Buddy

Can you get much ‘Cooler!’ than this ? A little more work on the port de bras, maybe ? 😊 Sesame Street: "A New Way to Walk" with Destiny's Child (Beyoncé on our right) And here's this, as well. Added: This video clip continues to 'amaze' me. Where did it come from at the Bolshoi ? What was it a part of ? And, yes, I do think that it’s very ‘Cool!’.

‘ Cool ! ’ , I believe, may also speak especially to the times in which it’s happening. It touches our lives now. This one is powerful ! And it is a masterpiece ! It’s part of the poetry of life that says that Beauty can transcend. It does here. From the video clip introduction — “In her autobiography Dancing Spirit, Ms. Jamison wrote: "Exactly where the woman is going through the ballet's three sections was never explained to me by Alvin. In my interpretation, she represented those women before her who came from the hardships of slavery, through the pain of losing loved ones, through overcoming extraordinary depressions and tribulations. Coming out of a world of pain and trouble, she has found her way-and triumphed.” ” This is an officially released video clip from the Alvin Ailey American Dance Theater. There’s also an unofficially posted one of the entire work, which I really recommend if you can’t see an actual performance or are unable to buy a compilation video (which would be great, as this company, like so many artistic ones, can really use the proceeds.)

A Lyrical Landscape ** "Good Morning Sunshine" ** ** “She Lives on Love Street” ** https://www.youtube.com/watch?v=fny9canjUWE ** Dreamscape ** Dancing On Air https://www.youtube.com/watch?v=Dh6Zv4GuN2c&t=1s "Only This Green" —"Thousand Miles of Rivers and Mountains" ** “Girls Just Want To Have Fun” ** https://www.youtube.com/watch?v=5SIeJ5PZQSw ** Sesame Street ** Big Bird Dances With Bird Watchers on The Ed Sullivan Show "Show Yourself" From "Frozen 2” https://www.youtube.com/watch?v=nrZxwPwmgrw&t=183s Luo Tianyi (Projected Animation ( Amazing ! )) -- "The Most Beautiful Night” https://www.youtube.com/watch?v=-6vfObEPMe0 ** Gala ** “Beyond” — Mariinsky Ballet (see 1:28:50-1:34:20) Twyla Tharp's "Waiting at the Station” https://www.youtube.com/watch?v=mgDkxoJCVd0 ** "We Always Came Back To The Songs We Were Singing" ** Fred Astaire and Ginger Rogers -- "Let's Face The Music And Dance" ** "Golden Slumbers Fill Your Eyes" ** "The Swan" -- Oxana Skorik -- Mariinsky Ballet https://www.youtube.com/watch?v=Bf9AqDajr_0 "Walking in The Air" https://www.youtube.com/watch?v=A1-41Memra0 "Ta Ge" -- A Celebration of Nature’s Beauty

A first for me. The Bolshoi will be appearing at the Mariinsky. This will be May 7 - 12. This would also be a ‘homecoming’ of sorts for Evgenia Obraztsova, Alyona Kovalyova and Yulia Stepanova. https://www.mariinsky.ru/en/playbill/playbill/?type=ballet The Mariinsky has recently presented its own version of Spartacus by Leonid Jakobson. Over the years I’ve only watched a few excerpts of this ballet from the Yuri Grigorovitch version. Daria Kulikova — A name that’s somewhat escaped me. She graduated the Vaganova Ballet Academy in 2023 from the class of Yulia Kasenkova, which has also included Alyona Kovalyova and Maria Ilyushkina, two favorites of mine. I read something that compares her quite favorably to them. Having just watched a video clip, she seems quite lovely. Does anyone have some thoughts about her ?

This is from a review by Catherine Pawlick at Vaganova Today mentioning Valeria Kuznetsova’s debut. I will post this brief excerpt primarily because it seems to answer a question I had as to her height. Apparently, she’s quite tall. “On 03 April, Andrey Ermakov danced a noble Spartacus, infusing the role less with vim and vigor than with quiet determination and pride. Valeria Kuznetsova, an impossibly tall and long-limbed Perm Academy graduate, debuted in the role of Phrygia, Spartacus’ wife. With height that matches Ermakov’s stature well on stage, she did justice to the wrenching monologue in the final scene, a dramatic challenge for even seasoned ballerinas.” https://www.vaganovatoday.com/spartacus-love-and-war-on-stage-april-2024/#more-1361 By the way, this has been the top of my video watching list, unchanged, for over a year. Oxana Skorik Olga Smirnova Eva Sergeyenkova Alyona Kovalyova Maria Iliushkina Valeria Kuznetsova

