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Buddy

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Everything posted by Buddy

  1. Glad to read so many fine reports about so many fine dancers. "Veronika Part Will Have Her Day !--It Is Promised ! "
  2. Thank you so much, nysusan and others, for your assertions that the 'slaps' were indeed faked. I was ready to go the distance on this one to find out what really happened and to pursue corrective measures. I had already contacted the New York Times. There are a lot issues involved here, as alluded to by carbro and others, but to me the most serious issue has been put to rest.
  3. Yes, on her left cheek, the sound especially loud for Ms. Pereira. Thanks drb, I first intend to contact the NYCB and hear what their response is. Thanks very much, Mel, for your insight as to how slaps can be faked. This must be considered. I have to say that in one very popular movie from several years ago, the 'actor' (male or female, I'm not saying) stated that a strong slap was involved. How well it was 'cushioned' I'm not certain. A good look at the ballerinas' faces could quickly solve this mystery. If this wasn't very well planned 'stagework' in Romeo and Juliet, I personally feel that this or anything like it should never happen again. Mr. Macaulay's article will probably go a long way to see to this--for the time being anyway. [last sentence of paragraph two was added several minutes later]
  4. Did the actor in Romeo and Juliet actually hit the ballerina ?
  5. Could I quickly add my name to the list of those who think that Alistair Macauley's latest review of Romeo and Juliet is a very observant, well thought out, well expressed and sympathetic commentary.
  6. Hi, Sander. I once saw all seven performances of Ratmansky's Cinderella in Washington DC. Each one seemed different. The joy of this series, more than the production itself, was to see two performances by Diana Vishneva, which were among the best that I have ever seen. I am high on beginner's energy. Four years of ballet watching only, but if I'm going to travel far off somewhere I want to see as much as possible. This is also where a large part of my extra money goes. If it for seeing such wonderful performances and helping to support the artists I don't regret a cent of it. [some changes to the text made several minutes later, but the sentiment stays the same]
  7. Talk about tampering with a classic. How about putting 'modern, who knows what' dancing, which is maybe what it was at the time, to "Mozart" !! That's exactly what George Balanchine in my mind did with his ""Andante from Divertimento No. 15". What a masterpiece it is !! I'm watching it over and over again on my video. What's my point ? I'm not sure. Maybe relative to this discussion I'm trying to say that you can do just about anything in art if it's beautiful and it works. To my eye at the moment George Balanchine not only tried everything he could--he made it work. Amazing !! Without trying to make a complete 'spectacle' of myself you NYCB lovers are witnessing someone who is just discovering the depth of the incredible world of George Balanchine and the dancers associated with him and trying not to explode all over the written page. It might be an interesting thing to observe. Sincere respect to those of you are carrying on a serious discussion here at the moment. Cheers !
  8. Like Odette and Siegfried wafting off together to a better place? Interesting, bart. Thank you. [spelling error corrected]
  9. In fairness to this discussion in his autobiography Prokofiev apparently called the happy ending a "bit of barbarism". (but is this really the last word ? Someone doing more research might come up with something interesting.) http://www.balletmet.org/Notes/ROMEOAND.HTM Scroll down about half way to above... "World Events of 1938..." In his autobiography Prokofiev writes, "There was quite a fuss at the time about our attempts to give Romeo and Juliet a happy ending - in the last act Romeo arrives a minute earlier, finds Juliet alive and everything ends well. The reasons for this bit of barbarism were purely choreographic: living people can dance, the dying cannot.....But what really caused me to change my mind about the whole thing was a remark someone made to me about the ballet: ‘Strictly speaking, your music does not express any real joy at the end.’ That was quite true. After several conferences with the choreographers, it was found that the tragic ending could be expressed in the dance and in due time the music for that ending was written." [added--"Scroll down about half way" to above"...]
  10. Google in "prokofiev romeo and juliet happy ending" and go for it !
  11. I'm considering walking, but please keep the ideas coming in. Maybe a personal message or referral to some other topic would be best.
