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cubanmiamiboy

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About cubanmiamiboy

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer, fan
  • City**
    Miami Beach
  • State (US only)**, Country (Outside US only)**
    Florida

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  1. cubanmiamiboy

    David Hallberg

    Somova and Hallberg definitely make for a most handsome all blonde couple. Their performance might not be a technically fierce one a la Polunin/Osipova-(Somova was never there and Hallberg won't probably come back to it)- but they are definitely ver beautiful to watch, physically wise, with those gorgeous lines. Definitely worth it.
  2. cubanmiamiboy

    Are there any great Classicists today?

    I usually hear that conductors adapt to the demands of dancers, although there are stories in which conductors have stood up against it. In an infamous one a Cuban ballerina was calling for an excruciatingly slow tempo in the white swan Adagio during rehearsal and the conductor stopped and, to the question of why he was going against her choice, he angrily screamed from the pit "because that's how Tchaikovsky composed it!!". There are segments that remain famously unchanged in ballet in certain companies. Kitri's variation with passes at the Bolshoi is one of them. I haven't seen one instance in which the tempo have slowed down by any ballerina there. It is famously fast, and I think Struchkova set the difficult bar for generations to come. @ 1:12
  3. cubanmiamiboy

    Are there any great Classicists today?

    Wow...what a beautiful piece and performance. Thanks for the uploading.
  4. cubanmiamiboy

    Chase Johnsey leaves Trocks; Joins ENB

    True. They can be misleading. Edited to add: Thanks, canbelto for changing the title..
  5. cubanmiamiboy

    Are there any great Classicists today?

    Mme. Collier yes, yes YES! Her Fee Dragee ought to be the quintessential mark of pure female classicism. I also treasure that video, because not knowing that the original pdd had survived in England, I truly missed it when I came to the States and started watching MCB Balanchine's. Then one day I bought the video by chance and VOILA' ! There it was the beautiful pdd just as I remembered it from Alonso's staging after Fedorova..! And danced nonetheless by the amazing Collier and Dowell. A real feast for the academic-loving eyes. Two thumbs up, Charlie! 🤗🤗🤗🤗
  6. cubanmiamiboy

    Are there any great Classicists today?

    Which is why I thought of her right away. I find her dancing, if daring and exciting, beautifully and properly controlled and aligned at the same time. I am a huge fan of Osipova-( I nominated both on the "Today's rulers" thread)- but in regard to overall detail to proper classicism I don't see Osipova the way I see Peck.
  7. cubanmiamiboy

    Chase Johnsey leaves Trocks; Joins ENB

    But according to the title of this thread....😶
  8. cubanmiamiboy

    Are there any great Classicists today?

    I second the above. That ribcage shift-(to the side in a la second or forward in atittude derriere a la Somova)- makes me cringe. I would say the few who qualify are those who put themselves far from position distortions and bizarre turns-(again...Somova's horrible "kick out" fouettes come to mind). I nominate Tiler Peck.
  9. I did, Charlie. I was thinking of their Swan Lake while writing about Berlin's Nut. I didn't know it was commercially released! I own a good bootleg but it's time to change then. Thanks for the update!🤗
  10. Agreeing to disagreeing here, dear Drew. Grigorovich treatment of the Nutcracker looks like an abomination to me. It is a shame that Russia has successfully got ridden of anything that resembles the original production. I can't stand the Mariinsky Vainonen's either. Sir Wright's Royal Ballet-( Collier/ Dowell-)- por a comprehensive link to the original libretto and the glorious original Pas de deux. A bootleg of Berlin's Medvedev/Burlaka for more Imperial "Petpaesque" feeling re libretto, costumes and scenery.
  11. Yes. That was for T&V. There's a video of her coaching Paloma Herrera and Corella in the roles. But my question remains as to why Waltz Academy is not even listed, as if it never existed. I wonder if that's the same case with other of his "lost" ballets...
  12. Through the 80's and early 90's Aonso presented the three B works she had danced in-(WA, Apollo and T&V)- in her own stagings... without the Trust licensing-(which at some point created a major legal issue). For what I can tell T&V was just exactly as I have seen it here, but Apollo was longer and somehow different in style and less bare-(later, while already in US, I knew about the revisions done by B). There are probably bootlegs of that gala somewhere, but no official recording was made. Given the resolute way in which she has treated the works she danced in through the years, it would had been a great idea to have the work somehow recorded. But it wasn't done, sadly. So...the fact that it is "lost" is the reason for not being on the Trust list...?
  13. Where is 1944 "Waltz Academy" ?...Alonso danced in it and I vaguely remember a mid 80's staging she did in Havana for a double tribute Balanchine/Massine in which she presented both WA and Aleko. By then she was mid 60's, still dancing and very much sharp. https://goo.gl/images/9YcBq4 https://goo.gl/images/oyoZtZ
  14. Some performances, either live it on DVD are worth to go see not specifically for their dancers but for the production itself. Pharaoh's daughter is one of those. This is a recreation of one of Petipa's most successful ballets, and also a lavish production, so yes. As per Zakharova, I think you will find, at least on this forum, a general distaste for her technique. I myself don't care about her dancing, but who knows....maybe you will enjoy her.
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