aurora

3 minutes ago, Helene said:

That is not necessarily true: to be revenge porn, Finlay had to have acted with specific intent "to cause economic, emotional or physical harm."

http://gothamist.com/2017/09/25/after_years_of_stalled_efforts.php

It is not clear, to me anyway, in what has been reported so far, that he acted with the intent to do so, no matter what harm he actually caused.

Ah, the articles I'd found on the law does not note the harm clause.

http://gothamist.com/2016/09/13/revenge_porn_bill.php

https://gizmodo.com/revenge-porn-is-officially-punishable-by-law-in-new-yor-1823039186

Still, I think it would be hard to argue he did it for her benefit, but you are right it does make it less clear cut.

In the case of the photos/videos taken without her knowledge, however, certainly the state law applies?

Just now, KayDenmark said:

The important difference, of course, is that photos described in the suit were, according to the suit, taken and shared against her will, which is totally unacceptable and in New York City probably a crime. She should go after Finlay and whomever else shared these images - what they did was wrong and should be prosecuted.

It is definitely a crime.

It is ALSO, and furthermore, a crime in NYC for someone to disseminate nude/sexual images, even if the subject willingly shared them with that ONE individual, or allowed them to be taken--that is the NYC revenge porn law cited earlier in the thread.

So even had she let him have or take a nude photo of her, he behaved illegally by sending it around to other people.

5 minutes ago, cobweb said:

I haven’t read the complaint, but as I understand it, Ramasar and Catazaro are accused of swapping intimate photos and expressing their sexual desires about women they know. That’s very different from filming somebody having sex without their knowledge. I do wonder, if it’s true, what was Chase thinking? Or will he contend that she did, in fact, know?

Even if the women photographed by Ramasar and Catazaro were aware they were being photographed, that doesn't mean they were consenting to have the imagery disseminated among their coworkers--That sounds like the definition of revenge porn under the NYC law cited earlier.

4 minutes ago, koshka said:

I would like to think that the suspension was pending further review of the case, and that if the allegations are borne out, that there would be much more than a suspension. 

It doesn't sound like it...

From the NYT article:

"Charles W. Scharf, the chairman of the board at City Ballet, said in a statement that the company had not condoned any of the behavior mentioned and that it “has no liability for the actions specified in the complaint and has taken the appropriate disciplinary actions for the dancers involved.”"

And later on (somewhat repetitious but):

"Mr. Scharf’s statement said that “New York City Ballet is confident that there is no basis for this lawsuit, and vehemently denies the allegations that the company has condoned, encouraged, or fostered the kind of activity that Mr. Finlay and the others named have participated in, which were off-hours activities that were not known, approved, or facilitated by NYCB.”

He said that after the company learned of the allegations from Mr. Merson in June, “we investigated them and found that the actions had violated the Company’s norms of conduct, and immediate and appropriate action was taken.”

Mr. Scharf said Mr. Merson had contacted City Ballet “to try to negotiate a payment from the company to settle the matter to avoid adverse publicity” but the company had “refused the demand.”"

4 minutes ago, Quiggin said:

Maybe "ballet master" is more a traditional European designation, therefore Balanchine and Martins would prefer it. But not really a "new world" job title.

Poetess became superseded by "woman poet," as in "she's one of our best women poets" (or novelist or painter, or "Lady Painter"). Norman Mailer is especially fond of the combination in the rousing 1979 documentary "Town Bloody Hall" where he defends his use of the modifying woman or lady as an act of chivalry.

Interesting that the writer covering this arts news item was "previously a national correspondent; a political reporter covering presidential campaigns; and a metro reporter covering the police, City Hall and Albany." 

Lady painter is certainly not a modern phrase. It is exceptionally old fashioned (Victorian era). And is often not very accurate. Rosa Bonheur was certainly female but she was no lady.

Even woman poet (etc) are not what I would consider modern usage.

If you are going to designate the gender of the artist (in whatever medium), I'd argue "Female poet" or "female artist" is more the norm.

4 hours ago, Mashinka said:

Of course, the best way of dealing with these ballets is simply not to go.  Some here see Pharaoh's Daughter as a racist statement, 99.9% of the Bolshoi's audiences won't.  The Bolshoi doesn't at present have any black female dancers to cast in the role, presumably if it had, it would.  The changeling Indian boy in Ashton's Dream was originally made up, but that's no longer necessary as there's now no lack of genuine Indian boys to play the role.  The African prince in the Wright/Ashton Sleeping Beauty was blacked up, should that production be revived there are a number of black RB dancers to choose from.   There is nothing intrinsically racist in make up being used to aid authenticity.  Racism in dance is about denying opportunities to non white dancers, a practice that is vile and discriminatory, something I knew about all too well when a black dancer friend told me as recently as the 1980's that he stood little chance of joining a classical company because of his colour.   Nearly forty years on times are changing, eventually there'll Be no need for that make up.

