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About ruteyo

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  1. Thanks Bart! Just wanted to add this (recent) video clip because interestingly Copeland talks about an issue related to this discussion. She's a lovely woman, by the way, you can tell from the way she speaks.
  2. I agree with those who said that promotion should be based on merit and not on color/ethnicities/politics. I have a lot of respect for Copeland as a dancer and the achievements she's made, but Acocella's last paragraph misses the point. Copeland shouldn't just be promoted based on the fact that she is the "highly placed African-American woman in ballet in the city." She needs to be promoted based on the fact that she is one of the best African-African ballerinas who is world-class. Look at other parts of the world. For example Celine Gittens at BRB, who might be classified as someone of similar color, is someone with far more potential as a classical dancer. Check out her Swan Lake rehearsal videos here: http://vimeo.com/41988175 http://vimeo.com/41767682 Again, promotion must be based on merit, not your colour. But that being said, I do think Copeland is a wonderful dancer, and I do wish her the best with the challenges she has been fighting throughout her career.
  3. I can't comment on Option B because I haven't seen enough of ABT but from the few names given in Option A, no one has mentioned MATTHEW GOLDING! I think it would be fair to say that McKenzie missed a GOLDEN opportunity with Golding (formerly at ABT and currently with Het National Ballet) whom I think is stronger technically than Polunin&Muntagirov and has even more stage presence than Muntagirov (I took away Polunin's name with regards to stage presence, even though I had originally said that Golding had even more presence than Polunin or Muntagirov, I should be kinder to Polunin and credit him with his stage aura, which is quite special, but Muntagirov doesn't have enough aura for me!). No wonder Golding recently guested with the Kirov in the Mariinsky Festival a few days ago. From the many performances that I've seen in London, Polunin was inconsistent, and again, Muntagirov doesn't have enough charisma, to be harsh. Golding was fantastic in La Bayadere and Ratmansky's DQ with the HET -- he has the physique, height, etc. I don't know why Golding left ABT so early, but I'm sure he didn't want to stay in the corps for so long, which the ABT has done to far too many dancers. I'm not sure if creating more hierarchies in the style of POB/RB would help, but probably not given the kind of season scheduling they have and with the MET being the most selling point of their entire season. This may explain why young American dancers who could have easily started out at ABT have, in the past few years, started to join European ballet schools and companies and have taken the non-ABT route.
  4. Gorgeous rehearsal videos from VAIL'S International Evenings of Dance last week. Damian Woetzel has the eye for helping build wonderful future partnerships between dancers from different companies: CORY STEARNS and CARLA KORBES http://www.youtube.com/user/VailValleyFoundation#p/u/5/o0qSwRtMHNw MISA KURANAGA and HERMAN CORNEJO http://www.youtube.com/user/VailValleyFoundation#p/u/3/tdVceHdLWro
  5. ABT'S Male Principal Problem is largely about ABT's problem with its directorship. It is time that ABT changed their Director, nothing is going to change now with Kevin McKenzie. We've seen him repeat all his mistakes. His productions are provincial, the MET season is filled with the same kind of classical repertory every year except for a few premieres (though Ratmansky is bringing a bit of a change perhaps). I feel as if ABT is even lagging behind many of Europe's great but smaller companies like Het National, Hamburg, even Royal Ballet of Flanders (their Onegin this season was exquisite). A better direction and better artistic taste is needed. I cant even go into the womens issue here, as Im afraid we'll all get into a fight or something because everyone is so opinionated. All those lingering at the soloist level are "good" but not "special" enough, including Kajiya and Lane. Kajiya is being used frequently this season because of the upcoming Japan tour and the revenue + marketing perks that the Japanese audience brings given the insane popularity of ballet there. And being special is not easy to develop, you either have it or you dont. That doesnt mean that some of them won't become well-rounded dancers, but there are so many dancers in other more "regional companies" that seem to have a better package although they might not be at the level that Cojocaru/Vishneva/Seminiova is in terms of publicity. Take the beautiful Carla Korbes at PNB for example. Or Jurgita Dronina at HET. And none of them had started at their respective companies from the corps level. So no, its not just about nurturing from within. Or look at how amazing Matt Golding is at the Het, he is the only dancer who would be an immediate principal at ABT if he was still there. This is all largely due to McKenzie's lack of taste and judgment in seeing the potential of some dancers whether its nurturing from within or hiring those into the corps or soloist level (but excluding the "stars"). And that is why there needs to be an AD change. Baryshnikov had a lot of problems and not all his prima ballerinas were great, but he had much better taste in seeing the future potential of female dancers.