  12. And why not? Charles Dickens did it in Nicholas Nickleby in an astonishing redaction ostensibly by the redoutable actor-manager Vincent Crummels for his family acting company. Juliet lives. Romeo lives. Paris lives. Tybalt lives. Mercutio lives. Old Capulet and Old Montague come on to shake hands and everything is peachy-keen! I'm not sure if you are serious, but thanks anyway. I see it as being very do-able. It could be extremely beautiful. If I had any talent I would try it myself.
  13. Huh? That sort of un-Romeo-and-Juliets Romeo and Juliet, doesn't it? I guess this is giddy day for me. Nothing new. carbro, think big ! (smile "clickable smily")
  14. "May 16, Veronika Part will dance Nikiya". Now how do I possibly get to NYC May 16 from Detroit ? I've already gone through my ballet piggy bank for the year. Has "Startreck" perfected it's time travel machine yet ? Haglund's, Help! Any ideas ?
  15. Hi, drb Thank you for your epic and extremely fine review. I'm very glad that you liked so much of what you saw. I am looking forward to your version of Romeo and Juliet someday ! Marc Morris by the way is planning a version of Romeo and Juliet with a 'Happy Ending'. I really like the idea, but I am already ducking from the feedback I might get from this remark.
  16. PS At the Mariinsky Festival Maria Kowroski was given the stageside VIP box to 'brighten up the theater' and to watch Natalia Osipova (What a wonder she is ! ) dance Don Quixote. What a beautiful lady Maria Kowroski is ! I went running over to chiapuris, our living encylopedia of ballet performers, to find out who she is. She was one of about four ballerinas to be given a huge bouquet of flowers by Makhar Vasiev, Kirov director, at the gala party. She danced beautifully. It was fascinating for me to see the current difference in style between her and the Kirov supporting dancers. The Kirov probably more flowing and lyrical. Maria Kowroski more articulated and 'punctuated'. Both wonderful. Back to topic. How did it go tonight, drb ? Hoping for good news. [added by Buddy eons later--I believe that it was actually the Forsythe evening that Maria Kowroski attended]
  17. Hopefully no crow tonight. I just got back from the Mariinsky Festival where I saw Maria Kowroski, Damien Woetzel, and Philip Neal perform for the first time. They were very well received. I became an instant NYCB fan ! I have since bought the video of the NYCB performing assorted Balanchine. It's the first time that I have seen Suzanne Farrell dance. She is an absolutely beautiful dancer ! A discovery of another wonderful new world of ballet for me.
  18. nysusan, many points very well made. Thank you. canbelto, a very sensitive and heartwarming description. Thanks for sharing it.
  19. Thanks everyone for your thoughts and comments. carbro, I would certainly agree with you. To try and be a bit more exact on my part, my thinking when I used the word "vulnerability" was about an 'openess' to what will happen. This I would see as a quality in a person. [spelling corrections made]
  20. To maybe complicate this discussion more than clarify it I think about Daria Pavlenko. Here is a performer who I have seen perform with 'greatness' and who I have seen perform with simple human warmth and vulnerabililty. I have seen her latch on to that 'step beyond' to become a 'superhuman' and 'great' performer. I have also seen her trip on the stage and I have seen her try so hard to succeed that my heart reaches out to her all the more. So what is 'greatness' without human 'soul'. Daria Pavlenko for one seems to moves back and forth between simple humanity and heights of 'great' acheivement. When these two elements come into balance then maybe we are seeing 'real greatness'. [typo correction made]
