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cubanmiamiboy

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Everything posted by cubanmiamiboy

  1. Courtesy of John Clifford.
  2. A lifelong of medical career usually places your brain into binary gender mode. You know... working with organs, labs and such. What can I say. Understand that this is really off topic now. My apologies. Back to Polunin.
  3. Because there is one "truth" for each individual. Some are factual...some are not . Identities are very intertwined with feelings, and we all know that "facts don't care about your feelings".
  4. I hate be the discordant sound here but I'm sure I'll voice what many might be thinking. When picking a head of a ballet company I pretty much agree with what Clifford has been voicing on his controversial videos. Shouldn't the BB get someone more in line with the tradition of this troupe's past...? And even more... couldn't they get a British to really carry on this British ballet company which I assume has its own particularities and style that might make it unique and different from, let's say, a Cuban or a Russian company..? It is not a secret that ballet is becoming more and more globalized, and that more and more the RB is seeing less of Ashton, ABT even less of Tudor or that the Mariinsky doesn't look-(to me)- as the current ultimate repository of Petipa. So...in line with what Clifford always repeats... wouldn't it be more appropriate to get someone older...with more experience with this company's repertoire and style...? To be honest....I was hoping Acosta would soon substitute Alonso, who's close to be 100 already. He seemed the perfect candidate to reinvigorate the Cuban company which looks stucked in 1955. Just sayin'....
  5. I went to the ballet last night and tonight. Same cast both times. Dances at a Gathering is a ballet I don't particularly love, although I appreciate its poetry and musicality. It is just too long and -(in my eyes)-repetitive. I always think of "In the Night as "Other Dances" with a bit of a buster...and "Dances..." as "In the Night" in steroids. I definitely like some of its numbers more than others. The first male solo-(veteran Renato Panteado in brown)- was very charming, but I particularly liked the "green" girl solo, which I give my own little story of self reliance and "joie de vivre" no matter the circumstances. I find the fact of anybody brushing off rejection or "invisibility" very alluring and encouraging. And just as my life saying goes..."if it happens, fine...if not, then fine too" . Lauren Fadeley was that girl, and her particular buoyancy and strong persona she projects onstage might had added to the success of her solo. I also loved Shimon Ito-(in brick)- and his relentless pursuing of Nathalia Arja-(in apricot). Robbins/Tharp "Handel/Brahms" was quite a musical/dancing extravaganza. Dancers from the Robbins team owned their more classically inspired idiom, and Tharp's were showing more of her contemporary take. It is all very fast paced, and quite interesting. A friend of mine from Cuba, not too used to the speed of American choreographers remarked that he was impressed by the speed and quickness of both the choreography and the dancers. "That was a killer!" he told me. And it is, it seem. During curtain calls dancers were heavily perspiring! The four soloists were Jennifer Lauren/Kleber Rebello and Nathalia Arja/Alexander Peters. Bravi tutti!!
  6. Gelsey Kirkland, of course, comes to mind. She's been talking about this for years. Glad someone else is taking the baton.
  7. Thanks for the link, Deflope. Watching the dancers talk about how grateful they are to have such source of knowledge within the company made me think of how Clifford constantly reminds his viewers of the names of Kent, Farrell, Villella or McBride...and how they should be given a more permanent coaching space-(just like the one Kolpakova has at ABT)- at NYCB before they're gone.
  8. For all of our Orthodox friends, wishing you a fulfilling Christmas for you and your loved ones. And Happy Epiphany to those who celebrate it! "El dia de Reyes"-(The Three Kings Day)- which was a much sought afer feast among kids in pre-Castro Cuba because it was the day that toys deliverance occurred via the camel-riding Kings.
  9. Oh lord...how complex this whole thing is ...😶
  10. I went to the New Year's Eve performance. Rachelishvili's voice pierced through the auditorium with such force that she ended up owning the performance. Beczala was more than adequate, and same with Netrebko...but it was Anita who had the biggest impact. She was magnificent. https://m.facebook.com/story.php?story_fbid=10156334141874191&id=647664190
  11. She has basically follow on Villella' steps. Mix programs...a couple of Balanchines, and one Taylor, Tarp, Ratmansky, Wheeldon, Peck et al. Not much has changed since she took over, and she has said so in pre performances talks. The one thing I noticed is that She drastically added many more Nutcracker performances, increasing the number every year, and adding Naples to Miami, Broward and West Palm Beach. It was a real marathon this year for the dancers.