An exciting recognition for her ! Wednesday, April 3, she debuted at the Mariinsky as Phrygia in Spartacus, also featuring Renata Shakirova (Aegina) and Andrei Yermakov (Spartacus). https://www.mariinsky.ru/en/playbill/playbill/2024/4/3/2_1900/ (Thanks to Enya at Dansomanie)

Cool ! As close as our world here has gotten — perhaps. 🙂

This seems quite charming. (Maybe 'amazing' is a better word) She’s ‘animated.’ China’s next Taylor Swift ? 🙂 Luo Tianyi (洛天依) is a Chinese Vocaloid "According to her short anime series, Luo Tianyi is an angel who came to earth with a mission to spread music throughout the world. Tianyi can detect "the song of your heart" (心中的歌声) and it can be interpreted as the strongest emotion a person has at the moment or a melody that represents them. Even if people cannot express the melody themselves, Tianyi can still hear it and sing it." https://vocaloid.fandom.com/wiki/Luo_Tianyi#:~:text=Luo Tianyi became popular in,large fandom in the country. "Angels don't play a very significant role in Buddhism with most references being found in East Asian art or folklore instead of religious texts." https://medium.com/mythic-writes/angels-a-comprehensive-guide-2746bb5ab59 Vocaloid concerts Basically, a projector is set up to show the character that's supposed to be singing. Vocaloid concerts typically feature the use of holographic technology to project the animated avatars of the Vocaloid singers onto the stage. These avatars are accompanied by live musicians and sometimes backup dancers. The concerts are often synchronized with pre-recorded vocals and choreography, creating a unique blend of live performance and digital animation. Fans attend these concerts to experience the music and visuals of their favorite Vocaloid characters in a live setting. https://www.quora.com/How-do-Vocaloid-concerts-work#:~:text=Basically%2C a projector is set,played on a back track.

Unfortunately, my reservations about some of the song lyrics, and thus my reservations about the entire album, remain, but from Paul McCartney….

I guess that I have to stop right here, because of my initial super enthusiasm for this album, and say that along with all its musical brilliance and some touching expressions of love, there’s a definite ‘Hard Edge.’ It could work great for some, but I’ll see how this works for me as I look at more of the lyrics, but — I’ll say for now that my initial enthusiasm is on hold.

“Sixteen dollars, workin' all day Ain't got time to waste, I got art to make I got love to create on this holy night They won't dim my light, all these years I fight” (16 Carriages) “16 Carriages,” was one of the two singles to be released. "The Lyrics of "16 Carriages" by Beyoncé revolves around themes of sacrifice, resilience, and determination in the pursuit of dreams and success. The lyrics depict the journey of a person, likely Beyoncé herself, who had to leave behind their innocence and home at a young age to chase their ambitions. Despite facing hardships, including being away from loved ones and feeling overwhelmed, the protagonist remains steadfast in their pursuit, fueled by the desire to leave a lasting legacy and prove themselves. The song highlights the sacrifices made along the way and the emotional toll of striving for greatness." https://www.lyricsrolls.com/16-carriages-lyrics-beyonce.html There are two elements in this remarkable and well intentioned album that might deserve some further ‘reflection.’ One is religion. The other, probably coming from a totally different direction, would be how does this album relate to the American gun culture and things associated with it ? If you’re interested in the complete lyrics, along with interpretations of them, you can look here: https://www.lyricsrolls.com/album/cowboy-carter-2024-lyrics-beyonce.html https://genius.com/albums/Beyonce/Cowboy-carter

This is an interesting and informative summation of the album by Mark Savage, Music correspondent, BBC News. https://www.bbc.com/news/entertainment-arts-68686378 “Over 27 interlocking songs and interludes, Cowboy Carter throws a lasso around country's sonic signifiers, and spins them into something unique: Appalachian fiddles are spliced with pop melodies, and lap steel guitars underscore rap verses with speaker-crushing sub bass. That the genres overlap so seamlessly is evidence of Beyoncé's technical mastery, but also of her central thesis: That Nashville's marginalisation of outsiders, and black women in particular, weakens the music in the long run. “And in one interlude, she juxtaposes the African-American spirituals that inspired country music (the pacifist anthem Down By The Riverside) with swing fiddle tunes that inspired black pioneers of rock and roll (Chuck Berry's Maybellene, based on the traditional American song Ida Red). “If this all sounds dry and academic, don't be put off. Cowboy Carter is a blast, with hooky, memorable songs that are theatrical, mournful, playful, lovestruck, whimsical and carnal - often at the same time.” ”….often at the same time” is one of the amazing truths. I would definitely agree that the album is a toe tapping, head bobbing experience, but -- there’s a great deal more, as well.

