead attending NYCB's "Swan Lake". I did go on the Saturday opening night (I did a double header "Swan Lake" weekend with NYCB "Swan Lake" on the Sunday matinee with Mearns and Côté.) First of all, it is a nice traditional and conservative production - basically a cut down bus and truck version of the 1950 Konstantin Sergeyev "Swan Lake" from the Kirov-Mariinsky Theater. The sets are almost identical designs. If you remember, the Mariinsky brought the actual Sergeyev "Swan Lake" to the BAM Opera
  9. Lane is the other small ballerina who has danced Giselle with Herman but she danced it the night before. Brandt and Cornejo have been rehearsing I am sure for the past few days. Also, Brandt wants to make principal badly, this was evident in the NY Times interview/profile. This is her test for which she has been preparing for months. Giselle was also the role that broke through for Abrera and Lane to make principal rank. Brandt will seize the opportunity and nail it, Mark my words.
  10. Hello everyone, I found online this Cambridge Scholars introduction to reprints of the scores of Giselle, La Sylphide and Le Corsaire. There is a long explanatory introduction about the changes to the score over the years with music added by Bergmuller, Minkus and in the case of the Act II finale - Boris Asafiev. The notes are by Robert Ignatius Letellier and reflect his research: https://www.cambridgescholars.com/download/sample/58856 "No. 16 In connection with the changes to the end of the ballet (the removal of the appearance of Bathilde, the hunters and the courtiers after Giselle
  11. The video clips used in this discussion have been removed from Youtube. Here is a performance of a "Minkus Pas de Deux" to the "Giselle Pas de Deux" music as choreographed by Leonid Lavrovsky. It was a Bolshoi Tokyo tour in 1986 with students or graduates from the Bolshoi School. The dancers include Vladimir Malakhov who was a student at the time and Viktoria someone who is less impressive (though she definitel has her moments). Here is the Zhuraitis recording of the adagio section of the pas de deux only, the solos sound a bit circusy/Don Qish to me. Not Romantic at all
  12. We have been talking about the mime that was added - what about the traditional mime that wasn't there? The first is in the Giselle/Albrecht/Hilarion aka Hans confrontation in Act I: When Hilarion/Hans takes out his knife to attack Albrecht, Belyakov did not do the traditional business of reaching for his sword (which he isn't wearing because he is disguised as the peasant Loys). Belyakov just kind of waved Hans off while stopping Giselle from interposing herself between them. This gesture of reaching for the sword hilt tips off Hilarion/Hans that Loys is not what he seems. Of course, Han
  13. Here is Olga Spessivtseva - not pigtail but a kind of ponytail. I see little or no resemblance to Smirnova, who I like very much but prefer as Raymonda or Odette to Giselle. Great Giselles are kind of a ballerina breed apart. I would be fascinated to hear from Seattle_Dancer or others who can compare the PNB new/old "Giselle" to the Bolshoi Ratmansky reconstruction. Differences, weaknesses, strengths, etc.
  14. The Ratmansky ending looked very rushed and slightly confused to me. Ratmansky decided to have Giselle disappear into the ground before Bathilde returns. Wilfred comes on first leading the rescue party and then Bathilde follows (as directed by Wilfred). Wilfred seems perturbed to see Giselle's ghost. The original notations have Bathilde returning with the courtiers and Wilfred and Albrecht is told by Giselle to marry Bathilde and then she sinks into the earth. Also Bathilde actively consoles and forgives Albrecht. So it is a more dramatic scene with Bathilde taking an active part with th
  15. By the way, this program note from the Pacific Northwest Ballet website will clarify a lot of questions we are having: https://www.pnb.org/repertory/giselle/ It seems there were two sets of human interlopers - gamekeepers sent packing by Hans/Hilarion and then later a group of peasants returning from a festival who were saved from the Wilis by an old man. Some interesting points in the article by Marian Smith: "The French manuscripts give us a marvelous opportunity to discover ways in which this ballet was performed in the first two decades of its existence, that is, befo
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