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Everything posted by Buddy

  1. Scanning some recent videos, Maria Bulanova, debuting in the Firebird, complimented finely by Roman Belyakov, is a very pleasing discovery. Her's is a rather low-keyed and understated but charmingly sensual and right-on engaging presentation. A pleasure and joy to watch. She's definitely not the mesmerising Yekaterina Kondaurova at this, but she certainly captivates. Nuances, like this, are what make our world go round, I guess.
  2. Today she appeared as one of the three 'muses' in Les Sylphides. This may be another debut. It's not listed at her Mariinsky site. From video clip -- Absolutely lovely. A Velvet Breath of Pearl-Light Air Added: After continuous reviewing, I think that this is the most beautiful that I've seen her on video and I've seen her do some beautiful ones. In fact, this might be the most beautiful that I've seen anyone do.
  3. Not necessarily looking at where 'dance should go,' but at an example of what it can do, I found this interesting and, for me, very successful work. Almost two years ago at the Mariinsky topic I wrote about having seen a Picasso/Calder sculpture exhibition after having attended the Mariinsky Festival. I tried to compare the two, the invention of the exhibit and the refined beauty of the Mariinsky. At the recent Lausanne dance competition, seen on video, I found this new choreographer work. It was created by Pablo Polo of the School of Hamburg Ballet John-Neumeirer. For me, it's very interesting in its abstract construction and in how it echoes and explores abstract artistry (even relating to the painting in the background). Not only, for me, is it successful in its artistic interest but also in how well it works as a dance, as a finely constructed continuity and variety of beautiful motion. It can be seen at 2:00:30. https://www.youtube.com/watch?v=oHTuGeRkxGg&feature=emb_logo
  4. I received this today in my email as I'm sure many of you also did. Performance Streams Return FEB 25 | View in browser NYCB logo Instagram Facebook Twitter YouTube City Ballet The Podcast THE PROMENADE We're back from a winter break with some exciting news. Catch NYCB again in 2021 from the comfort of your home with a variety of digital offerings and activities. Dig into the details below, and stay up to date on all things NYCB by following us on Facebook, Instagram, and YouTube. 2021 DIGITAL SEASON Just announced today, New York City Ballet is creating several new works and special programs for digital release this winter and spring. Following is an overview of this exciting programming with more on our winter activities below. All performance streams and Inside NYCB presentations will be available free of charge. Visit our website for complete details and The New York Times for additional coverage. FEB 23 - MAR 18 Three Sides of Balanchine We’re kicking off an array of programming with a three-week series exploring the narrative, classical, and neoclassical aspects of George Balanchine’s choreography as represented by Prodigal Son, Theme and Variations, and Stravinsky Violin Concerto, a group of works spanning more than 40 years of creation. Scroll down for the schedule of events, including virtual workshops and onstage presentations. MAR 9 A Parting Pas de Trois This year’s virtual version of the Company’s Annual Luncheon fundraising event will honor three NYCB principal dancers who will retire during the 21-22 performance season. During the program, Maria Kowroski, Ask la Cour, and Gonzalo Garcia will each perform an excerpt from a work closely associated with their NYCB careers and participate in a conversation with NYCB Board Member Donya Archer Bommer, which will also feature performance clips from the dancers’ repertory. Event tickets starting at $350 are available online; for more information, please contact NYCB Special Events at specialevents@nycballet.com. APR 8-22 Kyle Abraham World Premiere Choreographer Kyle Abraham returns to premiere his third creation for NYCB, beginning with a three-week COVID-compliant residency bubble at the Kaatsbaan Cultural Park in Tivoli, NY. Subsequently, his new work will be filmed onstage at the David H. Koch Theater and digitally released in early spring. MAY 6-20 Spring Gala featuring Justin Peck World Premiere NYCB's first-ever virtual gala will take place May 5, highlighted by a world premiere from NYCB Resident Choreographer Justin Peck, who is creating a solo for Principal Dancer Anthony Huxley to a string quartet arrangement of Samuel Barber’s Adagio for Strings, along with excerpts of ballets by George Balanchine and Jerome Robbins newly filmed for the occasion. The gala program will be digitally released on May 6 and available to view free of charge for two weeks. Gala tickets, including an opportunity to mingle with Company artists online, start at $2,500; for more information, please contact NYCB Special Events at specialevents@nycballet.com. VIEW