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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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  1. fondoffouettes

    NYCB 2018 Summer Season

    Wow, you're really right, now that I think about it. And she's been excellent in nearly everything I've seen her in. I've particularly loved her Waltz Girl in Serenade and Swanilda. I've only seen selected scenes from the Martins R&J (via Kathryn Morgan's YouTube channel), but it seems like less of a vehicle for older dancers, like the MacMillan is. From what I could tell, it was lots of repetitive, but vigorous and tiring, steps. I'm sure the technical requirements are no issue for Hyltin, but maybe NYCB doesn't envision ballerinas aging into this role, as you say. I wish her retiring the role meant that NYCB was removing the Martins R&J from its rep, but that doesn't seem to be the case.
  2. fondoffouettes

    La Bayadere -- Los Angeles 2018

    It's great to hear all these glowing reports of Shevchenko. Up until last season, it was clear she was gifted technically, based on her Kitri and Medora, but this year she's really shown what a great artist she is. I was very impressed with the depth of her characterization as O/O but sadly missed her Gamzatti during the Met season. Maybe she should be given a go at Juliet, in addition to Lane, of course.
  3. fondoffouettes

    La Bayadere -- Los Angeles 2018

    Yeah, I think in his book, Hallberg said something to the effect that Solor is the same three jumps over and over again. I think it's mostly that Act II is really a marathon -- that pas de deux feels like it goes on forever (in a good way). If you look up someone like Vladimir Shklyarov or Leonid Sarafanov, you'll see the full-on Russian-style bravura; I particularly like Shklyarov, who is so stylish, never vulgar.
  4. fondoffouettes

    La Bayadere -- Los Angeles 2018

    I think of Forster and Hoven as being more in the Marcelo mold -- not necessarily bravura dancers who are going to do lots of whiz-bang leaps and turns. Hoven is around 32 and Forster is somewhere around 31/32, so it may be getting a bit late in the game to take on a role like Solor. I think they'd be great as Romeo, Siegfried or Albrecht, though. Oh, and someone mentioned Forster as Des Grieux; even though I don't love the ballet, I think he'd be absolutely dreamy in that role. I think Solor is considered one of the more grueling male roles (so many leaps). Hallberg basically says as much in his memoir. And Gomes had to retire the role before he reached 35, I believe. I think Espada is another role that dancers may need to retire on the early side.
  5. fondoffouettes

    Peter Martins Retired; Succession Discussion

    Some very revealing words from Tiler Peck about the interim leadership situation: https://www.nytimes.com/2018/07/13/arts/dance/tiler-peck-ballet-now-documentary.html It's great to hear a woman candidly express her interest in leading a company, too.
  6. fondoffouettes

    ABT: Roster in Review - 2018

    I’m not sure if this has been reported previously, but it appears Kelley Potter is leaving the company, as well.
  7. fondoffouettes

    La Bayadere -- Los Angeles 2018

    Murphy is a fantastic Gamzatti, probably my favorite in terms of characterization. You are in a for a treat. Copeland being cast as Gamzatti has always been a head-scratcher for me. (And she's been dancing it for years, even before she became famous.) Her jump is barely there, and she struggles with both types of fouettes. I look forward to reports and am curious who will be dancing some of the soloist roles. Sarah Lane has indicated on Instagram that she's traveling to LA, so I wonder if she and Shevchenko will be dancing Lead Shades again. (I'm sure having a dancer on hand who can dance Nikiya, if need be, is also helpful.)
  8. Yes, the Balanchine Trust only lists active repertoire, since they are in charge of licensing works for performances. For a complete list of works Balanchine created, you have to go to the Balanchine Foundation's catalogue: http://www.balanchine.org/balanchine/search.jsp.
  9. For what it's worth, this 2004 review by Anna Kisselgoff describes Waltz Academy as a lost work. https://www.nytimes.com/2004/05/26/arts/ballet-theater-review-recalling-balanchine-before-city-ballet.html If it were revived as late as the 1980s by Alonso, it's too bad no record of the choreography has survived.
  10. fondoffouettes

