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Everything posted by Klavier

  1. With the recession, I haven't been going much to either concerts or ballet this year, and most of my discretionary income has been going to build up my modest little art collection. This year I've seen only the Dancers' Choice at NYCB (much more cohesive than last year's, and a good opportunity for some unsung dancers to shine), the last Midsummernight's Dream on Sunday 6/21 (I think I lucked out with one of the better casts), and this. I decided that rather than see one of the veteran Big Gun teams, it would be more interesting to see this pair of newcomers. I sat a little too clos
  2. 1) Croce's point, it seems to me, is quite different from your point about Harlequinade. There's a difference between saying that there are dead or weak spots that can be cut from a score in a particular production, and saying that the work just feels long and perhaps any 15 minutes could be trimmed from a performance, but not the same 15 minutes each time. Yes, it's long, but the point I've been trying to make is that while Robbins could have followed Glenn Gould and set the whole thing at about 40 minutes without repeats, the use of repeats is integral to his conception, as he invariably set
  3. I would look at Tripadvisor.com. I wish I could have recommended my favorite Paris hotel from about 12 years ago, the Frémiet in the 16th arrondisement, but it's changed hands and become this exhorbitantly priced boutique thing called the Hotel Sezz. But one property I saw that is quite inexpensive is the Hotel Perfect in Montmartre. It sounds like a cross between a hostel and a hotel, but the price looks right.
  4. The beauty of his playing was not in doubt. But in regards to "shortening" the Goldbergs, are you suggesting that Robbins should have done so, or that Robbins's completed work should now be edited? And if either of these is the case, exactly how and where? Or is the problem with Bach's original structure, in your opinion? Since you are a pianist, I expect you know that Bach created a highly symmetrical structure in the GV - theme; 30 variations divided into two sections of 15 each, and 10 groups of three variations following the pattern of virtuoso toccata, free form piece, and canon. What co
  5. The problem, though, is that it really can’t. Bach wrote the Goldbergs as 30 variations on a theme that is of course heard both at the beginning and the end of the work, and each of the variations is in two sections that are both repeated. Bach did not conceive the GV for public performance, and it was not played complete until the early 19th century, at which time, ETA Hoffmann records, only one person stayed through to the end. Today pianists have three options: take none of the repeats (as Glenn Gould does in his 1955 recording, which weighs in at 38 minutes), take repeats selectively (as G
  6. I haven't yet read Lobenthal, but regarding the photos, "pornographic" seems too strong a word for me. Still, I do think the photos are a bit too self-consciously "arty," and their carefully composed symmetries deprive them of any sense of spontaneity. E.g: parallel to the much-discussed ballerinas photo, he has one in which 24 shirtless men clad solely in tights are shot from above lying on their backs on a marble floor - I can't identify this particular location. And though this pose does not look as agonizing as lying over three seats in the orchestra section, the floor does look cold and u
  7. Carbro, did you see my comment on this photo in one of my previous posts?
  8. I think the first Dancers' Emergency Fund Benefits were held when Balanchine was still alive. Someone please correct me if I'm mistaken. Undoubtedly true. My point was that this was the first to be a "dancer's choice" ("an evening showing such initiative on the dancers' parts").
  9. I thought the Hendrickson/Severini ballet was a well-crafted if not strikingly individual effort. Aaron Severini's music is more notable for motoric energy than lyricism; I can't say it struck me as particularly memorable in itself, but it did move the action along - musique dansante for our 21st century. The lighting and staging were quite effective - a red-orange background with the two black grand pianos (expertly played, Stephen Gosling being one of the best-known performers of modern piano music working in NY today) situated facing the rear wall, and the four boys clad in black. Was it a
  10. Entirely possible, perfectly reasonable, and that thought had not occurred to me (nor did Martins make that point). But to continue, one of the nicer aspects of the evening is that a number of the younger people were given a chance to take the spotlight, and I'd like to think the absence of many of the principals (Evans, Whelan, Millepied, Borree, N. Martins, DeLuz, Askegard, Kowroski) might have been intended for them to give more attention to their less high-ranking colleagues. And so we saw relatively unfamiliar talent like Troy Schumacher and Gretchen Smith in featured roles, along with ma
  11. Just to start: This was an event that would have been well worth while even if most things had not gone so well. Drb has already covered the least successful aspect of the evening quite successfully, that is, the 15 minutes of speechifying between Peter Martins and Jonathan Stafford, and put his finger on the odd discrepancy between previous benefits that had lost money while this one was expected to make money with tickets at half price. Hopefully NYCB has worked all this out with the accountants, and perhaps the Silent Auction was expected to draw enough donors with deep pockets to have tur
  12. I have it on good authority that the real Prodigal was quite short, and his rebelliousness was a direct consequence of his feelings of inferiority about his height.
