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Roberto Dini

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Everything posted by Roberto Dini

  1. I don't follow. How does Tudor cheat by using Pachelbel's Canon? Because the Canon is so familiar?
  2. I haven't been able to attend any of these performances, but reading the criticism here and criticism in other forums about theater and opera, it's a wonder that anyone in the city performs at all. Regardless of what any of us think, there are no perfect performances. Even if we think we've seen a perfect performance, I'd wager that if you asked the performer, he would not say that he gave a perfect performance. On another note: While I understand the incredible strength and stamina required of dancers, the image of an ox dancing made me laugh.
  3. Well, I suppose you'd be keeping with the theme "of women...whose passions of love result in tragedy and death."
  4. Wow! That's incredible. I especially like the pirouettes at 2:23.
  5. Yes, Gottlieb loved her in Don Quixote: But Gillian Murphy and Ethan Stiefel ignited the whole ballet—they just nailed it. Murphy’s acting gets better and better, and her technique and phrasing are so strong that she can play with the music (Minkus’ delightful oom-pah-pah score) in a way that hides the lack of variety of the actual steps Kitri is given. And Basilio is the perfect naughty-boy vehicle for that devil Stiefel.
  6. I think "Burger King" production is no longer an apt description because they have replaced the Burger King costume.
  7. Here are my two suggestions: Investigation of a Citizen Above Suspicion (Indagine su un Cittadino Al Di Sopra Di Ogni Sospetto) (1970) R A police inspector (Gian Maria Volonté) receives a mission to remove local protesters but instead brutally murders his married mistress (Florinda Bolkan). When the homicide team descends on the crime scene, the murderer himself is appointed to lead the investigation, which launches a twisted tale of corruption at every turn. C.R.A.Z.Y. (2005) NR There are five boys in the Beaulieu family -- Christian, Raymond, Antoine, Zachary and Yvan. But Zac (played by Emile Vallee and Marc-Andre Grondin) is the only one who's gay. That's why growing up in Montreal alongside his heterosexual brothers and his strict, emotionally distant father (Michel Cote) proves especially challenging for the blossoming outsider, who finds solace in the music of Pink Floyd, the Rolling Stones and David Bowie.
  8. This idea, while not an alternate ending to a ballet, was inspired by Julio Bocca's final performance of Giselle, where he left his shoes by Giselle's grave. After describing that incredibly moving moment to a friend, I decided that I'd love to quit my job that way. I wouldn't say anything to anyone or even give notice, but one day, I would just take off my shoes and leave them by my desk and walk out. I realize that Julio's shoes were tools of his trade and leaving his shoes was much more symbolic, but I just love the idea of people saying, "He left his shoes by his desk and walked out the door. We haven't seen him since." It's such an inappropriate and nonsensical way to leave an office job (no one would get the reference unless they read it here), which is precisely why I love it.
  9. Does anyone have an idea when they'll announce the casting for these performances?
  10. Thanks for the review. I would have liked to see it.
  11. I've never noticed tattoos on ballet dancers, but that's probably more a reflection of where I'm sitting/the seats I can afford. lol /*sob* / I don't mind tattoos per se, but I have an aversion to them at formal occasions. I just don't think tattoos and evening gowns mix. They cheapen the look. On the other hand, a tuxedo covers up the majority of tattoos. I suppose if men's formalwear exposed tattoos, I wouldn't like it either. I don't like ankle bracelets or anklets either, especially those worn under panty hose. Ugh! I think I'm turning into my parents.
  12. Each Hilarion and Giselle in this production do these bits. They are part of the staging.
  13. I agree. It was a beautiful performance. I saw Wiles dance Myrtha twice this week. While I thought she danced beautifully both times, her performance was much stronger dramatically Thursday night than it had been on Tuesday. On Tuesday, I kept wanting more drama. She wasn't commanding enough. But on Thursday, she "brought it." I hope she does even more. I loved how imperious she was on Thursday. I don't think Wiles' bourees were way superior to Murphy's. In fact, the audience audibly gasped at Myrtha's entrance (the bourees across the stage) both nights. If I had to choose, I would say I prefer Murphy's bourees although I think they both bouree well. Overall, I prefer Murphy's performance to Wiles'. Gillian has this way of rolling through her spine when she does the reverence that begins many of Myrtha's phrases. It adds to the character's other-worldly quality. The movement is so fluid it's almost as if she has no spine for just a moment. She uses her back so beautifully throughout her opening solo. I love it!
  14. That WAS Myrtha--Gillian Murphy last night.
  15. Julio had both knees replaced? Wow! I did not know this. I've seen people have trouble with a knee replacement. I can't image dancing on one let alone two replacements.
  16. I saw Hallberg and Wiles. Overall, I thought it was very good. Hallberg never ceases to amaze me. Every performance seems to get better. He was great as Espada too earlier in the week. I thought Wiles could use more "Spanish" flair, but I think that will come with time. My favorite Gamache was Alexei Agoudine. I thought he was perfect while Salstein, who I usually enjoy, pushed the comedy a bit too hard. Nina and Angel's performance tonight was very good. Her balances were spot on. Veronika Part's balances were good too, there was one that was especially amazing in her Queen of the Dryads solo in the dream sequence. I thought the corps was pretty sloppy tonight. I will try to post more about the performances I saw this week when (if) I have more time.
  17. Yes, I did think her arm movements were excessive, but that's just my taste. I wasn't bothered by Nina's arms. I enjoy seeing these differences in interpretation. It seems to me that there was another ABT dancer who incorporated many more birdlike gestures a couple of (several?) years ago although I couldn't tell you who. *sigh*
  18. How are they different? I thought the official policy of both companies is no refunds - no exchanges.
  19. You state that you know nothing about "sports medicine" and that the dancers presumably have the best trainers and doctors, and yet, you second guess them. I'm sure the doctors and trainers are doing what is best for the dancers. There's not much that one can do for many injuries besides rest and/or physical therapy. I'm sure the doctors and trainers reassess the injury periodically and alter the course of treatment accordingly. What else do you propose? What sort of economic consequences should there be? I believe this is the policy of the Metropolitan Opera House, and not specifically that of ABT, but seeing as ABT is performing at the Met, they must follow the Met policy, which is the same: No Refunds/No exchanges. I'm not saying that this is the right policy, but the policy is posted every where--on the website, under the signature line when you pay by credit card, on the ticket envelopes, etc.
  20. Has the casting for the pas de trois been announced anywhere? Is Cornejo dancing at all? Thanks.
  21. I agree. Judging from her costume, Medora arrives at the Pirate's lair by way of Disneyland.
  22. Here's a link to my post from ABT 2007 MET season. Michele Wiles' fall emboldened her performance
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