  21. Ethan Stiefel opened the Detroit appearances dancing a very fine Siegfried with Gillian Murphy.
  22. Just a few more quick comments. I mentioned that Giillian Murphy was the closest in style of the lead ballerinas to the dramatic, fast moving elements of the ballet, most noticeably sustained by the corps de ballet swans. Paloma Herrera on the other hand had a beautiful, more classical, more lyrical style that I thought worked equally well. Her Odile was consistant with her reputation as a fine 'technical' dancer. The fast moving drama around her beautifully graceful Odette seemed to frame her lovely dancing rather than detract from it. Michele Wiles' very lovely dancing style was also delicate, but also had a crispness to it that worked very well with the surrounding energy level. In referring to Paloma Herrera chiapuris said, "The lakeside pas de deux with Saveliev flowed as a seamless, compelling and inevitable whole, without excesses or embellishments. An astonishing performance." For those who really notice things like six o'clocks (legs straight up) I don't recall seeing one in the entire week. In many ways each entire performance seemed to reflect what chiapuris has said about Paloma Herrera. [last two sentences added later because of posting error]
  23. miliosr, Based on my recent experience in Detroit, where I bought tickets primarily to see Veronika Part, who was then unable to be there, and wound up loving everyone else that I saw, hopefully you will be just as pleased with which ever dancers you do finally get to see.
  24. Since this is probably the first "Classical' ballet that I have seen in this style it might be interesting to share a few impressions. I have focused mostly on dancers from Russia, either as lead dancers or as an entire company. I have seen a few performances before by ABT, but the ones last week were much more pronounced in style. I felt that ballet dancers from Russia may move with more fluidity and have a more delicate atmosphere. A company like the Kirov-Mariinsky is also very famous for the unity of it's group dancing. One of the first things that I sensed at last week's performances was that even if the dancers weren't totally uniform in their moves, although often they were, there was an intangible unity to their dancing. It seemed like there was a strong inner force connecting them. They appeared to 'know' that they were connected. It seemed to come more from the center of their body perhaps, rather than from their feet, their legs or their arms. It seemed more like something I that I sensed rather than saw. The corps de ballet of White Swans danced at a much higher velocity and energy level than I had ever seen before in a classical ballet, especially a Swan Lake. Even in other American 'classical' performances, ABT, ect., I have never seen this kind of energetic corps de ballet dancing before. Gillian Murphy was the Odette/Odile, who came closest to this of the lead ballerinas. I have to say that I am only minimally familiar with the Balanchine style, but quickness and energy are some of the things that I have heard that Balanchine is famous for. I have always associated delicacy, subtlety and precision with Swan Lake. The ABT performances extended these boundaries. Somehow for me it worked extremely well, although I am not quite sure why because I love most the 'delicacy' of Swan Lake and of classical ballet in general. 'Drama' was a key element now, but here it didn't somehow overwhelm the sensitivity of the dancing. I recalled almost immediately a recent quote by Alina Cojocaru saying how concerned she was at first to get her Odette/Odile just right and to later decide that there really is no one way or 'right' way to dance this part. Still I felt a subtlety to what the ABT dancers were doing, that came more from restraint. The moves might not have been as expressive, expansive or fluid as I have seen in dancers from Russia, but it was in this constraint that the subtlety seemed to exist. The expression was there, but it was being held back, and from this came a sense of compressed energy. You could maybe feel what might happen, and it was almost as tangible as actually seeing it happen. The fast velocity of the White Swans dancers, that built dramatically in what I mentioned before seemed like a wonderful Symphonic Progression, worked very well for me. As much as they might have appeared to be charging around the stage there once again was a hard to define sensitivety to it. The sense of femininity was always dominant. There was one element that I would call "Almost Russian", and that was the facial expression of the White Swans that was very commited and compelling. A very fine quality, I thought. There was also a 'characterization' at times by the entire cast that was very commited and compelling , yet different from what I would call "Russian". It too seemed to work just fine, although I am still unable to describe it very well. This wasn't a purist Swan Lake, but it certainly wasn't a radical one either. It seemed to me to be one where the obvious delicacy was replaced by a much more subtle one that for me was just as wonderful.
  25. Thank you for telling me this, carbro. If she is coching Odette/Odiles I would say that she is doing an extremely good job. chiapuris, did you see her there Friday ?
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