Thinking more about the Beatles’ influence on this album, I have to feel that it extends beyond the one Beatles' song. In my first post I cited lyrics such as these from the beginning song as being what gives value and substance to this great artistic accomplishment. "Can we stand for something? Now is the time to face the wind Now ain't the time to pretend Now is the time to let love in" Love as the defining factor of humanity is very much a 1960’s cultural focal point and the Beatles were one of its primary spokesmen and symbols. To the extent that this exists in “Cowboy Carter” certainly adds a significant Beatles related humanism.

To add to the importance of this album, according to Beyoncé, she started thinking about it five years ago and it’s nearly an hour and a quarter long, quite long, with 27 tracks. I’d heard some mention, but it was the New York Times article from yesterday that got me to listen to it. The album was released in the United States Friday. I’ve now listened several times. There’s so much of great value and interest going on that it could take ages to grasp and thoroughly appreciate, let alone summarize. Personal note — I’ve already mentioned the importance of the Beatles in comparison. If I had to chose a creative entity to represent my idealized world, it would be the Beatles. The territory that Beyoncé covers barely touches on them or the cultural population that they represent, although she might very well be a part of it. Still, it’s interesting to note that the second song on the album is by them. It’s Paul McCartney’s “Black Bird.” Although it’s inclusion is primarily attributed to its being a civil rights song, it’s still a Beatles song. One characteristic of the Beatles is that they seldom made direct social comments. Their politics were very apparent, but seldom directly stated in their art. This is something that I, and I think many others, are comfortable with. So, once again, I think that it’s quite significant that they were included as the second song in an album that covers rather different, but extremely worthwhile territory, which it does commendably. There’s so much of value and interest in her album. It’s an unusually great work of art and commentary, in my opinion. Added: Although my idealized woman would be different and living in a different world, I do have to admire Beyoncé’s sticking up for herself and her self worth in her rewrite of Dolly Parton’s “Jolene,” which is a response to a woman attracted to her husband. “We've been deep in love for twenty years I raised that man, I raised his kids I know my man better than he knows himself”

Added: March 31 -- With all its musical brilliance and some lovely expressions of love, having gotten deeper into the lyrics of this album, I unfortunately have to say, that they are not consistent with what I was expecting and my enthusiasm must be put on hold. ** Fascinating ! ** ** One of the most important descriptions of American Popular Culture ever created ! ** As an all humanity, musical creation, it’s perhaps the finest since the Beatles. The Beatles explored the Universe. Beyoncé’s “Cowboy Carter” explores what happens after we get up in the morning. As an artistic creation, it’s an absolutely brilliant one ! In essence, it combines American European descent ‘Country’ and American African descent ‘Rhythmic Soul.’ This article in the New York Times seems like as good an introduction as any. “Beyoncé’s ‘Cowboy Carter’ Is Here, and It’s Much More Than Country” “Yet “Cowboy Carter” is far broader than simply a country album. Beyoncé does a version of the Beatles’ “Blackbird” and, on the track “Ya Ya,” draws from Nancy Sinatra and the Beach Boys’ “Good Vibrations.” “Desert Eagle” is glistening funk, and the upbeat “Bodyguard” would not be out of place on a modern rock radio station. The album’s range suggests a broad essay on contemporary pop music, and on the nature of genre itself.” https://www.nytimes.com/2024/03/29/arts/music/beyonce-cowboy-carter-released.html “The album’s range suggests a broad essay on contemporary pop music, ** ....and on the nature of genre itself.” ** Excerpts from the entire album can be found here. https://music.youtube.com/playlist?list=OLAK5uy_kqKVNkEoBuxdRKUNUT2wye26Zxah3Tfu8 With all its brilliant exploration of the American popular landscape, what makes it ultimately worth listening to ? For me, we can start with this from the very first song, "American Requiem." "Can we stand for something? Now is the time to face the wind Now ain't the time to pretend Now is the time to let love in"

