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Everything posted by rkoretzky

  1. Yes, but isn't it also very damaging to be given a golden opportunity and waste it? I'm very torn about this. The only Apollo I could see this season was Saturday matinee. No Saratoga, none in the next seasons. As soon as I saw the casting I knew I had made a bad choice. I am very much a supporter of Adrian and I was thrilled that he had this opportunity, hoped and sensed that he would make the most of it. Sadly I had the 180 reaction to Zachary's casting. After seeing the debut reviews I almost cancelled my matinee plans. Zachary must have worked very hard between Tuesday and Saturday to bring his performance to a minimally acceptable level, which is what I saw, based on the reports of a total meltdown on Tuesday. Perhaps he will further grow in the role, let's hope so, I don't think any of us wants to see someone crushed. But the growth work should be done in the studio with careful coaching so the dancer moves beyond knowing the steps, which he did, for the most part. There's a lack of partnering skills, no development between Apollo's two solos and no clear character. For sure Mr. Balanchine frequently gave opportunities before dancers might have been ready. But this was way premature and should have been spotted before the guy was thrown onto the stage in such an iconic role. It's not fair to him, or his colleagues, or to the audience who want to see new faces, want to see our dancers succeed, but are entitled to a beyond bare bones performance.
  2. Oh dear....autocorrect. Did that say prison time? What a slip....or maybe not. Prospective teachers.
  3. Re poor writing, yes yes I agree! I score the national teacher exams for prison time teachers......and I'm shocked at what I see! Not only poor writing, but errors. A letter supposedly from Andrews Sill (conductor at nycb) asking me to respond to: "Dear Andrew". That's inexcusable!
  4. Just yesterday I received a brochure from San Francisco opera clearly directed toward out of towners with programming that allows one to see several operas in just a few days. I also received an email invitation to join the Philadelphia museum of art. I'm surmising that these offers came to me as a result of membership in the met museum and frequent ticket purchases at the met opera. This is brilliant marketing. I'm not planning a trip to SF soon, but when/if I go there, you can bet I'll keep the opera schedule in mind. And while I'm not likely to join the Philadelphia museum, I'm certainly going to go there when I'm in philly, as I have many times. I appreciate the reminder. I'm fine with arts organizations sharing their lists and sending me stuff. I'd prefer email rather than throwing colored glossy paper into recycling. And I detest phone calls and refuse to respond to them.
  5. I detest the new women's costumes. Cut down to "here" in the front, up to "there" in the back. Gaudy and vulgar. I long for Karinska's fussy little bow. Yellow? No--they are the color of cream. The new ones are blazing, glaring arctic white. So, other than that mrs lincoln, how was the play? The ballet remains a masterpiece.
  6. Carley's all too soon passing was a devastating loss to everyone who knew her virtually or in person. I think of her every time I enter the State Theater. Rest in peace Carley. We love you.
  7. It's the Pastorale from The Queen of Spades. I've always thought that Tchaikovsky was especially good at "period" music. Oh thank you! Not an opera that I've seen. Not yet.
  8. We're getting the Balanchine starting next year -- I hadn't thought about tempi yet, but this is an interesting comment. Oh with regard to tempi, I noticed differences between nycb and pnb, of note is the final dance in the party scene where deCou takes the tempo much faster. And one lovely moment at the end of flowers, where there is a grand Ritard before the final phrase. Took my breath away.
  9. I was delighted to see the stowell/Sendak nut over the weekend. It's been on my "wanna do" list for so long, I'm only sorry I waited until the last possible opportunity to see it. A question to those who know this production so well: The music in the masque section. This isn't in any playing of the nutcracker that I've ever heard. Is it papageno's aria from Zauberflote? Mozart meets Tchaikovsky ? In any case it is charming. I loved seeing a supported adagio where balanchine has the bed moving around the stage, especially since it was most likely my last opportunity to see carla korbes. Ravishing. The boat with the jumping fish (the Angels in balanchine) made me a little seasick frankly. In reply to sandik, Marie and the prince are often transported to the land of sweets in a sleigh. The flowers costumes are possibly the most exquisite ballet dresses I've ever seen. I'm in love with them. However I miss dewdrop, even though Flora's solos are similar choreographically the costume headpiece and virtuosity of the variation sets dew far apart from the rest of the bouquet. I have such admiration for peter boal. He was my favorite of the NYCB men in his time and I think he has done a stellar job at the helm of PNB. But this nutcracker is so unique, so extraordinary, that I wish they would not shelve the production. So many companies do Balanchine's nut, only pnb does this one....I think this is a loss to our beloved ballet world.