COMPLETE DETAILS INSIDE NYCB: TUESDAYS AT 8 PM Inside NYCB presentations corresponding with each week's featured ballet will release on three consecutive Tuesdays, starting with Prodigal Son on February 23. Principal Dancer Russell Janzen hosts these onstage rehearsal sessions and conversations with NYCB artists and repertory directors, offering unique access and insights into each work. These events will be available to stream for nine days after airing. PERFORMANCE STREAMS: THURSDAYS AT 8 PM Performance streams of complete ballets begin February 25 with Prodigal Son, a narrative work from 1929. The following two weeks will feature the virtuosic 1947 showpiece Theme and Variations on March 4 and Balanchine’s 1972 neoclassical masterpiece Stravinsky Violin Concerto on March 11. These streams will be available for one week after they air. Access both the Inside NYCB presentations and performance streams on YouTube and our website as of their respective 8 PM airings. WINTER VIRTUAL WORKSHOPS Warm up with movement workshops for participants of all ages and ability levels. Dancers from across the Company's roster lead these lively classes, which are livestreamed via Zoom. Tickets are available now. FEB 22 – MAR 8 Ballet Essentials Online for Teens and Adults of All Levels These hour-long, open-level workshops every Monday at 6:30 PM EST include a ballet warm-up, choreography inspired by Company repertory, and an interactive Q&A with the hosting dancer. Tickets: $0, $10, and $15 FEB 24 – MAR 10 Signature Steps for Experienced Teens and Adults For intermediate- to advanced-level teen and adult dancers, these one-hour sessions every Wednesday at 6:30 PM EST feature a barre and abridged center work exploring George Balanchine's signature aesthetic. Tickets: $30 FEB 25 – MAR 11 Access Workshops for Teens and Adults with Disabilities Movers of all ability levels are invited to join a different Company dancer each week at these hour-long workshops every Thursday at 6 PM EST. Attendees will be led in a warm-up and choreography inspired by NYCB's repertory, with modifications and movement options offered for all. Tickets: $0 and $15 FEB 27 – MAR 13 Ballet Breaks for Children (Ages 3-8) Get your tiny dancer moving with these 30-minute sessions each Saturday at 11 AM EST. Our young fans will explore basic ballet concepts and learn a new dance together each week. Tickets: $0, $8, $12 FEB 27 – MAR 13 Access Workshops for Children with Disabilities Lively movement workshops designed especially for children with disabilities, these 45-minute sessions every Saturday at 12 PM EST include modifications and movement options to accommodate all little movers. Tickets: $0 and $10 Ticket sales for a series of spring virtual workshops, running May 3-22, will open at a later time. New episodes arrive beginning Monday, February 22, exploring Prodigal Son, Theme and Variations, and Stravinsky Violin Concerto as part of the Three Sides of Balanchine series. But you don't have to wait – binge a variety of chats before the next episodes are released. SUPPORT THE COMPANY You can play a vital role when you make an online gift or text NYCBALLET to 44321, and keep us on our toes as we prepare for our return to the stage this fall. Kyle Abraham and Justin Peck rehearsal photos, and The Four Temperaments photo © Erin Baiano. Prodigal Son photo © Paul Kolnik. Balanchine portrait © Tanaquil Le Clercq. Educational Workshop photo © Rosalie O'Connor.
  5. "There is an interesting debut at the Astana Opera House on 30 January: ballet company soloist Anastasia Zaklinskaya will dance the role of Nikiya in La Bayadère." She's the daughter of the company's director, Altynai Asylmuratova, and Konstantin Zaklinsky. https://www.gramilano.com/2021/01/altynai-asylmuratova-and-konstantin-zaklinskys-daughter-anastasia-jumps-ahead/ :https://www.inform.kz/en/astana-opera-to-premiere-large-scale-ballet-la-bayad-re_a3745639 (thanks to a friend for these posts)
  6. There's a lovely instagram clip of Maria Iliushkina performing Princess Florine (with Nikita Korneyev) from The Sleeping Beauty recently. In December she was given an extra Odette/Odile (Swan Lake). As a Second Soloist, it's always nice to have Odette/Odile as your specialty. 😊 The vibrant and indomitable Renata Shakirova has performed four leads in the last ten days. She has another tomorrow. It's fun sometimes to look around the edges of a performance. I remember the Rajah in La Bayadere, who's imperiously seated at a game chess that he's just won, paying no attention to Nikiya, whom he has minimal respect for, as she enters the court to dance. But does he spring to rap attention as she starts her solo and the hierarchy of performers, she's a Principal, takes over. In Maria Iliushkina's entrance as Princess Florine one of the elegant ladies of the court is sitting there reading, but the instant that Maria Iliushkina, whom she can't even see, starts dancing she also snaps to attention.