Thank you, Duffster. And Drew wrote: “Goodness--I also was thinking of Dowell!!! For sheer beauty of movement I still find him unequaled among male dancers I have seen. (A remarkable actor in certain roles, too, so I wasn't sure how my image of him fit with the discussion. But certainly not a flamboyant actor.)” Thank you, Drew, and I agree with you both. We may be drifting somewhat from a strict Mariinsky discussion for the moment, but, I believe that this is still very relevant because of the Mariinsky’s distinction as being, possibly, the most dreamlike group of artists in all of dance. Not being familiar with Anthony Dowell’s or Manuel Legris’ dancing, thank you, ECat, I found some video clips. I have to say immediately that I was very impressed with Anthony Dowell and would consider what he did to be indeed ‘dreamlike,’ something I’ve never said before about a male, ballet dancer. Yet 🙂 the non-ballet, but somewhat ballet influenced, dancer, Fred Astaire, still wins the prize, for me, in the male, dreamlike dancer category. He was amazingly graceful, even in a style that, unlike ballet, doesn’t necessarily encourage this, and his expression also had an exceptionally dreamlike quality. As graceful as Anthony Dowell was, I would say that his most ‘dreamlike’ quality was in his enchanted expression, in his face. As an aside, he somewhat resembled in appearance, John Curry, the man who imparted the same qualities to figure skating. Manual Legris also seems quite noteworthy for his flowing gracefulness. One other thing. I went through our Ballet Alert! archives, along with a few videos, and found some male, Paris Opera Ballet dancers, performing very graceful, almost enchanting, Baroque style dances. I would say that this could be another example of male, ballet dancers performing in a somewhat dreamlike manner. I certainly think that these are qualities that relate directly to the Mariinsky's exceptional artistry. Perhaps we are yet to seen such a male dancer emerge here. Perhaps one already has (Vaslav Nijinsky?). Then, let's look forward to others, as well. And this would include working in sensitive harmony with the many exceptionally dreamlike (in my opinion) Mariinsky ballerinas. Added: And I can't resist. Here's my definitive Fred Astaire video. And it sure didn't hurt to have Ginger Rogers as a partner. And -- I do think that this is relevant to this topic. https://www.youtube.com/watch?v=9UY1seXdnIc&t=278s

‘Dreamlike’ male dancers ? — Of ‘All’ male dancers that I’m familiar with, and that’s limiting it to ‘Western’ dance, Fred Astaire might be the only one. He was George Balanchine’s favorite male dancer, and as I’ve written before, he’s the only dancer I’ve seen who is more graceful than his female partners while remaining ‘convincingly masculine.’ I have seen a video clip of a Japanese Kabuki actor/dancer(?) who was quite fascinating. Male, ‘dreamlike’ dancer in ballet ? Not really. I think I’m more comfortable with ‘poetic’ and ‘sensitive’ in this regard. The Mariinsky’s Alexander Sergeev has probably impressed me the most. ECat -- "Perhaps the Mariinsky is more dreamlike and Bolshoi is more expressionist." Yes, definitely. Again, interpreting ‘Expressionist’ as being a form of ‘Expression’ that highlights the dancer’s identity (real or portrayed).

Maybe, Fred Astaire. 🙂 Good question. Let me get back to this.

Getting back to ECat’s very good point that ‘expressionist’ means “very expressive,” I still like the idea that ‘expressionist’ might relate more to the human drama. If it were to apply to the pure dancing it might push the limits of grace and flow that I think define ballet. Yet, Mariinsky ballerinas have been successfully ‘expressionist’ in their pure dance. ECat mentions Diana Vishneva. I would add, in some performances, the non-Mariinsky ballerina, Sylvie Guillem. And among the males, of course, Rudolph Nureyev. To get a more interesting picture we could go back to the two greatest Mariinsky ballerinas, Anna Pavlova and Galina Ulanova. I would say that they were capable of being great expressionists, both in their humanness as well as in their pure dance. Added: Clarification. Both Galina Ulanova and Rudolph Nureyev did not do most of their performing at what is now called the Mariinsky, but they were both trained at its school and began their careers there.

