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Everything posted by Patricia

  1. According to Antonia Fraser in her entertaining THE WIVES OF HENRY VIII, Henry didn't become a slobbo until after his marriage to Anne Bolyen. Portraits of Henry as a young prince and king indicate he was a handsome fellow. He was full porker-size by the time he got to wife #5, Katherine Howard. How this works as a ballet will be interesting. Now let's be fair: if NYCB has Barbie, ABT should have Angelina Ballerina, right ?
  2. Disgusting. One would expect better from "professionals."
  3. Mafouz's CAIRO TRILOGY. A beautifully-written family saga with universal themes. That's a loaded sentence but a true one. I've never been to Cairo, but after reading the Trilogy, plus other things by Mafouz, I can see and taste it. Don't read on an empty stomach!
  4. It wasn't sold out last night. You should be fine. Have a good time !
  5. Courtesy of ARTSJOURNAL.com, I read Robert Gottleib's Eifman review. He was so angry and offended. He's been going to NYCB since forever, is well-informed about the main characters (on and off-stage), and took this ballet as an ego-tripping insult. I didn't see the ballet but I gather from what I've read on the message boards that others felt the same way - sans having their own weekly dance columns. As for the cell-phone "insult": The only time (once was enough) I saw Eifman's company, you bet there were cellphone converasations going on in Russian. When I was a NY Philharmonic subscrib
  6. Sofiane Sylve. He'd be delierious. Jennifer Ringer too!
  7. I agree with the list, but would elminate LIEBESLIEDER und :grinning: DAVIDSBUNDLER for EPISODES (including the penultimate solo that ties the whole thing together!!!) and SYMPHONY IN 3 MOVEMENTS. I'm not including my personal favorite: ORPHEUS. I love it because I love Ovid, Balanchine, Stravinsky, and Noguchi. All of them together is overwhelming. I loved Peter Martins in the title role and now there's Ask (does he count as an extended family member?) as the Dark Angel. This ballet depends so much on casting and rehearsal time. It looked beautiful last Thursday night - but, as alway
  8. I saw SHAMBARDS Saturday night. I admit being biased ahread of time because I like both Wheeldon's choreography and MacMillan's music. Never mind Boris Eifman: James MacMillan is the big coup for a festive season. Would it be reading too much into things by suggesting that SHAMBARDS is a radical deconstruction of the nicities of both classical ballet and traditional Scottish tunes? Was this ballet a ritual ending with a sacrafice? The lighting, choreography, music, and forest backdrop suggested so. SHAMBARDS reminded me of the disturbing world depicted in "new" Scottish literature and fi
  9. I'd go just about anywhere that was dancing the Ashton ROMEO & JULIET. I'd also see a Tudor bill of ECHOING OF TRUMPETS, CONTINUO, DARK ELEGIES, and LEAVES ARE FADING. Looking ahead, in about a year's time I'll hope having a ticket & getting ready to see the Balanchine DON QUIXOTE @ the Kennedy Center. :rolleyes: Lately, the world's been coming to me with the upcoming Ashton celebration @ the Met and Tom Stoppard's JUMPERS transferring from the West End to Broadway.
  10. Carlo Merlo, Lauren Hauser, Emily Coates, Jeffrey Edwards, Riolama Lorenzo, and that Ethan guy grinning: My first Sugarplum fairy was Murial Aasen. I remember her being featured in PEOPLE (yes, the magazine once covered culture) but she vanished not long after the Ravel festival. Does anyone know if she danced elsewhere?
