aurora

I just phoned Solomon Tencer (upon reading your post) to find out for sure. Nadia answered and said that Osipova and Vasiliev are definitely NOT coming. She also said that Shoko Nakamura is one to watch. She is dancing with Ronald Savkovic and is absolutely amazing. Daniil is also looking very good! Marga, first of all, thanks so much for looking into this and getting out the correct info too all of us! I'm still looking forward to it, though rather disappointed. You might (since you seem to know them) suggest to them that it is nice to keep these things updated as not all of us have inside connections. I know with so many performers at a gala the idea is that you'll get a good show no matter what, but for audiences who care about casting it really would be nice to have accurate information available (obviously there are often last minute emergency changes which are unavoidable, but this does not seem to be the case here). And it is hardly onerous to update a webpage with the correct casting. Sorry if that sounds peevish, but if they are able to put up youtube clips advertising the event (also I believe with the incorrect casting, at least one of them), you'd think they could put up the current casting. And I want a chance to see Osipova besides on youtube!

any new information on this? Their own website still seems to have Osipova and Vasiliev listed... http://www.starsofthe21stcentury.com/stars...php?type=events

I stopped subscribing and went with the single ticket model totally. It works for me. That way I see more of the casting before I decide and can figure out prices as I go. I've never been unable to get a ticket for a desired performance and casting is very important to me. we do the subscription, but switch out a lot of the tickets based on casting--that way we can get the tickets before they go on general sale. I end up picking up some additional tickets as well usually.

there is also a review attached, which is very interesting and provides a lot of interesting information about the nutcracker. However, I wish he had opted to write an article about the history of the nutcracker and a review of this performance, as opposed to the way this was structured, which gave very short shrift to the performance in question. I know that there are limits on space in newspaper reviews, but I'd have preferred to hear more about this performance then, for example, that he plans to go see Katie Morgan in Marzipan after the holidays. That is very interesting and certainly gives a sense of his feelings about her, but I'm not sure it was terribly germane here, especially when he did not even list all the main performers by name, never mind review them. the video was great fun though, I wish there was more!

damn--I was really looking forward to seeing Osipova, especially as the bolshoi isn't slated to come to NY in the foreseeable future

In theory I agree with you, dancers are not trained as writers, and generally have gotten pretty rudimentary academic schooling. So I can't argue with the statement that MOST dancers aren't very good writers. But one of the things I find so nice about the winger and other dance blogs (most notably Matt Murphy's) is that you have a group of dancers who are trying to explore themselves and their profession in writing. True not all of them are terribly good at it (and let's face it, blogs are generally not the most well-written of things, dance blogs or no), but some of these blogs are surprisingly well-written and introspective. I've been especially impressed with Matt's writing--both for the Winger (of late) and for his own blog Ranting Details, which I've been reading just about since it started I think (since MET season 2006). He is clearly someone who has outside interests (art, music, photography, reading, movies, and of course musicals) and is interested in broadening his horizons and expanding his talents in various media. He's recently been writing magazine articles as well. I'm a graduate student, a TA, and sometime professor, and have been grading undergraduate work since 2002. I'm a very harsh critic and often bemoan the quality of writing I get from my students--undergraduates at both public and private colleges. While the subject matter is quite different, the quality of Matt's writing is considerably higher than almost anything I receive. Moreover, he really cares about how he writes, and constantly strives to improve his wording and say more accurately and precisely what he means. I suppose I should disclose that I'm friends with Matt, but I wouldn't say this if it wasn't true. There have been plenty of kids in my classes that I've liked very much, but who are terrible writers, and their grades and comments from me reflect that. I don't disagree that classes once a week aren't going to produce first rate intellects, but judging from the students I deal with--full time isn't doing it for the majority of students either. A first rate writer requires natural intelligence, a striving to improve oneself, and training, though I'm not sure that this training needs to come from school, being an avid reader may work just as well.