Hi ECat. It’s nice to read your comments again and thanks for the kind words and interest. Yes, I agree with you. Expressionist and expression are somewhat the same thing. For me, ballet is essentially a ‘dreamlike’ creation. It features the grace and beauty of human physicality. For me, it’s the effect, the feeling and above all the Aura that attracts me to ballet. To the extent that you add the human ’story’ is what makes it ‘expressionist.’ Maybe that’s a difference between expressionist and expression. Expressionist is perhaps more the telling of the human story, whereas expression can be that or simply committing yourself to a beautiful aura. Although I probably consider the Mariinsky and the Bolshoi to be artistic equals, because the Mariinsky adheres more to the pure expression of grace and flow, which I see as the essence of ballet dancing, I may tend to favor the Mariinsky. When I watch the Mariinsky perform Swan Lake, it all revolves around the dreamlike continuity that’s defined by the famous White Swan duet. For me, it’s like an unbroken spell. It flows like a river from beginning to end. When the Bolshoi performs it, the human identity and drama become very important. It can be more a collection of highlights. Yet, this is still contained within the underlying pursuit of grace and flow. I agree when you write, “….a dancer who is very expressive - Maria Alexandrova or Diana Vishneva. I would put May Nagahisa in the dreamlike category. Bateova and Shakirova into the expressionist category.” Again my definitive examples of ‘dreamlike’ would be the Mariinsky’s former Principal, Ulyana Lopatkina and current Principal, Oxana Skorik. For expressionists they would be the Bolshoi’s former Principal, Olga Smirnova and current rising star, Eva Sergeyenkova. May Nagahisa would be in the essential Mariinsky dreamlike category, whereas Nadezhda Batoeva and Renata Shakirova are expressionist for the Mariinsky, but less so than for the more dramatic Bolshoi. If we want to take a quick look beyond in terms of drama or expression, the Royal Ballet (London) is perhaps the finest for theatrical expression. Xander Parish (formerly Royal Ballet and Mariinsky Principal), when he was at the Mariinsky, quite successfully imparted this. By theatrical expression, I would think in terms of the acting style used in an actual play. And I’d like to add the expressionist abilities of one more very interesting artist, the American Ballet Theatre’s young, rising star, Chloe Misseldine. She has the ability to express herself with a naturalness that I have never seen before on a ballet stage (or maybe any stage!), thus perhaps creating a completely new category in ballet expression.

Anastasia Kolegova, who I thought was planning to retire several years ago, will be performing Carmen Suite tomorrow. In the first half, which I like, she should be vibrant, might even sizzle. https://www.mariinsky.ru/en/playbill/playbill/2024/3/19/1_1901/ On March 23 she is dancing The Firebird. I’d love to see this one. She was the first ballerina, ever, to win my Mariinsky Sweetheart of the Year Award. 😊 Added: Her partner in Carmen Suite is a new and interesting name for me — Even Capitaine. First soloist Even Capitaine is a graduate of the Ballet School of the Opйra national de Paris (France), and the Belarusian State Choreographic College. Soloist with the ballet company of the Bolshoi Theatre of Belarus in 2016–2022. He made his debut at the Mariinsky Theatre in La Bayadère (Solor) in July 2022. In 2023 he joined the Mariinsky Theatre as the first soloist. https://www.mariinsky.ru/en/company/ballet_mt_men/capitaine_even1/

Alvin Ailey Ballet Black Alvin Ailey

I guess that it’s possible that she has her hands full at the moment running the company. Yet, if I’m not mistaken, she’s also in charge of new works and this is where her own essence and talent could be very valuable. I’ve seen her perform more contemporary works and the brief Instagram glimpse posted above is perhaps the nicest. Her beautiful, ballet ability and sensitivity are very evident here. I would hope that she has the time and interest to do more of this. In any case, she can always try to impart this into the new works and the company in general. She probably has one of the finest levels of sensitivity that I’ve seen at NYCB. And again, her own dancing, whether private or on stage (which would be nice), could be fine in itself or could be helpful in shaping new works as it apparently was when she worked with Christopher Wheeldon. Since I mentioned Christopher Wheeldon, maybe the company would be interested in staging his “The Two of Us,” which I mentioned above and thought was an exceptional effort. In addition, his presence at the company could be a very worthwhile one. A Wheeldon/Ratmansky collaboration on some works might also be very exciting. And one more plug for an Edward Villella input at the NYCB. Not only could he impart his remarkable Balanchine background, but also the high quality, aliveness, relaxed virtuosity, sense of family and creativity that existed at the Miami City Ballet when he was running the company.