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vipa

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About vipa

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Former ballet dancer, former ballet teacher, fan, ballet lover
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY

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  1. I just wanted to add a comment about Bugaku. Allegra Kent had a movement quality that had some, what one could call, mannerisms, quirks, personality, etc It included the way she tended to tilt her head, moved, shaped her hands etc. It always seemed to me that Mr. B. incorporated the things that were in Allegra's natural movement quality, into Bugaku and exaggerated them. As for the ballet today. Frankly I was uncomfortable with it back in the day. It's hard for me to imagine a dancer today being comfortable doing it. I'd be curious to see the whole thing done in leotards without sets, to see if it works, but I don't think casting Asian dancers is the answer. I don't think Porgy and Bess is a comparable work of art, for a many reasons. I love Balanchine but I could stomach losing Bugaku, it's not great Balanchine. Porgy and Bess on the other hand, I believe is great music and even in the 1930's, when it was written, Gershwin insisted on black singers instead of singers in black face. As far as accurate depictions - we are talking opera.
  2. I haven't seen The Runaway but enjoy and admire Peck's Pulchinella Variations. However, I don't thing the designer designs particularly enhance it. I believe it's a strong enough ballet to survive costumes that may be less than ideal.
  3. Thanks for the review Cobweb. When I saw the Lovette piece, I didn't know what make of the costumes and even thought them silly. Then I saw an interview with Lovette in which she said that the costumes were something of a surprise to her, and sent her in a different direction choreographically. That reminded me that the fall season has the fashion designer tie-in. I believe it's a Sarah Jessica Parker innovation that keeps going, in which a fashion designer is assigned to a choreographer. The extent to which they work together seems to vary. If the fashion gimmick brings in a lot of interest, donor dollars and ticket sales that's fine. If it no longer serves that function it should be dropped, because it doesn't serve the ballets particularly well.
  4. Thank you Cobweb. I just checked it out. she does look fabulous I believe she's been out since last April. If I remember correctly, she said in an interview that it was a herniated disc.
  5. I just returned from tonights performance and had a lovely time. Opus 19/The Dreamer is not one of Robbin's best works IMO. It has a lot of the folk dance motifs he uses in other works. It's not a distinctive or memorable piece. It was done as a vehicle for Baryshnikov, but I can't imagine his performance made a whole lot of difference. Anyway, it's pleasant enough and tonight, Garcia's movement quality served him well and Hyltin was absolutely beautiful - musical, lovely, responsive. The Shaded Line, the new Lovette piece was interesting. It had the feel of a choreographer working things out - moving groups, creating drama & tension, partnering etc. The gender bending aspect was interesting, and clearly another part of Lovette's explorations. Frankly, I was confused by the costumes. Some seemed silly, so I wasn't sure what to do with that. For me the whole thing didn't quite hold together but it held my interest and left me thinking about it. I look forward to seeing more of Lovette's work. Lineage - Edward Liang's piece was quite enjoyable. He played to everyone's strength - Mejia's virtuosity, Kowroski's legginess, Bouder's strength and speed - etc. It was an enjoyable mix. I felt the Mearns/Jansen pas the most interesting. My only criticism of the piece was the abrupt and anti climactic ending. BTW Mearn and Bouder look incredibly athletic and fit - beautiful to behold! Symphony in C is always fun. Fairchild seems to be in her prime as a ballerina - radiant, secure, playing with the music. Gordon was great. He is so technically secure that a minor glitch is only - a minor glitch. I have never been a Reichlin fan. I root for her - there is a real earnestness to her dancing, but, except in Rubies, I have trouble liking her. Despite her tall legginess I never feel a regalness (is that a word) or amplitude. In tonight's performance she seemed tentative at times. Jared Angle (who looks out of shape) was a flawless partner. Not many man could partner her the way he did. Baily Jones was exuberant in third movement. Villarini-Velez danced well. His four pirouettes finishing up, seemed to surprise him! Erica Pereira (never a favorite of mine) looked great in fourth movement along with Scordato. Symphony in C always leaves me smiling! The show seemed fairly well attended but they didn't open the 4th ring.
  6. I expected this to happen. I was surprised to see her in two ballets on a T&V show.
  7. vipa