  11. I was disappointed with last night's premiere - not particuarly funny or cute...and he is! :yes: The only thing captured to perfection is Alex/Misha's Russian "insiders only" retinue. The truth is that I've never been a fan of the show. For the most part, the ladies look cheap (Why is Cynthia Nixon never styled when she's so pretty? Why is Sarah-Jessica dressed like a rag doll?) and act vapid when they're supposed to be "smart" and "sophisiticated." I'm at a loss to understand the fascination with those ugly, overpriced, turnout-destroying shoes. I know it's just a television show
  12. The best part in the balle :grinning: t
  13. The dancing highlight 2003 was the Martha Graham Dance Company at the Joyce Theatre. I had my first look at STEPS IN THE STREET, which was incredible...so different from her "Greek" dance-dramas. Very exciting stuff. I hope the whole piece can be revived instead of the tantalizing fragment that left the audience cheering for more. Two dancers, one familiar and one new, gave memorable performances. Megan Fairchild gracefully glided her way through TARANTELLA and PIANO PIECES. Amanda McKerrow gave what - I think - was the performance of her career as Hagar. She was "something." I'd like
  14. I never warmed up to DIVERTIMENTO #15...until I saw Suzanne Farrell's company dance it at the Kennedy Center. Even with Merrill Ashley frequently cast, DIVERTIMENTO always looked sloppy @ NYCB; the arms in the finale looked like the hula. Besides, the costumes are about the ugliest Karinska ever made. Perhaps because Suzanne's company was better rehearsed - or for the reason she staged it :rolleyes: - the ballet had coherence. I could also appreciate how fiendishly difficult it is. Another one I didn't like was LA VALSE. I know we're supposed to be polite, etc., but this had EVERYTHI
  15. On Friday I saw Amanda McKerrow's Hagar and she was brilliant. She's always been at her best in the Tudor repertory and never better than in PILLAR. She conveyed character by simply walking across the stage, lost in her unhappiness as the other couples danced around her. It was a complete characterization. The last time I saw PILLAR was w/Sallie Wilson. Honestly, back then I had NO idea what this ballet was about. I do remember Ms. Wilson and fellow Teaneck, NJ native Ruth Mayer as her gorgeous Older Sister. I don't think anyone has mentioned that Monique Menieur danced the Older Sis
  16. Last night, at about 9:45 pm, I caught the last 15 minutes of a what (I think) was a complete film version of GAITE PARISIANNE. The only dancer I recognized was Massine, who was the Peruvian. The credits must have been in front of whatever this was, and TCM's host didn't come on afterwards to say more. Did anyone else see it or know anything else about it? Thanks
  17. OOOOOOOOOOOOH! What a photo Thanks for putting it in! CAUGHT is a perfect solo for any of the ABT men, or the dynamic ladies like Tuttle, Brown, or Wiles. Do you think it might make its way into ABT's repertory?
  18. My favorite part of PARADE is the horse, who has the silliest Picasso grin on his (?) face. It looks like he's laughing at the audience. Satie's score is important, etc., but music would have ruined the moment. According to the Gold-Fitzdale biography of Misia Sert, Cocteau and Satie intended PARADE as a side-swipe Ballets Russe hangers-on, whom they despised. That may be true, but Massine gave it something more than subtext. PARADE is quirky, but great, in its own unique way.
  19. She was pretty unforgettable in VIENNA WALTZES'S TALES FROM THE VIENNA WOODS, STRAVINSKY VIOLIN CONCERTO, Eurydice in ORPHEUS, and, most of all, as leader of the MacDonalds in the "drumming" section of UNION JACK (I remember orchestra members lining up along the pit to watch her do this in '76). Ms. Von Aroldingen was fearless.
  20. Patricia


    That German program, shown on public television in 1973 ( ), was my introduction to the NYCB!
  21. I saw WINTEREISSE twice: first in December 2002 as part of Lincoln Center's Great Performances, and last month at Mostly Mozart. Both performances were at the John Jay College concert hall, which is down the street from Lincoln Center. I don't think there are many opera singers who'd be up to singing full voice and performing "choeorgraphic movement" at the same time. I've gushed in a previous "opera" thread that Mr. Keenlyside looks like a movie star, but, no exaggeration, he moves like a trained dancer. At a post-performance audience discussion with Ms. Brown following the July performa
  22. On Saturday night I went to the company's final performance at the Joyce Theatre. They were a replacement for Ballet Tech, who usually close the Joyce summer season. (Perhaps they will again in the future...) This was also cheaper than seeing MOVIN' OUT. The program was of 3 newer pieces - the duet from KNOWN BY HEART, WESTERLY ROUND, and SURFER AT THE RIVER STYX. Also danced was the 1970 FUGUE, which I saw XX years ago ! THE FUGUE is textbook Tharp; her repetitive, inverted style is all there. The KNOWN BY HEART duet opened the program. I never saw it before. It probably would l
  23. This is from the Kennedy Center newsletter: http://www.kennedy-center.org/education/fa...rrell/home.html
  24. Re: Nijinsky's choreography: I know Joffrey/Chicago reconstructed JEUX, but does anyone know what happened to plans to piece back together TIL EULENSPIEGEL? Was it lack of funding, material, or interest? Just like he did with LES NOCES (which I like as much as the original), Jerome Robbins also did a TIL ballet. I think this one is lost forever. The production photo hanging in the NYS Theatre lobby makes me wish magic could bring it back
  25. I agree with Alexandra that Nijinska was the more talented choreographer. NOCES is brilliant! Ms. Brown & the Kirov are a bit out of step. The SACRE reconstruction was first done with the Joffrey when it was still Joffrey NY/LA. Robert Joffrey died shortly before the NY season when it was first presented, which made it very poignant. Is it because the Kirov performs the reconstruction over a decade later that this is finally taking worth notice of? Talk about "celebrity ambulance chasing!" Even if SACRE isn't an exact replica, I valued the opportunity of having at least an idea of w
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