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Everything posted by Roma

  1. What's next? Nutcracker act I, act 2-- Kammermusik?
  2. Thank you, Dale:) ABT has one of the greatest Raymondas ever--Ananiashvili. Definitely something to look forward to. And how about Meunier?!
  3. It depends a great deal on who is doing the adapting. When a lesser artist adapts a great work to another medium, the result is not just different, it's different and less. And in this case familiarity with the original does hinder the enjoyment of the adaptation a great deal, as it should. If you can't make it as great, leave it alone. PLEASE.
  4. Hans, Ayupova hasn't danced Nykia in a long-long time. It's unlikely she'll come to D.C., though I suppose hope dies last.
  5. Borree as the first violin in Concerto Barocco. Now, I've heard everything.:rolleyes:
  6. Roma

    Give It a Rest!

    Dracula gets my vote, though Manon and Onegin are not far behind.
  7. Marc, that's the "funniest" thing I've ever heard, and unfortunately, it's true.
  8. This is not exactly recent but I wanted to post it anyway. I went to St. Petersburg for New Year’s, and though not much was going on there during the first week of January (balletwise or otherwise), I did catch two casts of Swan Lake (Pavlenko/Kolb and Zakharova/Korsuntsov. The third cast in this run was Gumerova/someone, but it was on the day before I had to leave, so I decided to pack instead) I have to say that ever since this summer, when Zakharova replaced Pavlenko in “Swan Lake” at the Met (something I am still peeved about), it’s been an idée fixe of mine to see Pavlenko in the role.
  9. Excellent idea! I was at a recent Kirov performance of Swan Lake, and as the Little Swans music began, the woman directly behind me exclaimed, "Oh, I know this!", and proceeded to hum along loudly and off key through the remainder of it. They may yet succeed in getting people to turn off their cell phones, but how do you turn off THAT?
  10. Same here! I have to say, that even in the complete and utter c... that is Neumeier's Sylvia, Legris was mesmerizing. Perhaps we can meet the next time we go to Paris .
  11. Well, I just returned from a trip to St.Petersburg and Paris. Saw Pavlenko in Swan Lake which pretty much made the whole trip worth it, too me. In Paris we weren’t as lucky. It was under a Neumeier occupation (Nijinsky at Garnier, Sylvia at the Bastille), but seeing Legris dance was quite something. (During Sylvia, my gaze wondered, and I saw Estelle sitting a few rows in front of me! I called after her at the end, but she didn’t hear me ) Even off- season, hotels in Paris aren’t cheap, though it is possible to find something very reasonable. We stayed at Hotel St. Roch (on rue St. Roch in the
  12. In no particular order. Kowroski's thrilling Firebird. Ananiashvili's Adagio of Symphony in C was a complete revelation for me each time she danced it. Pavlenko's Nykia and Diamonds. La Fille Mal Gardee and the Dream. Kirov's corps I have to say, looking back on it, it was a very, very good year.
  13. I think, that when it's done in moderation, guest stars can do wonders for company moral. Last year the Bolshoi invited Carreno, Kobborg, and Malakhov for two perfomances each (although, Carreno might have gotten just one), and what I heard from people afterwards was how much better the Bolshoi's male roster was suddenely dancing . I agree, Alexandra, Malakhov with his "it's not how many, it's how" is ceratainly an example worth emulating. I almost wish he was a "guest star" with ABT;)
  14. Beriosova is dancing the Black Swan pdd and "Diana and Acteon" pdd with Nureyev on the new "Bruhn/Nureyev" DVD. It was my first look at her, ever, and I thought she was just astonishing--witty and intelligent, and so beautiful. Kind of reminded me of Diana Adams. Actually, all of the women on this particular collection are exceptional, and made me wish I could have seen all of them dance. Fracci's Sylphide was especially fine--she somehow created the illusion of complete weightlessness and flight. I don't think, I've ever seen it danced quite that way before (sigh). P.S. Farrell Fan:) The fl
  15. Ina, thank you so much for the casting preview! I am really curious, though, as to what Malakhov's "Bayadere" is like. If it's possible, could you give us some details about the production and the performance you saw?
  16. Poor Ratmansky--he just can't get a break with the "designer-dramaturgs". But even Shemyakin's black snow was better--at least the dancers didn't look like they were wearing pom-poms.
  17. Bussell's Agon pas de deux is on the Balanchine Celebration part 2 tape.
  18. I guess, I'll just have to spend this summer in St. Petersburg. That Lopatkina might come back is such great news, but that NYCB is going there after, what, thirty years--that's really something.
  19. Malakhov isn't cast in anything either. Did he leave?
  20. No bikers, AND a lake! Now, that's comforting.
  21. "What should the true character of Nikiya be?" One of the many reasons I loved Pavlenko's portrayal so much when she danced the role in New York was how well she was able to articulate that Nykia is really a Chosen one. There was something deeply spiritual and dignified about her... Because if Nykia is just another vamp (which is the way Vishneva did it, “modulating” a Kitriesque interpretation with a “sad face” now and again), then the “Shades” act, which can and should be danced on a fairly high spiritual plateau, doesn’t really work as well.
  22. If I had to choose just one, I'd go to Raymonda. Daria Pavlenko is scheduled for that performance, and she is stunning. Should be worth the trip.
  23. The Kirov and The Bolshoi are both doing it this season. The Kirov's version was staged in 1981 by Elsa-Marianna fon Rosen (sp?) and was then transferred (with amendments/excisions?) to Moscow by Vinogradov Ayupova is a wonderful Sylph, but I haven't seen many others, so it's hard to tell.
  24. "it opened in 1933 on the fourth floor of an old building on 59th & Madison." I remember reading that it was also Isadora Duncan's studio at one time. (One critic/dance historian, who shall remain nameless, even wrote (and published!) that he thought that Serenade, having been created more or less in that space, was obviously very much influenced by Duncan's dancing by way of the lurking spirit (or was it the actual ghost?) of Duncan herself. Apparently, for some minds, too much history is not a healthy thing)
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