As a performer (though not a ballet dancer) I've faced the same issue. I was doing a fan dance as part of the entertainment for a big clubscene birthday party. Large crowd. Big event. The DJ decided to cue the next cd while I was on, and ejected, not the cd from the other cd player, but my cd, mid-act. I paused for a second, and then kept on going. It was actually one of my favorite performances, the audience began to sing along and clapped to keep rhythm. It was pretty fantastic actually. sorry if this is OT--I know it isn't ballet, but it was a similar (if much more small scale) situation

But.....but.....but....you don't understand..... I have a wide stance. ha! I always suspected it has to do with some sort of testicular distress--like elephantitis. I would like to ask one of these wide-sitters, but am afraid it might lead to bodily harm, so I restrain myself. I am here to tell you that one can ask these 3 seaters to shove their legs together and make room for others (and I always mean me) to sit, and live to tell the story heheh. Well I do ask people to move over so I can sit down. I just don't indulge myself in audible speculation as to why they think they need to sit like that! Sorry about going so ! clearly this is a subject that many of us feel rather strongly about

But.....but.....but....you don't understand..... I have a wide stance. ha! I always suspected it has to do with some sort of testicular distress--like elephantitis. I would like to ask one of these wide-sitters, but am afraid it might lead to bodily harm, so I restrain myself.

that sounds awful. For the dancers as well as the audience--so disjointed! How can anyone get into the character/feel of the piece. It is a neat concept, and I can't wait to hear some reviews of how it actually works, but it doesn't SOUND like it would allow any of the dancers to show themselves at their best.

Such a tragedy for all involved She will certainly be greatly missed. Has anyone seen any updates on the other dancers involved?

I can't imagine trying to count to 36 while my head is spinning around like that! Holy smokes. What a trick. She would surely pick up a lot of small change by doing that in the subway here. Equally or perhaps even more valuable is the youtube footage of Aria Alekzander doing a half dozen pirouttes while she pulls off her yellow dress over her head. No kidding. Search her name with spin cycle, and it comes up. She would surely pick up the gold medal in any competitive pirouette olympics, but only if there was a little dog racing around her en dedans. another who whips off immense numbers of turns with consistent ease is Adeline Pastor. From what I can tell she seems to be a bit of a one trick pony, but its a pretty impressive trick! I found her when looking up Sarabia video's after reading about him here. there is one video on youtube devoted to her pirouetting skills--it has HORRIBLE music, but lots of pirouettes and fouettes.

Sadly the same people crop up with similar comments on all the clips of Osipova, always making disparaging remarks that in no way relate to the quality of her dancing. I think it's spite rather than anything else, I've always felt there is a lunatic fringe among ballet goers and the you tube regulars seem to prove that. I concur. The funny thing is that in *theory* those on the Osipova thread are ones with which I would agree...if they were directed at someone else! They bemoan (as we often do here) the trend towards nothing more than athleticism, legs up to ears, etc. While Osipova *is* clearly athletic, she does not seem to me to be someone who should be derided as a sort of gymnastic freak (like a certain person in the Kirov--who generally ISN'T criticized for such things on the youtube comments). I think its best to not even read them...but its so tempting!! Occasionally I even contribute ;)

So I watched the clips. I have to say, from what I can see on the tiny little screen, I'm pleasantly surprised. Before watching I didn't think Osipova particularly suited to this role. I am not of the opinion that she is merely athletic. One of the things I love about her is her obvious love of dancing, which for me at least, is shown in everything she does. I also think that although she has amazing extensions, she uses them judiciously, she's not of the ilk (*cough* somova *cough*) who is determined to get her leg at her ear or in 180 degrees at all times simply because she can. I did however think she has an obvious STRENGTH to her dancing, and to a certain degree, a lack of softness, which would make her not an ideal Giselle. I can't say I now see her as the ideal Giselle, but from the bits I saw, I'd say she appeared quite a successful one. the portion (end) of the madscene was quite chilling. Her strength was evident here and it was not (for me) a negative aspect at all. She seemed truly mad (in perhaps both senses of the word) not merely crushed. The running section had an impact greater than many I've seen simply because she seemed so lost and possessed. When Hilarion shakes her and directs her back to her mother, she fought with him, he had to drag her backwards--it was an unusually VIOLENT mad scene. And I thought it worked wonderfully (but I want to see the whole thing). Act II--which seemed the most unlikely for her (although she does have that gorgeous light jump!) also seemed a triumph for her artistically. Her extensions were moderate--appropriate to the romantic style they rarely exceeded 90 degrees. There were none (in the clips) of her rather trademark glances or gestures of triumph (this isn't meant as a criticism, they work in Don Q, but clearly would NOT be right for a Willi). Her jumps were extraordinarily light and high. Her arms seemed a bit excessive at times, but otherwise she seemed quite at home in the romantic idiom. with the short clips its hard to get a true sense of the characterization as a whole, but I'd love the chance to see more! edited to add--I really really wish they'd included the wonderful entrance of Giselle in act II--I would imagine that would be breathtaking.