  10. Tickets are certainly scarce, a happy problem! On Helene's advice I grabbed one in second tier for Friday night. Thrilled to be seeing carla korbes and to finally be seeing this production. We've had our Saturday night tickets (also second tier) for months. I wasn't going to let this chance slip away.
  11. Thanks Sandi and Helene for the gentle push. Of course I'm going.
  12. Husband, son and I have tickets for Saturday evening. Since my son moved to Seattle four years ago I've seen PNB a number of times, but never at their home. Seeing this Nut has been on my wish list for years, so this is the time! Two questions: Will any of you Seattle residents be there on Saturday night? Having had the pleasure of meeting many East Coasters, I'd love a chance to put faces to you west coast names. When I booked tickets, neither casting nor Korbes retirement had been announced. I'm considering adding a Friday night ticket for myself. No way will I get the guys to see it twice but I feel compelled to see carla one more time. Would those of you who've seen it recommend two viewings? I've certainly enjoyed back-to-back perfs of numerous ballets!
  13. Heads up! $20 tickets available for restless creature at the joyce! I just bought three for Sunday matinee may 31. It's the only matinee of the run. With phone service charges the cost was $69 for 3, one center ticket a few rows back is $75. I'll crane my neck a little!
  14. You mean you don't like the look of ballerinas in plunging necklines decorated with dark blue crystals that simulate the appearance of chest hair? Uh, nope. Nor do I like the, shall I say cut, of the trunks. Oh how I long for Karinska's fussy bows!
  15. Thanks for the response! I knew someone would have delved into the question. I saw the Culturebox version as well, which I thought would satisfy my curiosity. But what a difference on a big screen. It was fascinating to compare with symphony in c as danced by NYCB and other companies. In fact in 2004 I scheduled a (planned) trip to Paris to include an announced performance of palais on the centenary of Balanchine's birth. Much to my dismay, symphony in C was substituted. Ever since I've made it a mission to see Palais. I didn't care for POB's symphony in c but I loved Palais, perhaps because it is THEIRS. I was fascinated by the choreographic changes from one ballet to the other, hence my curiousity about the faithfulness to the original. I wouldn't say it was a different work to the same music, they are definitely siblings. Palais is softer, more rounded, in keeping with the softer style of POB. In the finale the corps form a semi circle behind the principals, with the colors interweaving it looks like a shifting kaleidoscope. About the colors : except for a jarring difference in the red between the principal and corps first movement costumes, I loved it, loved it. Give me those costumes any day over NYCB's hideous new ones which almost, but not quite, ruin the ballet for me. A great experience and an important piece of ballet history. I'm equidistant to Montreal, New York and Boston--a nice place to be.
  16. I don't know who, but it's likely in-house. I agree. I imagine POB has rights and the trust would have nothing to do with this. I'm so curious about how much of this film is faithful to the original Palais.
  17. Three of us made the trip northward to Montreal to see the film on Sunday. I cannot find anywhere a credit that mentions who staged Palais de Cristal? Does anyone know?
  18. Bringing this thread forward in the hope that any of you who are Bolshoi knowledgable will provide opinions about the castings for Don Q here in Saratoga. I'm likely to fork over the $ for only one performance. Any guidance most appreciated, and thanks to those who have posted. From what I've read it seems that you can't really go wrong with this bunch.
  19. I've been following this topic with so much interest. It's pushing many of my buttons: as a Jewish American I am always on anti semitism watch-- I think it's a knee jerk response for many of us who were raised in the USA in the first decade post holocaust, knowing survivors and hearing about family members who didn't survive. As a librarian, resisting any attempt at censorship, or any attempt for a few to decide the reading/viewing choices for the many. As a lover of all the arts, resisting attempts from any "lobby" to determine artistic choices, and as a mom whose son has (for the first time since breaking up with a girlfriend who was a singer, many exes ago) shown an interest in opera and has asked me to get tickets. Peter Gelb, you almost have to feel some sympathy for him. He's been in a world of trouble lately. A series of unfortunate incidents are (or should be) most embarrassing for him and for the met opera board. The met has announced on their website the replacement opera for HD. It is "Barber of Seville" to be shown on November 22. A supremely safe choice. I know I've seen it in HD, at least once, maybe twice?
  20. Hi everyone. No postings from me for several years, but I've been reading and enjoying all along. It feels good to be back as an active member. So much has happened. Members have come and gone. My beloved NYCB season at Saratoga has shrunk, shrunk again, and finally will be moving in the right direction in 2015. And our community has had a heartbreaking loss. I thought I spotted Carley in Lincoln Center plaza last month, as so many of us did. It stopped my heart. My belated condolences to all who loved her, in person or virtually.