    Kathryn Morgan

    Stuff to work on, I'm sure she knows that, but on the right track. Nice to see.
  8. I agree, and I say more power to her. She put in hours of hard work (not to mention coaching money) working on Giselle. If she proved to Kevin M. (and anyone looking for a guest Giselle) that she can do a role they might not have thought of her for, that's great. This was not some easy gimmick or publicity stunt. This was work she was willing to put in when the only guaranteed reward was artistic growth.
  9. Cubanmiamiboy's comments made me realize how helpful it is to know a first timer's background. Opera lover? Watches dancing with the stars? Tastes in music? etc.
  10. I agree with Drew that Kammermusik 2 can ask a lot, and that Jewels is a great bet. Maters at Work as suggested by FPF is a good idea too. I can't think of a better introduction to ballet than Serenade. Now you have doing fantasy programing for newbies! I'm still iffy about Nutcracker. I don't think I'd take a newbie.
  11. I agree about Nutcracker, Drew. There are a lot of kids and it has a lot of spots that can sag. I believe the program NYCB is calling Classic NYCB is: Opus 19/Dreamer, New Lovette, New Liang and Symphony in C. I don't get why it's called Classic NYCB. The all Balanchine program is: Valse Fantaisie, Kammermusik 2 and Union Jack. That might be good for a first timer. However, I agree that Jewels might be the best idea. 3 different styles, moods, composers with lots of corps work as well as solos and partnering. Individual dancers get a chance to shine. Finding particular dancers engaging, is often a hook for first timers.
  12. I don't disagree but I believe an AD also has to be realistic about how many more years a dancer has, and what opportunities younger dancers are being given in order to develop. This should play a role in casting decisions. As has been stated before, ABT has particular challenges because so much of the rep is comprised of full lengths and there are not a lot of performance opportunities. Given all of that, I see nothing wrong with an AD reducing Murphy's rep to give younger dancers opportunities, if that's what makes for a healthy company in the long term.
  13. For me, Murphy is not a natural Giselle, but I recognize that she can bring a lot of technique and stage smarts to the role. The question for me is, is it wiser for an AD to give a 40 year old ballerina coming back from maternity leave another shot at Giselle, or should he give another shot to Lane (a natural Giselle in her prime in the role) or first shots to Brandt or Trenary. There are winners and losers, but I come down on the side of not giving Murphy the role, and going with one of the other possibilities. Murphy has had a long career and has danced both Myrtha and Giselle. I've heard Sara Mearns talk about giving up Lilac Fairy. One of the things she said was that it was time for younger dancers to get a chance at it. Granted NYCB is a different animal - more shows, more rep, more to go around.
  14. I agree that the rep and number of shows is part of the problem, BalanchineFan. There was a time when ABT did long tours. They were tough, but dancers had opportunities to perform a role numerous times and I know one former soloist who got some Swan Lakes on tour (she never did it in NY). ABT's current reality is what it is. Casting decisions are hard when there is so little to go around. I still question the wisdom of the current system. IMO Abrera is a wonderful dancer who missed her prime, with a late promotion. Lane is in her prime. Brandt is more than ready. Should Murphy really come back to Giselle? I guess I'm glad I'm not an AD!!
  15. The problem with ABT is that we waited way too long to see Abrera's Giselle, and then waited too long to see Lane's (one of the greatest I've seen). Management has to make a choice. They can do what they are doing or take Giselle shows from Abrera and Murphy to give more shows to Lane (while she is still in her prime) and offer chances to Trenary & Brandt. Someone is going to lose either way. Kent hanging on for so long was a problem IMO, as was the guest artist policy. A corrective is needed which will have winners and losers. It's nice that Abrera finally got to do Juliet, but perhaps Lane should have gotten that chance.
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