  12. And considering how strong Russian nationalism has become during Putin's era, his political views-(him being Ukranian)- sounds pretty appalling to his countrymen. The whole gender thing is a totally different animal in my book.
  13. I was referencing to his point of men being the "strong sex" vs women as the "weak sex". By doing so, even if perceived wrong by a big part of society, he's also voicing the sentiment of another part of the same society who sides with his view.
  14. Exactly. It is not for someone to say "God doesn't exist" as opposed to "I believe God doesn't exist". He's certainly voicing, aside from his own, a good part of society's opinions, including well known religious sects. Controversial but very much present.
  15. So I see he has voiced his opinions on transsexualism. And particularly on ballet.
  16. Happy New year, BT'rs! May God provides a bountiful year for you and your loved ones, with plenty of health and good fortune.
  17. I side with much of what Clifford says about staging, particularly about tempi, costumes and lighting. He mentions crashing with Zakharova and Lopatkina when staging Jewels, and I can see why. Some of the Russian tempi are dreadfully slow....almost soporific. And according to the videos, it looks like he was one of those "sharpies" of ballet. His quickness was evident. He keeps mentioning Kent and Farrell as best choices of AD. I think it would do good to try to get as much of their input before they're gone.
  18. Harlequinade is much of a soubrette-driven ballet, deprived of the technical fireworks that people usually look forward to. I found it charming, but I wouldn't necessarily travel again to see it. And then....it has been only some months since they put it, so ...
  19. Best. Ratmansky's recon of Harlequinade. It is good to be reminded of how Imperial productions used to look like. Ashley Bouder/Joseph Gordon in Coppelia. She's definitely my type of dancer. Legs and ankles of steel. Osipova's Giselle and Bolle's Albrecht. They are real artists. I didn't care for their partners. MCB's Nathalia Arja as Dewdrop, Jennifer Lauren as Sugarplum and Kleber Rebello as cavalier. Spectacular. MCB' s Ballet Imperial. They know how to dance this. Herman Cornejo in "In the Upper Room" Alvin Ailey's amazing end of season program, with the ever revered "Revelations" MCB production of "The Cage". Fascinating piece! Worst. Megan LeCrone/Andrew Veyette in Nutcracker. Just painful to watch, as I said earlier. Jessica Lang's Garden Blue for ABT. Horrid. NYCB firing of Finlay, Ramasar and Catazaro. Just very sad and unfortunate. McGregor's "Afterite" featuring "Misty the photographer"...😂😂😂
  20. Carlos Acosta refused to wear it.
  21. Well ..I really didn't have that many options, as my week had been basically packed. I HAD to put Damrau's Violetta, Netrebko/Beczala/Rachelishvili's A.L, The Rockettes and Ailey's finale at City Center before the Nuts...so I was left only with the matinee. 😪
  22. I went to a very unfortunate Sunday 29 matinee. Leads were LeCrone and Veyette, who looked SO uncomfortable during their pas de deux that it was almost painful to watch. LeCrone's facial expressions was very harsh, which her extreme makeup didn't really help, and the very few times she attempted a smile it came out more like a facial angst. Veyette looked heavy. I was just praying that the over the shoulder lifts would get done. They did with no accident, and when the Adagio was finally over one could tell they we're IMMENSELY relieved. Too much tension, shaking hands...nervous partnering etc etc. The Candy Cane lead missed on one of the hoop turns, the Marzipan lead lost her balance during the soutes on pointe, and the Spanish dance male lead-(a black guy)- totally lost track of the tempo during his final turn, and landed with no music altogether. The one highlight of the show was the girl who danced Dewdrop. If I can find my playbill I'll mention her name. Her and the adorable kids who played Fritz and the Prince were the warm touches to an otherwise insipid performance.
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