  21. I am sure many of you are wondering what has happened to the lovely retirement gift that Chris Wheeldon gave to Jock Soto. Rest easy. It's good. I only saw the second part of "Rain" with Jock, on the retirement day. As was the entire audience, I was stunned. We saw the history of a friendship and a partnership unfold before our eyes. Toward the end of the pas, when Wendy reached out to touch Jock's face, I had the sense that she was casting his face into her memory forever. For the audience it was a privileged moment, an opportunity to glimpse this very intimate relationship, and a chance to watch Wendy say goodbye. I found it shattering and exhiliarating. In her pre-performance talk at SPAC last week Wendy spoke a bit about life after Jock. She is not weeping about his retirement, she is happy for him and she knows how happy he is. He is eating butter and putting cream in his coffee! She is jealous. I was worried about seeing "Rain" without Jock. A friend of mine who is a pianist with NYCB encouraged me to see it. I am so glad that I did--twice so far with Craig Hall and Sebstien Marcovici will debut tomorrow night. First of all, my ballet watching life would not be complete without having seen the first part. I have heard "Tabala Rasa" played several times, but this is an instance where I could truly "see the music". I never fully appreciated that exquisite section until I saw movement. Even though there has been much commentary that "Rain" seems to be two different ballets, I didn't quite see it that way. I would say different, but related sections. As the four dancers in blue exit and the two dancers in pink enter, the transition is as natural as taking the next breath. Blue is an inhale, pink is an exhale--and it begins again. With Jock and Wendy, there is a tension and an energy that isn't there with Craig yet. I think it will be. It was an auspicious debut for a very talented dancer and what a daunting task! I hope he is very proud of himself.
  22. Everyone who has expressed support for us at SPAC would have been thrilled to see last night's attendance. I don't quite know why, but there were 5,000+ seats filled. That is inside seating-----and a nice crowd on the lawn too. Equal to two sell-outs at NYS Theater. We just need to do this again....and again....and again.....
  23. The NYCB playbill for NYC seasons states the following: "The Saratoga Performing Arts Center is the summer home of the New York City Ballet". SPAC opened in 1966, a scant two years after the New York State Theater. NYCB has been at home in both theaters ever since. NYCB is the only ballet company in the United States with a permanent summer home. I acknowledge that I am very defensive about this. Perhaps you have to live here or have spent much time here, such as Farrell Fan, to truly understand. Sorry if I have caused any hard feelings.
  24. Do you mean June/July 2006? I hope you do! DS has just moved to Los Angeles. He isn't much of a ballet fan but he does love "Slaughter". And I love "Dances". I think I just may be going to LA......
  25. THANK YOU OBERON. You make an essential point here. In fact, I'll take it a step further: A sold-out house at the NYS Theater is a half-full (or half-empty) house at SPAC. Our theater is 5,200 seats, exactly double the capacity at Lincoln Center. We are tying to fill the equivalent of two theaters in an area with a fraction of the population and a fraction of the financial resources. Guess what? We aren't going to make it, if that is the goal, and if we are held to that goal I guess we should concede right now and turn the NYCB over to someplace else. Give us a break folks! SPAC wasn't destroyed overnight and we can't rebuild it overnight. We are doing our best. In fact I think we are doing very well. I have been at the ballet every night except the gala and at three of the four matinees thus far. The crowds are respectable--yes I would like to see more, but we HAVE a devoted audience and we need to undo years of neglect and begin to develop a bigger audience. Changes are occurring. Slowly. We are at the mercy of the elements. This season we have had scorching heat, oppressive humidity, and torrents of rain. Still our audience comes--again, not at the numbers that I would like but as I said we have rebuilding to do. As for Michael Korb and his calculations--no one here takes Michael Korb seriously. No one. Many of us know him--he is in fact a nice guy who can be hilariously funny. I didn't find this particular column to be one of his best. Not even close. He would laugh out loud at the fact that he was called a "reviewer" and that his piece is a "review". He knows neither of those is true. I know where Michael sits when he comes to SPAC. From his vantage point he can't see the balcony. Lots of people sit up there--many of my balletomane friends prefer it. So the place was likely more full than he thought. I've been to the state theater many times when the house has been disappointingly small. Does anyone suggest that NYCB find a new permanent home? I didn't think so. A million thanks to Farrell Fan and to Oberon for jumping in to defend Saratoga when the inital postings were just too disheartening for me to respond. Edit: Bart and I were posting at the same time. Thanks Bart!
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