You are talking about "aiding authenticity" in a ballet based on a Shakespeare play about faeries in a wood, and one about a girl who falls asleep for 100 years and is woken up by a kiss. I don't see why that kind of authenticity (ethnic) is desired.

What about a black or asian Giselle? Or Aurora in sleeping beauty? Or Odette and Odile? Do they conversely require "whiteface?" for authenticity?

Or are dancers of other races now there simply to fill in when their race is called for in a role? This is what is implied by logically parsing your statement...

The ice skater Denis Tan from Kazakhstan was stabbed to death in the street, apparently by people trying to steal his car mirrors.

https://www.bbc.com/sport/winter-sports/44887051

RIP Denis

4 hours ago, dirac said:

Five dancers and their felines:

 

 

I'm totally obsessed with Cornejo's soccer jersey-wearing kitty. She's one of my favorite things on instagram!

3 hours ago, CharlieH said:

I adored Whipped Cream when I first saw it last year and even went back to see it at the Kennedy Center months later for an extra serving (starring the magnificent cast of Simkin, Lane, Hallberg, Abrera). It’s Ratmansky’s very own and original homage to Petipa and the grand Imperial tradition in ballet (and he stated so in a pre-Harlequinade interview!).

1 hour ago, canbelto said:

Imperial Russia definitely could not afford the desserts Boy indulges himself with:

 

The Grand Imperial tradition in ballet is what is referenced here by CharlieH, not the plight of peasants in Imperial Russia...

Certainly there was a great (and opulent) tradition of ballet before the revolution.

5 hours ago, Drew said:

I loved Whipped Cream when I saw it (with multiple casts) last season and I also felt that Ratmansky found a persuasive way into the music. That last feeling grew each time I saw the ballet. 

agree 100%

Today's show was going so well. Skylar was especially good--her solo was so fast it was breathtaking. 

Gabe really was a marvelous boy--but then on the final big solo he fell in his first jump and seemed badly hurt. He got right up, but clearly he knew something was wrong immediately. He kept smiling,  but basically had to mark and pose his way through the solo.

They did the tosses, but didn't actually toss him in the air--just lifted him up and down.

I feel so terribly for him and hope he is ok soon.

9 minutes ago, nanushka said:

Yes I think I recall that too. I don’t remember it sounding quite so snarky/personal before, though. Seemed like it was more in aesthetic terms, more critically objective. I may be wrong though.

That is my impression as well--I just meant this seemed like progression (downward) in Macaulay's opinion and not totally out of the blue, despite how enamored he certainly was with Hallberg at one point.

5 minutes ago, abatt said:

Yes, I was also struck by Macaulay's remarks about Hallberg, especially since Macaulay has been such a Hallberg cheerleader over the years. 

I feel like he started souring on him a while ago, just after he went to the Bolshoi--talked about him developing in the wrong ways etc.

I'd try and find some direct quotes but I can't bear to read that many of Macaulay's reviews.

1 hour ago, nanushka said:

Closer, yes, though I much prefer Serrano's relevé to pointe with every hop.

I like both variants to be honest. Aesthetically I see them as roughly equal, but I see the ABT version as hypnotic, and the culmination of the character.

With Siegfried in front of her she's luring him towards her and then, with the relevee, indicating he should stop....It really is the last part of the seduction of that character.

11 minutes ago, nanushka said:

Thanks so much for reviving this thread, Cristian, as I'd missed it before. I just watched the Alonso video you posted back in 2012, and what she does with her upper body while hopping back on pointe (which you describe above) is stunning, gorgeous, and super impressive (even if, admittedly, a bit stiff looking as well — but c'mon, can't blame her)! Wow.

Also, what Lupe Serrano does in the video you just posted may not be quite as challenging as the continuous hops on pointe, but I quite like the effect.

what Lupe Serrano does is, as you indicate, distinctly not the same.

In fact it is much what ABT does currently, though it is done at a slightly different place in the music.

I wonder if the change to doing them on pointe was an alteration to that sequence by Alicia Alonso to showcase her amazing strength and technique?

I admit I had a hard time tearing myself away from watching D'Ambroise pirouette on a foot with no relevee... 😧

4 hours ago, Mariangela said:

Thanks so much! I also think that, in fact Svetlana Zakharova is one of my favorites in Giselle. But The Sleeping Beauty will be staged after 12 years at La Scala in the version of Nureyev, and so I wanted to see how she was in this ballet and how was the ballet in itself in this version. I've seen her only in the version of Grigorovich (on Youtube) and she had a fantastic technique, but yes, I prefer her in more lyrical roles, as Odette, Nikiya or Giselle. The guest star for The Sleeping Beauty is Polina Semionova, but I don't like her so much. What do you think of her? 

It has been some years since I saw Polina (at ABT in Swan Lake) but she is too cool for me. Lovely limbs and positions but no emotion. Of course that is something that can improve over time.

35 minutes ago, Mazurka said:

I think I finally undestand McKenzie’s ukase banning filming - if you could post on youtube brilliant performances by people held back from promotions there would be pressure to change the artistic direction at ABT, while sales would fall for performers  not based on merit. 