  6. There are 3 points I'd like to address: 1) I feel that there are actually more exciting young ballerinas to watch at the corps and soloist level currently at BRB than the RB. For me, this includes Delia Matthews, Celine Gittens, Sonia Aguilar, Momoko Hirata, just to name a few. All these lovely ballerinas would be getting equal opportunities, and just as much attention even if they had joined RB. Again as Simon as has suggested, the London-focused media bias is extremely unfortunate. 2) Another important issue about the recent trend in hiring RBS graduates: in the past 5 years or so, it seems like those who win the Prix de Lausanne Apprentice Awards (not the Scholarship Award) are having an easier time getting into the RB rather than those who went through the RBS system. I won't name names as this may offend several students and company members. If you scrutinize the evidence closely, what does this say about the recent policy of the RB? Is it better to maximize your chances of a Prix de Lausanne medal and buy your way into the RB through a one-shot competition system rather than FULLY investing several years in the RBS school itself? Ideally, De Valois would have definitely valued the latter as the valid gateway into the company. I think the RB's recent hiring trends will cause further polemic with regards to the politics of the RB-RBS hiring relationship. I personally think it's terribly unfair to some of the RBS graduates, who otherwise could have gotten into the Royal Ballet, HAD they garnered a pseudo-company position as a "Prix de Lausanne Apprentice" in the first place. 3) I have one more thing to add, which I forgot to mention earlier. I think the ABT-NYCB vs the Regional Companies comparison won't have the same kind of relevance in the UK. While BRB isn't located in London, there is no way that BRB would ever be qualitatively classified as a "regional" company if it ever existed in the US. ENB, BRB, RB = they are altogether national, top companies!
  7. Did anyone see Alina and Johan at the gala? How were the other principal & company dancers? Thanks in advance!
  8. Does anyone know who the participants from each of the companies are? I don't see the casting up yet on the NBoC website even though it's supposed to be up by now...
  9. This is not a surprise, as I hear the same is happening to other major American companies, MCB has already been noted, but also Boston B, and SFB...
  10. Does anyone know if this is the same roster as the YAGP Final Gala that is also supposed to take place the night before at City Centre on April 22nd??? Thanks!
  11. Interesting topic, and thanks to everyone for their insightful comments Papeetepatrick, when you talk about the differences between NYCB under Martins and Balanchine, could you elaborate on the issue of whether the seasoned NYCB balletgoers think the overally quality of dancing at the principal level has waned during Martin's era? I ask this because I think NYCB has recently produced some excellent Balanchine dancers who have also been able to tackle the non-Balanchine repertoire just as well as any of the top dancers in the more "classical" companies today, which makes me think that they are pretty "complete" dancers overall. Ashley Bouder is one, and obviously, it is no surprise that she is getting her Kitri debut at the Kirov. Ansanelli has impressed me in works like Ondine. I would be very interested to see her in more dramatic roles like Juliet and Giselle, which I am sure she'll get a shot at very soon. Of course, I heard Gelsey Kirkland was a legend, even when she danced with Dowell at the RB in the mid 80s, though I guess one could argue she was partially an ABT product. (Do people view her as more of a NYCB or ABT type dancer or just both, in retrospect?) Though non-NYCB, Sarah Lamb, gets very strong reviews here. Perhaps it is not so much a question of the dancer's nationality, but which companies they choose to remain in (which turns to the issue of the quality of training and nurturing dancers by the ABT/company staff), as these NYCB grown American principal dancers seem to have a better knack for tackling classical and the non-Balanchine repertoire. This is even more interesting because I hear that the SAB training is predominantly focused on "Balanchine technique." I wonder who Ashley Bouder gets coaching from in NYC, when it comes to learning classical works? Sorry if this has been a bit off-topic, this should really about "ABT in London" Carbro, thanks for that point on Cornejo and Hallberg. I have only see both of these wonderful dancers live a few times, but yes you are right, I did forget to mention that these are 2 excellent homegrown artists, who perhaps should be getting as much press attention as some of the other "exotic" imports you've mentioned. At any rate, I am sure these homegrown talents will certainly garner lots of wonderful reviews this spring.
