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fondoffouettes

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About fondoffouettes

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
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    Jersey City
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    NJ

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  1. I'd forgotten the injury was in this very ballet. I've only really experienced Veyette post-injury so his level of dancing in this video is much more impressive than what I'm used to seeing (though I thought he looked good in the Allegro Brillante video).
  2. Love, love, loved the stream. I only wish they'd decided to close out the season with Balanchine. I agree with others that this really plays to Bouder's strengths, and the mannerisms that might be distracting in other roles are perfectly at home here. Are we seeing Veyette pre- or post-injury in this video? I'm referring to the major injury @canbelto has mentioned before.
  3. I like her, too. I thought she sparkled in Sonatine; it seemed like an ideal vehicle for her. I also really enjoyed her second run of Waltz Girl in Serenade, which I felt had a lot more depth than her debut run in the role. I've really disliked nearly all Wheeldon I've seen, so I was suprised to find that I enjoyed Liturgy. Kowroski looked incredible in it. I hope the forced time off is allowing her to recover from injury. What I wouldn't give to see her in Agon or Mozartiana or just about anything... I loved seeing Mearns and Janzen in Diamonds, and agree there was more delicacy in Mearns' dancing. And I always love her attack and speed in the Scherzo. I felt there was a greater intimacy between her and her partner in the PDD, which is the same thing I felt when I saw Kowroski and Angle after Farrell's coaching.
  4. If you needed something to make you feel more depressed, ABT's "gala" was it.
  5. Yes! His hands were gorgeous. His dancing was so incisive and expressive throughout; he really accented details that I haven't noticed before. I'm not sure we would have ever seen an Apollo from Stanley if Martins had remained in control of the company, so I'm especially grateful to be able to watch this performance, if only on video.
  6. I also give NYCB a lot of credit for carefully planning out its digital offerings. When the COVID crisis started, the impulse of a lot of performing arts organizations was to try to get a ton of streaming content up immediately, which I understand, since they wanted to give people something to feel good about. But this curated "season" seems really well thought-out, and the content high-quality. Jonathan Stafford's collection of porcelain ballerina figurines made me smile, and then the performance brought me to tears. It would be an understatement to say Peck was dazzling. I also agree that yes, Veyette was much better here than when I saw him in the spring that year, when he really seemed tense and unable to keep up.
  7. All I can say is that I've never heard anything from the NYCB orchestra pit during bows, so whatever they are doing is apparently working for them. This company performs more ballets, for more performances, than any other company in North America, so if the orchestra needs to practice/tune during bows, so be it. I've sat all over the house and have never heard anything from the orchestra during bows.
  8. NYCB uses those from-the-wings overhead shots in their videos for social media, where I think they work well. I'm guessing they were the only overhead shots they had available for this performance. I would have eschewed them altogether, but at least they were brief. I've never noticed the orchestra during stage bows. I think we heard them on the video because they were mic'd. The applause must usually drown them out. I found this performance profoundly moving.
  9. What is any city without its cultural and communal life? But yes, I understand the burdens of city life can come into high relief when there aren't the benefits to offset them. The parks were the last "normal" thing I'd been enjoying in Jersey City, where I live, but they've now closed the last of them.
  10. This is so disheartening, to say the least. If the coronavirus is expected to peak in May, I don't see how ABT can expect their season to go on. I wonder if there's any possibility of ABT pushing their season further into the summer, assuming the Met is dark in July and August. I realize this might not be desirable or feasible for various reasons...