How does this policy affect “fresh blood”?  Is it NYC that has such pull that people disregard the difficulty or does hope spring eternal?

No company allows filming of performances by audience members, although I guess in Russia it is tacitly allowed.

2 hours ago, abatt said:

I don't agree with the premise that the resignation implies, even vaguely,  that Gomes was guilty of wrongdoing.  It is equally as likely that he became so angry and his pride was so hurt by the way ABT dealt with him that he quit in disgust and as a protest of his treatment.  Also, while many Americans live by the motto of sue, sue, sue, that is not necessarily true of someone who  grew up in another culture.  Instead of a protracted legal battle, he decided to walk away and move on to other things for the few remaining years he had left to be a ballet dancer. 

I don't agree with the premise that he had anything to protest in regards to his treatment.

I love Gomes. But if an incident was made known to the company he worked for,  it would have been negligent not to investigate. He was clearly a huge favorite of audiences and of dancers/staff alike. I'm pretty sure they too would have rather this never happened. 

4 minutes ago, ABT Fan said:

Katsnelson, who hasn't had any demi or soloist roles that I'm aware of, was a wonderful and technically pristine Amour. She has gorgeous feet and legs and high split grand jetes. Very cute in this role too. Glad to see she was plucked from the "back row" for this opportunity. Shayer replaced Klein as the lead gypsy and he was again a bravado high-flying character. Agoudine replaced Hammoudi as Gamache but he was not nearly as funny as Ribagorda in the matinee. Forster as Lorenzo was a bit flat, but it's hard to compete with Zhurbin's portrayal. Lyle and Ribagorda were terrific Torreadors. Bell and Shayer showed off some impressive jumps, but they had no Spanish flair.

She did one of the three shades earlier this season. So she's actually had a couple of opportunities this season (and done well both times I saw her)!

1 hour ago, fondoffouettes said:

I’m LOVING Forster as Espada. He may be my favorite in the role since Gomes. 

I agree that Lane and Cornejo were very good in Act I with the exception of one very wonky supported pirouette. I thought Lane was even better in the Vision Scene. Her variation was even more beautiful than in those Instagram videos and it got the biggest ovation of the performance so far. Trenary is a very glamorous QotD, with great jetes. She got through the Italian fouettés just fine, though perhaps they looked less fluid than those of other dancers (but I guess there is no one at ABT who knocks them out of the park these days).

Williams did on tues, I'd say Glad to hear the review! I was sorry to have not seen Forster as Espada.

I don't think all soloists are on a principal trajectory. Certainly neither Paris nor Zhurbin is. Nor is Scott or Hoven, I don't think. Neither was Salstein. Some of the others may have lost momentum but there was generally a possibility for them.

As they are older they won't be filling that rank for terribly long. I'm all for rewarding dancers doing soloist parts with soloist rank, if it is possible.

51 minutes ago, spinning2night said:

Out of curiosity, in the company’s history, what’s the fastest ABT has promoted a dancer from the corps? Or has anyone ever leapfrogged from corps to principal?

 

According to wikipedia Paloma Herrera joined in 91, was promoted to soloist in 93 and principal in 95. Not sure that is the fastest but it is the fastest I remember

1 hour ago, California said:

It's not unusual to see people skip the Plisetskaya jump. The Cubans didn't do it last month (if they tried, it wasn't successful). The DVD of Cynthia Gregory with Baryshnikov from long ago doesn't include it.

Funny to hear about Osipova using the alternate version from that 1967 clip I posted yesterday. I wonder if that's standard for the Russians when they can't do the fouettes for whatever reason. 

Cynthia Harvey.

I love her dream variation--they don't do the penchees in the current production

1 hour ago, its the mom said:

 I will give Trenary a pass, as it was her first Dryad Queen, and from what I understand, this show has had very little rehearsal..

It wasn't actually! As Devon Teuscher didn't do the weds. matinee, they announced Mercedes/Queen of the Dryads would be split between  Stella and Cassie.

In the matinee she was good, although the last italian fouette seemed a bit wonky--almost as if she thought she had reached the end and realized she had one more to go (it wasn't a bad mistake just looked a bit effortful).

The matinee, by the way, was amazing!!

To anyone concerned Gillian's technique is declining, or that she is plagued by injuries now (after the concerning spell of a year or so ago)--she was magnificent. I thought Shevchenko's fouettes on Tues were nearly untoppable, well Murphy's did. Multiples where she alternated the  fan above head with fanning her chest, then some singles which by the end of, she started calmly fanning herself again. All on the music. The rest of the performance was great as well!

She's doing it again Saturday night....

21 minutes ago, ABT Fan said:

Lendorf has posted that he just had knee surgery. He’s been out for months so I’m wondering if he had tried other means of recovery.

 

The outpouring of love from his ABT colleagues is quite touching! I wish him a speedy recovery!