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Everything posted by mira

  1. Isn't Joseph Gorak partnering Sarah? Ratmansky's Nutcracker Grand Pas (not sure what they call it) ranks among the most difficult in the ballet rep and how is it possible for even one couple to get enough rehearsal to do that perfectly especially if they don't start rehearsing until Nov. 29? If Sarah is now dancing the pas with Jeff Cirio (Isabella's partner) - how does he get enough rehearsal to do those tricky parts with two different girls?
  2. CyberGhost vpn is working for me - I downloaded it (free) and it's unlimited viewing for 3 days - then the free version will limit you to 3 hours at a time. Once you download it, you need to add the concert.arte.tv/fr website to the list of available websites and then choose a server- I chose one in Paris. voila! NYCB performance begins at 2 pm eastern time.
  3. Ciro has won acclaim for principal roles in Boston, in London where he was nominated for a National Dance Award, in Helsinki, in Mongolia, in Japan and other U.S, places as well. He was chosen by Damian Woetzel to dance with both Isabella and Masha at Vale, he was chosen by Damian to dance at the Kennedy Center (with Lauren Lovette) to honor Patty McBride. so yes, Kevin probably does see something.
  4. He danced Colas (arguably more difficult than most male leading roles), Mercutio, Ali, Bluebird and leads in the rep programs. He received glowing reviews from New York critics. What is overstated is speculation that Jeffrey gave ABT an ultimatum.
  5. Congratulations Jeffrey! You are so deserving of this great honor and ABT is brilliant to have promoted you. I've known Jeffrey and watched his growth as an artist and a dancer for over a decade and besides his God given talent, he is the most modest and hardworking dancer I know. I'm saddened to think anyone would suspect him of saying "promote me of I'm walking"! His dancing is extraordinary and he takes wonderful care of his partners - the ABT ballerinas ask Kevin to dance with him. He has danced leading roles all season to great acclaim by the critics! Bravo Jeffrey! - oh and wait until you see his choreography!
  6. I noticed that too - where is the thread? It had so many informative posts!
  7. Arantxa is leaving after the first week of the PAB summer intensive. Goodbyes began yesterday. https://www.facebook.com/photo.php?fbid=1359894380706692&set=pcb.1359895390706591&type=3&theater
  8. confusing. The link reads "Our Summer Intensive faculty includes, Artistic Director Angel Corella, Ballet Mistress Kyra Nichols, School Director Arantxa Ochoa, plus the School's remarkable roster of permanent faculty members, and world renown special guests." But Mr. Corella will be in Spain and will Ms. Ochoa be in Miami? The link does specifically state "For advanced students and young professionals ages 16 and above, the Summer Intensive is followed by the Company Experience which consists of a full week of professional ballet training. Classes would be taught by Artistic Director, Angel Corella and artistic staff of Pennsylvania Ballet and would include daily workshops to learn pieces from the Company's repertoire. So it seems that for the "Company Experience" (1st week of August), Mr. Corella will be there teaching.
  9. I wonder who will be leading the Pa Ballet School Summer Intensive? Mr. Corella will not be there. He will be teaching at his school in Spain - with Paloma Herrara. https://www.facebook.com/events/739003092902579/
  10. Adding to this discussion - change in a dancer's career is inevitable - some dancers who have waited years for their "turn" then find that a new artistic director decides to take the company in a completely different direction or, that their turn never "arrives" because better and harder working dancers are hired from outside the company - unsettling the ranks of supposedly "secure" dancers. Both Whiteside and Cirio come from an experienced background at Boston Ballet, having danced many principal roles with much partnering experience and they have a strong work ethic. My point being that dancers aren't victims - they are artists and athletes and in charge of their career. Work harder. Move to another company. Just as artistic directors are responsible for the end result of their decision making (are more tickets sold? is the company losing money or making money?) - so dancers are responsible for their decisions (are they progressing as artists and athletes - are they dancing the rep that they want to dance?) The career path of Matthew Golding is a case in point - ABT to one season at Corella Ballet which was a quick stepping stone to the reknowned Dutch National Ballet, and then to principal at Royal Ballet. Hopefully, each dancer can depend on their own logic and intuition to find that unique path.