  11. The Kennedy Center has canceled performances through March 31, so at least NYCB's opening night is canceled. Press release below. FOR IMMEDIATE RELEASE: Thursday, March 12, 2020 at 4:00 p.m. EST A STATEMENT FROM THE JOHN. F. KENNEDY CENTER FOR THE PERFORMING ARTS All Kennedy Center Performances and Public Events Canceled Through March 31 in Response to the COVID-19 Pandemic (WASHINGTON)—The Kennedy Center’s highest priority is the health and well-being of all our patrons, artists, volunteers, and staff. In conformance with the specific public health recommendations issued by D.C. Health and Mayor Bowser, and due to the increasing threat of COVID-19, all public performances and events scheduled at the Kennedy Center through March 31 will be canceled effective Friday, March 13. Until further notice, the Kennedy Center campus and its facilities will be closed to visitors, however, administrative staff will be on hand to continue basic business operations. The restaurant, café, and other food service will also be closed due to canceled performances. Kennedy Center programmers are exploring options for rescheduling artists and productions for a future date where possible. The following events on Thursday, March 12, will continue as scheduled: Shear Madness Millennium Stage Forté – A film by David Donnelly Kennedy Center President Deborah F. Rutter stated: “While this is an extraordinarily difficult decision to suspend all performances and activity throughout the month of March, it is the right thing to do to protect the health and well-being of our patrons, artists, and staff. Kennedy Center leadership has taken swift action and will do our part to help in the serious containment efforts called for by our city’s and country’s top government officials and medical experts.” TICKET EXCHANGE, DONATION, AND REFUND INFORMATION The Kennedy Center is committed to providing the utmost flexibility for our patrons in light of these circumstances. Ticket holders for performances scheduled to take place between March 13 and March 31 have the following options: Exchange your tickets for a future date or alternate show (where possible) Donate your tickets, and receive a tax deduction for the total ticket value Exchange your tickets for a Kennedy Center gift certificate, or Receive a full refund for the value of the ticket and associated fees Kennedy Center Box Office agents will be ready to accommodate individual patrons’ needs. However, due to anticipated volume, we ask for your patience as we address each and every case. For assistance, please contact the Box Office at 202-416-8540 between 10 a.m. and 5 p.m. daily or email BoxOffice-AdvanceSales@Kennedy-Center.org. For the most up-to-date information regarding the Kennedy Center’s response to COVID-19, please visit the Kennedy Center website.
  12. Brandt reports in her Instagram Stories that she’ll now be dancing opposite Cornejo on March 26. I assume she replaces Copeland? (Apologies if this has already been reported in another thread.)
  13. And Garcia has also indicated his retirement is imminent. I'm wondering what's up with Kowroski. I've cherished many of her recent performances, and would like to see her revisit some of her signature roles, but if she doesn't foresee a full return to her rep, Vienna Waltzes this spring could perhaps serve as a retirement vehicle. Also, Jared Angle doesn't really dance any longer it seems. And I can't remember the last time Sean Suozzi has appeared on stage. Spring 2018? Perhaps he did some Drosselmeyers this winter; I can't recall. So, there should be some spaces freeing up in the near future.
  14. Despite whatever growth she experienced from her stint on Broadway, Fairchild remains a competent yet uncompelling artist in many works in her rep. As an artist, she colors inside the lines. I don't feel as if she has something unique to say in many of her roles.
  15. I'm not sure to what degree this may be used as a predictor of promotions, but NYCB selected Unity Phelan to receive its 2020 Lincoln Center Emerging Artist Award. (Each of Lincoln Center's 11 constituent organizations chooses one of its artists to receive the award.) The past NYCB recipients have been... Sebastian Villarini-Velez, 2019 (promoted to soloist Oct. 2018) Ashley Hod, 2018 (I think she suffered that injury in the spring season that followed.) Joseph Gordon, 2017 (promoted to soloist Feb. 2017, and to principal Oct. 2018) Indiana Woodward, 2016 (promoted to soloist Feb. 2017) The awards were inaugurated in 2016. Here's this year's press release. which includes a quote from Stafford: http://www.aboutlincolncenter.org/press-room/release/1213 "With deep intelligence, [Phelan] knows how to cultivate her own unique artistry toward shaping, developing and interpreting the full spectrum of our masterful repertoire. She has become one of our most in-demand dancers and has an exciting future ahead.”—Jonathan Stafford (Artistic Director, New York City Ballet)
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