  12. Doesn't have a thing to do with loyalty for some of us, I have very little interest in ABT, given the choice of other companies in all areas of dance. I don't want to Definitely not in the 'TOP 5' in terms of quality. But they are big in New York and big in the U.S. in general, and that kind of fame is as important in terms of fame as anything European. For example, you could say Hamburg is a greater ballet company, but it doesn't mean much to say they are more famous than ABT. Frankly, if ABT isn't famous, then NYCB isn't either, and in New York, you get almost as many complaints about Martins's company--if not more--than you do about ABT. They're neither one as good as they used to be. Thanks for that clarification on fame vs. status. And TOP 5 is too painful a discussion w/ too many variables, so I will not go into it I wonder why ABT hasn't been able to produce their "own" MEGA-STARS. You have dancers like Ferri, Ananiashvili, Vishneva, all BIG international superstars who join after their careers are already blooming, but no REAL stars who get produced from the bottom-up. I'm not sure that it has anything to do with the fact that they don't have their own schools (though I believe it was recently instituted) b/c it's not like dancers like Cojocaru or Nunez had a complete RBS upbringing. Interesting.... And my other point, perhaps it's been echoed here before is, WHY is McKenzie bringing his SL to a mega-culturally competitive city like London, when he has so many other repertoire choices to pick from??? I'm sure seasoned London balletomanes would much prefer to see works by Tudor, whom they did a celebration for this past season at City Center.
  13. I don't mean to offend American balletomanes who are loyal to their American companies, but I also agree with Leonid. I think American companies will have a hard time if they want to gain the same level of attention and status as the European countries in Europe or world-wide (outside of America). When you have state-subsidized institutions with grandeur opera houses and classically oriented/traditional ballet schools that have a history of producing and creating some of the best repertoire in the history of ballet (RB, POB, notably), then newer companies like ABT will have to prove that they can do it somewhat better or differently (by "differently," I mean "differently," in the NYCB sense, even though NYCB wasn't as successful in London last time) if they bring very conservative works, as they are doing this time. If not, the companies must show-case super-stars who can create a sell-out situation and overcome that deficiency. I don't mean to start a discussion here, but I personally know many Europeans who will dispute ABT being in the "TOP 5" category. I know quite a few international balletomanes who would immediately place non-RB/POB companies like Stuttgart, Hamburg, ahead of ABT, in terms of overall quality of dancers. I think the Makarova, Misha, Nureyev era was certainly a peak moment in ABT's company history and is representative of my point here. With today's level of classical quality at ABT, along with productions that lack finesse/good sense of style like McKenzie's SL, it may be a bit more difficult for ABT to achieve the same kind of success as they did in the 1970s.
  14. "BLACK AND WHITE" (works by Jiri Kylian) Feb 12th -- Feb 15th, 2009 http://www.bostonballet.org/templates/content.aspx?id=5536
  15. Did anyone see the performances starting this week? I heard the GALA was beautiful!
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