  7. Please delete. Posted at wrong place.
  8. The main, historic stage, theatre continues its one space between each two seats arrangement. I can't really tell from the ticket sale's seating charts what maximum capacity it's allowing. The next January into February performances are in consecutive groups of approximately four, starting with Nureyev, Manon Lescaut and Le Corsaire. There's a full schedule through March. https://www.bolshoi.ru/en/timetable/?Y=2021&M=01 Here's tonight cast for Nureyev. https://www.bolshoi.ru/en/performances/1025/roles/#20210122190000
  9. Hi, Tom, and thank you for your post which is very much appreciated. Since dance is an art without words, can I try to respond and carry on the general thread of this topic without words. Maria Kochetkova Laser https://www.instagram.com/p/CFKVKD3BGnq/ Dancer The Vine Sandro Boticelli detail Birth of Venus Sandro Boticelli detail Primavera
  10. Some video clips have appeared of Renata Shakirova and she's as vibrant and exciting as ever. She makes an interesting contrast to recent views of Oxana Skorik, who's also doing very well. Oxana Skorik features her longer and very sculpturesque lines. Her style is slightly more dramatised, but it changes in emphasis from one performance to the next, as compared to her remarkable gentleness of flow. She does take more technical chances and succeeds commendably. Renata Shakirova has a vibrant spark and surety that makes her a delight and her technical prowess is exciting. Oxana Skorik's exceptionally beautiful use of her hands is always a highlight. Renata Shakirova, with her shorter arms, compensates with her charming and animated hand positioning. Both always exhibit their Mariinsky fineness as an underpinning which makes them and the entire company as special as they are.
  11. He's very clever. Thank you. She's preciously cool as usual. Voyage, voyage, plus loin que la nuit et le jour (voyage, voyage) (Travel, travel, further than the night and the day)
  12. The Mariinsky had a slight closer for the holiday season and is now featuring the "Primorsky Stage of the Mariinsky Theatre" until January 23, a few performances after and a two week 'blank space' until February 12 when Alina Somova and Vladimir Shklyarov will appear in La Bayadère. Seating continues with no spacing between seats and the La Bayadere seems nearly sold out. Both the Mariinsky and the Bolshoi (which is only allowing 25% capacity seating, I believe) are running a complete schedule of full scale performances. Although I and others have rather mixed feelings, I do continue to hope for the best final outcome. I've seen very few video clips being offered on the internet. A recent one of Oxana Skorik does show her performing at an impressive level. This is from a rather circumspect and personally sentimental magazine article in russian that might reflect a sort of local sentiment. Google translator which I have used for the following. https://translate.google.com The article. https://moskvichmag.ru/lyudi/teatr-vremen-korony-reportazh-iz-za-kulis-mariinki/ (Thanks to Муся at Balletfriends -- Балет и Опера) "As a Muscovite born in Leningrad, I have always wanted to see the Mariinsky Theater from the inside. At the very end of 2020, I spent a whole day at the Mariinsky, walking around the halls and backstage, talking to singers, dancing, playing and conducting, talked to the audience and caretakers, and attended three rehearsals and two performances. I even thought that I would see up close all these shabby decorations, these glued noses - and the fairy tale will disappear. Did not happen. The theater halls at the end of “covid December” still seemed to me not half empty, but half full.' " It does conclude by saying.... "I completely abandoned the time, a difficult year, forgot about Putin, Navalny, closed borders and exchange rates. All this became unimportant. It was only important what the orchestra was doing...." "Art [overcame] me and my doubts, as it always does. The Mariinsky Theater was obviously ready for 2021, 2022 and all other years, whatever they might prepare for us, because music and theater are eternal." Here are a few specifics. "We walked into the lobby [Concert Hall], noticing a sign of the times - a vending machine selling masks and gloves. I counted a lot of such signs on this day. There was no, say, the usual arrangement of glasses with sparkling wine on the counters of the buffets. Both coffee and wine are now poured into disposable cups. In addition, it was unusual to hear not only calls and invitations to the hall, but also a stern voice that assured us that all measures had been taken for our safety. During the intermission, an intelligent Petersburg woman of the third age, who was listening to the measures next to me, remarked: "[It seemed as if] the army was protecting us today."