  13. This was a program that might have been better for the City Center season rather than the Met. Word of mouth (or bad reviews) must have gotten out, because I have rarely seen so many empty seats at the Met on a Saturday night (even when the bill of fare is Wozzeck or Moses und Aron). Whoever said (carbro, I think) that Etudes should be re-orchestrated is exactly right; in fact, better to have played these Czerny pieces on a solo piano as written. The orchestration was positively ugly; the dancing - well, Reyes, Radesky, and Ilyin did all they could with these not very coherent little snippets.
  14. I'll say some more tomorrow myself. Busy day today. I thought it was quite a special night at NYCB.
  15. But no thoughts from you, drb, about that thrilling Les Noces?
  16. NOTE FROM BART: At the suggestion of Jack Reed, I attempted to move these posts from the Program IV thread to one devoted only to the touring performance at the Tilles Center on Long Island. Unfortunately -- -- I merged the posts instead of moving them. That means everything appears under the name of the first poster, Klavier. I've gone through the posts and tried to insert the name of each person. I hope I got it right. Many, Many apologies from a technological buffoon. :blush: :blush: ________________________________________________________________________________ __________
  17. I would prefer for you to see Bouder/Ulbricht in Tarantella over Hyltin/Garcia if you can manage it. I'd say any chance to see, in addition to those two firecrackers, dancers like Woetzel, Taylor, Whelan, Reichlin, and Hubbe is worth taking. I would have added Kowroski, but I don't see her name announced anywhere. Like several others here, I'm somewhat disappointed in the choice of repertoire you've been given. Of all the great things we could have sent you - Prodigal Son, Fancy Free, Four Temperaments, Firebird, any or all of Jewels - you're getting some less than stellar ballets. But it's
  18. Anyone who attends City Ballet performances regularly knows that Daniel Ulbricht is if nothing else a crowd-pleaser. His jumping, splits, and pirouettes show great virtuosity and athleticism; he is also an ideal bad boy character for such roles as Puck, the Swan Lake jester, and the short sailor in Fancy Free, as well as extrovert allegro parts like Tarantella. Uh, yes, he's a bit short. Not exactly a midget, mind you, but of medium height, sort of like his counterpart at ABT, the phenomenal Herman Cornejo - which means neither man fits into the danseur noble mold and both are more likely to b
  19. The whole issue of historical performance of music (and the music that is affected goes back through the medieval period through at least the early 19th century) is extremely controversial, with extreme opinions varying from the idea that this music must only be performed on early instruments in accordance with the best research on early performance style, to the contrasting idea that it is impossible to recover an accurate understanding of how this music was performed and to attempt to do so is to jettison performance practices that have emerged from the later 19th century onwards. And all ki
  20. ... now you can see R&J, courtesy of Mr. Morris. The following just reached my e-mail from Lincoln Center: It will be interesting to see what motivs Mr. Morris chooses to choreograph, and how they compare to the motivs selected by Mr. Martins et al. Will there be a slap? will his version be in three acts? will there be a unit set? will R+J - er - R&J be nude? will Tybalt be costumed as a Colorado potato beetle? Mark the date on your calendars! (May 14-17 of 2009, so there's time.)
  21. At this point (2 pm) the site is "pausing" submissions to catch up. I would have applied, but to see the ballet over two days would be prohibitive for someone like myself coming from out of town. Good idea on their part, though, and much better than forcing people to stand in line for hours as with R + J last year.
  22. Ah, but that would take all the color out of the writing, too. How can you resist rushing to the box office when you read: "Nothing so opened the American mind or forged our national character as did the exploration of the American frontier. Western Symphony is a bonanza of frisky fillies and lonesome cowpokes whose rousing, non-stop finale brings the curtain down." Quite right. I couldn't come with something like that in a zillion years.
  23. Well, to each his or her own. But I write for a living and would be happy to serve, so long as the compensation was attractive. At least under my watch you wouldn't encounter bizarrely structured sentences like this one: "In January 2005, Mr. Ulbricht was promoted to the rank of soloist and principal dancer in May 2007."
  24. I thought my computer monitor had lost color. But no, it looks as though www.nycballet.com has undergone a facelift - not to take away the grey, as some of us would like to do to our aging hair, but to add more of it. Despite the difficulty of navigation and (my continual pet peeve) the inability to make individual seat selections, the site at least used to look good. Now it's this ugly black-and-white thingy. What were they thinking?
  25. I would like to see Sean as Coffee. - Klavier (taking a sabbatical from all Nutcrackers this year)
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