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About vipa

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    Sapphire Circle

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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)**

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  1. Just watched the Prodigal Son discussion/coaching session. Confession, I'm not the biggest fan of "story" ballets, and I've seen Prodigal so many times over so many years, that I've been avoiding it for quite a while. Seeing this renewed my interest. I can't wait to see the stream of the ballet, but more than that I can't wait to see it live again. My appreciation for the work has been renewed
  2. I agree. It had me crying too. I loved the entire series. There is no hiding the fact that it is heartbreaking for the kids who aren't cast, but the adults around them handle couldn't handle it better. I also found it poignant that some of the kids knew it was their last Nutcracker year, because they'd be too tall next year. This is particularly sad in this pandemic year in which so many kids lost there chance. All in all I found the series a refreshing antidote to the ridiculous portals of ballet that are out there. Reality is dramatic enough IMO. a
  3. Interesting production born of these difficult times. Amazing and totally committed performers. It's being streamed on demand 12/23 through 12/26, in case you missed it https://www.nutcrackeratwethersfield.com. I believe the concept has legs for post pandemic. Bravo to everyone on the creative, performing, productive, money raising teams for delivering this Nutcracker in such a beautiful yet challenging setting.
  4. Tiresome is the right word. Unfortunately most of the people who watch will be people who've never seen a ballet company.
  5. I'm glad ABT is pushing on as best they can. I too agree that ABT should try to show us some classical pas with couples they can put together. How much these dancers have been able to stay in classical pas shape is a question, although Skylar Brandt (from her instagram posts) seems ready for anything. ABT's big ticket sellers have been the big classical ballets. That's the audience they've cultivated and programmed for, the exceptions being new works by Ratmansky and other new choreographers here and there. IMO audiences go to ABT to see big, theatrical, classical ballet productions. It may be
  6. I agree about the design, and as julaij said it isn't particularly user friendly. I wonder who their target audience is? I have to say, I'm not impressed with the planned programing, but perhaps it's too soon to make a judgement about the direction the new leadership is taking.
  7. There's a good discussion on the Fairchild/Lovette interview under: NYCB cancels Fall 2020 and Nutcracker seasons
  8. In all the interviews I've heard Fairchild give, this was the most frustrating in that I wanted to hear more from Lovette. In some other interviews it seemed more natural for Fairchild to interject her own experiences. IN any event, I'm glad Megan Fairchild is putting them out there, it must be quite a learning curve for her.
  9. Wasn't sure where to put this, or if it's been posted already, but a fascinating discussion Megan Fairchild had with Lauren Lovette.
  10. I so agree with this. There were years when things were really dismal at NYCB. A certain blandness set in, in the performances. I started to go to see ABT more! Then something happened. I too remember Ansanelli bursting out, followed by a stream of dancers who had technique, musicality and imagination. For whatever set of reasons, NYCB became thrilling again and has stayed that way. Now we're in a situation in which the dancers are losing more than a year of performing, and new leadership is trying to settle in. I hope for the best. We'll see.
  11. Interesting discussion that is branching off in many directions. In my statement, I certainly didn't mean no new works. I was just struck that the NYCB's press release was very focussed on new works and choreographers. I am hoping to be able to return to the theater again, about a year from now, and see live dance performances. What do I want to see? To me the NYCB is special. It's special because of the vast rep of Balanchine and Robbins, and the training of the dancers which results in a go-for-broke, musical approach that combines expansive movement with incredible speed. Do I need to see t
  12. Maybe dance audiences will be eager to see NYCB do a lot of new works when they return to the stage after a year and a half, but I'll be eager to be re-immersed in the Balanchine rep. I'm all in favor of giving opportunities to new choreographers, but great art is hard to come by, and I fear the emphasis on turning the page could mean ignoring the fabulous NYCB heritage.
  13. The next season is almost a year from now. There may be dancers who decide not to come back, and even with an extended rehearsal period to allow time to get into shape and build stamina, some dancers will return more ready than others. We might see some shifts in casting and career trajectories.
  14. Forgive me if this has been posted before but I just came across Wendy Whelan leading a panel with Merrill Ashley, Gloria Govrin, Kay Mazzo and Allegra Kent. Allegra is really something!
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