thanks so much! those weren't up yet last I checked!

not a report, but there is a 36 second clip on youtube. It is the hops on pointe followed by the pique turns. The comments are (as typical on youtube) largely quite hostile and seem excessively final considering the viewer has only seen a few seconds of an entire ballet. I'm not sure I can make a proclamation on someone's Giselle based on that amt of information. It is still neat to see

I always thought those monkeys were pretty scary, too! after a run in with an ice cream-snatching, roller-skating chimpanzee at age 4 (and no, thats so not a joke) I found the monkeys absolutely terrifying...i think I left the room for that portion of the film several years running.

... i jut can't stand the two fistings up gesture...Can something be done about it...? I don't think so at this point in time...it is pretty standard by this point. In relation to a different mime sequence in SL-- In ABT's current version (don't kill me! It is what I see most often!), in the truncated final act, Odette mimes "death" over and over again.... Is this a MacKenzie interpolation? Or is this somewhat standard? I'm also guessing at least 3/4s of the audience have no idea what the gesture means... I do think knowing it adds somewhat to the poignancy of the scene.

Sigh ... You're probably right. I suspect that despite my wildest fantasies, most guys would probably look a bit too much like the goons in Prodigal Son. But closely cropped might work just fine ... I dunno...with a bit of powder I think the shining would be minimal better than a horridly receding hairline with longish hair *shudder*

works now! thanks so much. i've been enjoying the photos

I'm also unable to open it (or any attachments from BT apparently, as i just posted on another thread) I am getting a msg that I dont have permission to use this feature and that I must be logged in (I am) and a member or senior member (I am). I'm using Firefox 2.0.0.9 (for Mac), but given the error message I'm receiving it seems unlikely to be a browser issue.

No one has commented on this part since Estelle added it, so I thought I would. Seriously. Besides the obvious offense of the concept of a woman "unable to live without a husband," I wonder how their actual husbands feel about that. Can one imagine reading of a male dancer that "dance is like a wife (or husband), whom they cannot live without for long"? I don't think so. I certainly see some of the points people have brought up (about their being unusual difficulties, even now, with being both mother and dancer), but there are a lot of concepts presented in the article which make me feel that rather than the positive spin on modern experience which I believe it means to convey (look, ballerinas can now have their cake and eat it too!), the view of womanhood it presents is a decided throwback to an era I thought we'd moved a bit further beyond.

there are worse things they could kick around. Believe me, my cats have found some. what I'll never understand is why balled up tinfoil is so infinitely more entertaining to them then cat toys.

I was perhaps more disturbed by the following quote Granted those of us who don't have children can't exactly argue with that--after all, since I don't have them, how can I know? I know I know, when I have kids I'll know just what she means. What I do know is that I have intensely strong relationships with, and an immense amount of love for my parents, my husband, and yes, my cats (ok, I can't really say we have a strong relationship, I feed them, they love me. But I love them enough to have spent about 4k on my boy this summer, and I'm a grad student--read that as cashpoor). Maybe I should suggest she care for a beloved father through a long, physically debilitating disease--taking care of all of his bodily needs and watching him slowly die. Then she can talk to me about compassion and a "deeper and richer" understanding of love. Maybe she DID need to become a mother to understand love, and have compassion for her fellow humans, but many of us don't. I'm sure she was just being defensive about people criticizing her choice, but when being interviewed for print, she might take care to sound a bit more, well, compassionate, towards other human beings.

Yes. Drawing on memories I haven't used for a long time I was taught (at the Joffrey) that they should be in first position for your standard pirouette. you plie in fourth, with one arm curved in front and the other out in second (term? fourth en avant?), then plie on both legs and as you reach passe the arms come together. When i went to SAB, i learned to cross your arms tight to your chest in turns. The preparation is also different...WHile you start in 4th the back leg remains straight and the arms, which are curved in most techniques, are stretched out, as if you are in arabesque. Then brought in tight as you reach passe. Sorry if this is unclear.