....spectators under 16 are temporarily prohibited from visiting theaters in St. Petersburg." "Spectators began to appear in the foyer and buffet. We got into a conversation over coffee with middle-aged, intelligent women from St. Petersburg and found out that they were looking forward to the [end of] quarantine, when their beloved Mariinsky Theater would open and it was possible to come back to Swan and other performances. By the way, if older viewers are now allowed to come to the theater, then the older generation artists have to stay at home. I can imagine how the oldest dancer of the theater, Vladimir Ponomarev, temporarily excommunicated from the stage, who is already 75 years old [Wow! (my comment)], but he is indispensable in running roles, for example, in Dance with Pillows, as Juliet's father from Prokofiev's ballet or as the Great Brahmin from La Bayadère ..." Here's something about the new Mariinsky II that might be interesting. "There is a lot of space on the New Stage. There are wide corridors, large dressing rooms (and there are enough of them), and most importantly, there is a main stage, a rehearsal and a rear space between them, separated by soundproof blinds, which allows you to simultaneously play a performance, rehearse and mount the scenery."
  13. https://www.instagram.com/reel/CJwLJJLHFsQ/?igshid=1ca4mf47d4n4m (Thanks to FionaE at BalletcoForum)
  14. And, yes, there do seem to be times when she can simply lose herself in the beautiful dance and the magical music, without having to go beyond. Wendy Whelan has stated that it's these moments that she loves the most when she's dancing.
  15. Not only does Allegra Kent perform George Balanchine's brilliant and seemingly difficult and demanding structural maneuvers extremely well, but she surpasses and uses them in asserting her portrayal. She shows respect for them, but she's, above all, a statement of human expression. She's 'no lady just doing the steps.' Did Suzanne Farrell ever perform this ? I'd be curious what anyone might think the differences would be. George Balanchine has been quoted as saying that what set Allegra Kent apart from other exceptional ballerinas was her intelligence. Would Suzanne Farrell have been more impressive technically ? Would her depth of feeling have compared to Allegra Kent's 'intelligence' and poetry ? George Balanchine memorised "A Midsummer Night's Dream" as a student. That's quite a feat and quite a commitment. Why did he do it ? What did he see in this play that was so compelling ? I even feel that with his Act II Duet he might have gone beyond Shakespeare and the rest of his own ballet in distilling the essence of a true enchantment, a beautiful and remarkable Midsummer Night's Dream.
  16. What this performance and this work show so beautifully is that Dance is the weaving of dreams without words. Some thoughts from William Shakespeare, the master of words. -- Dance "The man that hath no music in himself, nor is not moved with concord of sweet sounds, ....The motions of his spirit are dull as night" “Our bodies are our gardens to the which our wills are gardeners.” -- Elevated being. Some nobility can be found at all levels of motivation and all forms of character. “For thy sweet love remembr'd such wealth brings That then, I scorn to change my state with kings.” “My Crown is in my heart, not on my head: Not deck'd with Diamonds, and Indian stones: Nor to be seen: my Crown is call'd Content, A Crown it is, that seldom Kings enjoy.” -- Love for Another “Shall I compare thee to a summer’s day? Thou art more lovely and more temperate.”