  11. maybe some of what's been going on there will eventually surface in the press
  12. Alastair Macaulay pointed out "it now dances Balanchine ballets without a secure underpinning of Balanchine style" which, to an untrained eye, might not be obvious, but is noticed and remarked upon in this review. The SAB training focuses on musicality, speed and may appear "simple" but is highly detailed. Few companies ever rise to the level of Balanchine (or Robbins) performed by NYCB. Yes, the hiring of Charles Askegarde and Kyra Nichols should help bring the new hires along although Kyra is not there full time. The shift in artistic focus is clear - Balanchine ballets will be danced by dancers not trained at SAB and Mr. Corella will continue to move his company in the direction of the ABT model.
  13. thanks cubanmiamiboy - they were exactly like that - funny and adorable!
  14. Adding to the discussion of MCB's Bourree Fantasque - I saw the Sunday matinee - Jordan-Elizabeth Long and Shimon Ito danced the 1st Movement and they were hilarious. Jordan must be close to 6' on pointe and Shimon might be (guessing here) 5'6'? It's fast with lots of turns and tricky partnering and that is what makes it so funny- the shorter guy with much taller ballerina in full out black tutu, gloves and headpiece to partner. They went for it and I thought they were the standout performance. btw, it was Darci Kistler's role at NYCB.
  15. Boston will miss Jeffrey Cirio - he's been their 1st cast principal for several years now. and he does it all - beautiful classical dancer and stunning contemporary work - and he's a choreographer. Kudos to ABT for bringing him to New York! Congratulations Jeffrey! http://www.bostonglobe.com/arts/theater-dance/2015/06/30/dancers-jeffrey-cirio-whitney-jensen-leaving-boston-ballet/zBIevCnXDg1TKc6j5MXI7I/story.html?event=event25
  16. In Balanchine's Nutcracker, I believe that Sugarplum places her right foot (carefully) in the center of a small square of plastic (called a mouse) which is attached to a wire and is then pulled across the stage by a stagehand. If it's not a smooth pull, Sugarplum is knocked off the "mouse".
  17. and the south Florida ballet moms who have known her since she was 10, knew then that Ashly was headed for principal - she is great talent and a great girl!
  18. it's a small thing but the two "Ashleys" spell their names differently - Ashley Bouder and Ashly Issacs.
  19. ah - yes I see the "+" - and very exciting! the photos online of her are stunning.
  20. Miriam Miller is an SAB student although it's possible Peter has made her an apprentice before the usual Workshop announcements.
  21. Seems they are many personal experiences and it's interesting to hear them all.
  22. Yes - ballet is more and more going the direction of athleticism - turns and jumps. Beauty too but not if you don't have the "tricks". I agree being an accomplished dancer should translate to being hired by other companies but I don't see that happening often. Many reasons for that I'm sure.
  23. The female Principal Dancers that I'd seen at DTH should have been welcome at any company in North America, and the soloists and many of the corps members at any mid-sized American company. I've noticed that is rare when a dancer is let go at a ballet company that they find another job (unless they've chosen to leave on their own). I think one reason for that is that each company and Artistic Director has a specific vision and style - being a Principal (or Soloist/Corps) at one company does not guarantee you will be a fit for another company.
  24. from today's NY Times - interview with Amar Ramascar. “I have never really thought about race, just what I could do as an artist,” http://www.nytimes.com/2015/05/17/arts/dance/amar-ramasars-unlikely-path-to-becoming-a-prince-for-city-ballet.html
  25. mira

    Courtney Lavine

    Here is a recent interview with Courtney Lavine: https://theyoungartistfeature.wordpress.com/2015/05/11/interview-courtney-lavine-american-ballet-theatre-dancer-2/
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