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About Haglund's

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    Bronze Circle

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  1. Radetsky's departure is being reported in the LA Times online edition. Undoubtedly, we will also soon lose Abrera, as we lost Erica Cornejo when Molina was pushed aside. Best of luck to Sascha. Hope to see him return some day.
  2. The 2008 Princess Grace Foundation Awards were announced today. I found them on MarketWatch News (?!?) but they are also listed on the foundation's website. Congratulations to Blaine, Lucien and to all of the recipients. DANCE AND CHOREOGRAPHY Thang Dao, Montclair, CA Choreography Fellowship, Ballet Austin Blaine Hoven, Mobile, AL Chris Hellman Dance Award Ballet Fellowship, American Ballet Theatre Jermel Johnson, Baltimore, MD Ballet Fellowship, Pennsylvania Ballet Alexander Peters, State College, PA Ballet Scholarship, School of American Ballet
  3. I’m just grateful that the collective artistic direction of the Royal Danish Ballet, Paris Opera Ballet, London Festival Ballet-English National Ballet, Kirov, ABT and the other companies who take on the challenge of producing Etudes don’t share Macaulay’s views. There is no doubt that he employs vitriolic bullying to try to drive audiences away from the ballet and companies that perform it. He wants desperately to be an important voice in ballet, but he’s just a loud one. As for prefering critics who hand out artificial flowers all around, let's not forget the decades that Anna Kisselgoff
  4. But you have to look at who the "pros" are and be careful not to lump a Macaulay in with someone like Clive Barnes. There are people who get paid to write and then there are the "pros". Macaulay is the former, and Barnes is the latter. Macaulay subscribes to the Judith Miller/Jayson Blair scripture that you write whatever you need to write in order to get attention. Insight and accuracy and level mind have nothing to do with the work at hand. Macaulay went to and reviewed very few of the ABT performances this year and even managed to review one he may not have attended. On the other hand
  5. Just back from the City Center Box Office. I didn’t buy anything because I need some time to recover from the sticker shock. The brochure is a nice one with quite a lot devoted to Antony Tudor. It promises special guest appearances on October 31 for the official celebratory evening. Pictures include Tudor with Lynn Seymour and Gelsey, and a picture of Pillar of Fire with Carlos Molina just to remind us of Management’s past stupid decisions that cost the company two beloved soloists. If anybody doubts whether ABT is inclined to repeat its stupid mistakes of the past, just wait. What’
  6. Given the fact that he reviewed so few performances, you wonder how he could consider himself qualified to do a wrap up. I recall that he wrote a somewhat kindly review of the opening night of Giselle but I have some doubts as to whether he even attended the performance. He certainly was not sitting in the NYT's assigned seat that night. He writes like he wants out of his job or else into an employee assistance program.
  7. In a revealing piece in the Globe & Mail about Kudelka's breakup with the National Ballet of Canada, it mentions that he will be setting either a new or extant work on ABT in the new year.
  8. I combed through all of my brochures today during my breaks while writing an angry letter regarding another dancer's departure, but could find no reference to anybody's last Giselle. It wouldn't make a whole lot of sense to plan to bring up a bunch of new players in this production (Cornejo, Hallberg, Abrera), tour it all over the United States, and then not utilize it in the 2009 season. My guess is that we will see it next spring, but that's more of a hope- and faith-based speculation than anything else. Oh, I am so angry. I cannot wait for us to be able to open a thread for our anger.
  9. Two interesting things happened tonight at the final Giselle: At the beginning of Act II when Hilarion was roping the cross together to plant it at Giselle's grave, they changed the lighting to give Hilarion (tonight it was Radetsky) a very bright spot for his whole scene. I know there were complaints about the lighting being too dark, but this seemed a bit overboard. Maybe they could shoot for something in between. The second interesting thing that happened was during the 3rd or so full company bow, Stiefel walked clear across the stage to take Radetsky's left arm and raise it into the ai
  10. Count me among the most appreciative of Dvorovenko's Giselle today at the matinee. A very strong, nuanced performance from a complete artist who obviously has thought out the details. Dvorovenko's Act I Giselle was sparkling and full of the joy of life and a new love. Her mad scene was excellent, enhanced by teary eyes and a quivering lip. The overall dancing of Act I was superb with soaring grand jetes, fast hopping ronde de jambe, chaines that were so fast that Giselle's hands turned red. The Act II awakening spin was supersonic with the final rotations just off balance enough to eli
  11. I nearly missed that NYTimes slide show attached to the review of Nina's Giselle. It is one of the best collections of dance photography that the NY Times has managed to put together. The photographer is former ABT corps member Erin Baiano.
  12. The City Center schedule is up on the ABT website calendar. It includes an addition of a new work by Lauri Stallings on those nights that include Baker's Dozen. They term it a new work, so I guess we can assume it's not going to be a ballet. Her latest work for the Atlanta Ballet was to rapper Boi something or other music. Lord, please don't test me with something like that.
  13. I've objected to Sarah's pasted on smile and ceiling staring in the past, but in the performances at both the Wed matinee and evening, I thought the smile worked wonderfully. She danced the Peasant pas like she was Giselle, and it made many of us think of her as such. She seems very intent on differentiating herself in her solo work from others who have come before her and is trying new things. Some things work; others don't. I think she's curbed the ceiling glances significantly. I thought her overall Peasant pas had the perfect combination of sparkle and charm. The men in the Peasant
  14. I totally forgot to mention how exquisite Maria was as Moyna. I was blown away by her ethereal quality. She truly floated from one place to the next. What a beautiful Act II Giselle she will be someday. I also thought Melissa Thomas was perfect as Bathilda and had just the right amount of "B" in her.
  15. What a spectacular evening! Given the difference between what we saw at Wednesday's matinee and last night, I cannot even imagine what a year of touring Giselle is going to do to Herman's Albrecht. One of the memorable aspects of last night was at curtain when Herman seemed almost overwhelmed with gratitude of being able to finally dance this role. Xiomara seemed pretty thrilled to be able to share that with him. I loved Reyes' portrayal last night. Her variations in Act II were at times danced by a spirit unhinged. Wildly fast entrechat quatres that barely left the floor. I so love s
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