  17. " Despite enormous challenges there have been some serendipitous moments of joy and inspiration that perhaps would not have found space for themselves in the rush of 'normal life.' " -- Cathy Marston See Video. https://www.dancemagazine.com/cathy-marston-2649618902.html (Thanks to Ian Macmillan at BalletcoForum)
  18. Still watching, still dazzled. I've mentioned a lot about how I feel that this duet captures the finest of Shakespeare. Something that I may not have mentioned, but could be obvious, is facial expression. Allegra Kent's face seems to cover a range of emotion, meaning and expression that captures the aura of what Shakespeare's characters were intended to convey at their loftiest, something that gives value and wonder to human endeavor. It's an elevated state of being, something that shows at least moments of nobility at all levels of motivation. The dance, the music and the theatrical inflections of her body reinforce this. Jacques D'Amboise also reinforces this in his dance and facial expression, showing support and understanding.
  19. Yesterday she once again performed her Swan Lake with Nikita Korneyev. I've not seen any video clips. Something that still seems worth keeping in mind is her ability to 'nuance,' perhaps even transform, this classic ideal (Odette/Odile) and others into more fairylike and magical beings. This represents an ability that can be very unobtrusive and go unnoticed. Yet it does have a very strong effect, even if we aren't always aware of it. Along with this is a commendable competence. Let's continue to see where this leads to. It could be something quite beautiful.
  20. The entire final program can now be seen. It's a mix as described in the post above. Maria Khoreva is the winner. I've glanced through and one of the performances that I enjoyed is danced by Evgenia Obraztsova to the singing of one the program's hosts, Ildar Abdrazakov, at 1:09:00. https://www.youtube.com/watch?v=VEHgNSkYZ-w (Thanks to Sophia at Dansomanie)
  21. "On December 19, at 15:30, the Russia-Culture TV channel will air the final release of the fourth season of the Bolshoi Ballet project, in which the names of the winners will be announced. Watch the replay on December 22 at 20:45. "It will be a kind of gala concert: first, the contestants of the current season, the participants and winners of the project of previous years, as well as the stars of the ballet stage will perform in front of the audience. Among them are Elena Svinko and Yuri Kudryavtsev; Anna Tikhomirova and Honored Artist of Russia Artem Ovcharenko; People's Artist of Russia Maria Alexandrova and Honored Artist of Russia Vladislav Lantratov; Honored Artist of Ukraine, guest soloist of the Mikhailovsky and Mariinsky Theaters, member of the jury for this season - Denis Matvienko and pianist Philip Kopachevsky; Amanda Gomez and Wagner Carvalho; Christina Kretova and Igor Tsvirko; Ildar Abdrazakov and Evgenia Obraztsova; Kimin Kim; Ksenia Shevtsova and Denis Dmitriev; Christina Shapran and Honored Artist of Russia Igor Kolb." (Google translation)(thanks to Sophia at Dansomanie) https://smotrim.ru/article/2498998
  22. https://www.broadwayworld.com/videoplay/VIDEO-Pennsylvania-Ballet-Releases-Digital-Holiday-Card-20201215 (Thanks to Jan McNulty at Balletco.Forum)
  23. "Hope to see her as much as possible." (See previous post) "I wish I may, I wish I might, Have the wish I wish tonight" Three nights later Viktoria Brilyova's returned as the Tall Girl in Rubies by George Balanchine -- And does she have personality ! , and it's the right kind -- and once again it's on video. Brava !
  24. A burst of sunshine, for me anyway -- Viktoria Brilyova. https://www.mariinsky.ru/en/company/ballet/soloists/coryphees/coryphees_woman/brilyova1/ She appeared as the Street Dancer in Don Quixote, Saturday, and she arrived along with the first video clip that I've seen of her since she starred in Maxim Petrov's mostly delightful "Cinéma" with Andrei Yermakov years ago. She looked vibrant as she did then. I wonder if she could do Kitri ? Hope to see her as much as possible.
  25. A quick thought. The comparison of what Maria Khoreva and Wendy Whelan do with the emmensely beautiful "After The Rain" (which can be seen in the two videos posted above) is touchingly poetic and embracing. Wendy Whelan, who probably helped fashion this work, is soulful and transcendent. Maria Khoreva is magnificent sculpture that she can extend into masterful and enthralling motion. Added: I have to wonder, when some coaches instruct every detail, how a dancer like Maria Khoreva is able to assert her own brilliance and identity ? Maybe the coach just says,"Yes, I like the way that you did that."
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