    ABT 2018 Fall season

    This will be the first ABT fall season I'll be skipping since 2003, when I first started attending. Other Dances, In the Upper Room and Symphonie Concertante are the only real draws for me, but they are paired with ballets that are either known to be blah or are premieres (and ABT has a pretty bad track record with premieres lately). Plus, I can see Symphonie Concertante on one of the City Center programs. And I plan on a reduced Met season, after so many ho-hum performances this year. I wonder if ABT is losing ticket sales from its balletomane contingent; many in these forums have expressed they are going less frequently or not at all.
  11. I just logged in to by tickets and they've mapped the house so nearly all tickets are at least over $100 dollars, with most being much more. And I remember the view from Balcony feeling very strange. (I think it was a combination of being in a shallow auditorium but also up high; it provided a weird angle of the dancers.) I guess they are counting on this event generating lots of buzz and tickets sales, like the three-company Jewels, but wow, tickets are shockingly expensive compared to your typical NYCB or ABT performances.
  12. fondoffouettes

    ABT: Roster in Review - 2018

    Yeah, I think it’s just a goodbye until next Met season. Carlos Lopez has posted about Simkin’s departure for Germany, as well, saying “It’s only a ‘see you soon, friend’” and including the hashtag seeyounextyear. It does seem to confirm that he’ll probably just be a Met season artist, which has kind of been assumed all along.
  13. fondoffouettes

    Don Quixote Spring 2018

    I've never seen the ballet live, so I'm curious -- do ballerinas generally handle that last sequence differently, depending on their ability to carry a male dancer? The way Ferri carries Baryshnikov is quite remarkable, and you can also see her carrying him up the tower (unless there are body doubles or some other sort of theater magic at play...the video is blurry so I can't tell). I wonder if Kirkland just walked up the tower alone.
  14. fondoffouettes

    ABT 2018 Whipped Cream

    I keep picturing him as Siegfried, but I've been having the same thoughts as ABT Fan...that I'd love to see what he can do from a dramatic standpoint with Albrecht.
  15. fondoffouettes

    ABT 2018 Whipped Cream

    Yes! I felt like you really couldn't ask for a better cast. The Tea Flower role has so much sinuous port de bras and funny floppy movements, and I can't imagine anyone dancing it better than Stella, who really brings out the quirks in Ratmansky's choreography. (I think the only other Tea Flower I've seen is Murphy, who seemed miscast, and stiff in comparison.) Forster, again -- what a presence onstage. Like Hammoudi and Stearns, he's very handsome, but he's actually fully engaged as a dancer it's a pleasure just to watch his ever-changing facial expressions. I'm keeping my fingers crossed that he's given a couple leading roles next season, knocks them out of the park, and gets promoted. Lane was fantastic, even better than last year. What more could you ask for in Princess Praline? And part of what made it even better than last year was Simkin's impeccable partnering. All those quick little lifts were flawless. Simkin was adorable -- I don't remember him sticking his head in the whipped cream bowl in the finale last year! I couldn't help but laugh. Friends who had never seen him before said he looked like he was suspended from wires during his jumps. The jumps were magnificent, but you never expect less from him. The liquor bottle trio of Hurlin, Zhurbin and Lyle were great. I was so impressed with Hurlin, who didn't just dance well, but was such a strong comedic presence. Wow. Talk about being able to command the stage. And a shoutout to Marshall Whiteley, who as one of the gingerbread men fully inhabited the role and made tons of funny expressions throughout the cookie dance, or whatever you'd call it, in the first act. I tried to stay attuned to whether Ratmansky has made any revisions since last year, but I'm not sure whether he has. After taking a swig from the pink bottle, the doctor does swan arms as he exits the stage, which elicited lots of laughs. I don't remember that from last year, but it certainly could have always been there. Also, during the finale, all the dancers onstage make a sound of anticipation before Simkin does his first big jump. Again, this is a detail that seemed new to me, but I could be wrong. Simkin also seemed to add new flourishes to some of his leaps, but I'm guessing Ratmansky has always allowed The Boy to play around with that section a bit.