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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 sim
  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 credi
  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
  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 see
  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
  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 abou
  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 the
  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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