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cubanmiamiboy

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Posts posted by cubanmiamiboy

  1. On 7/16/2021 at 4:15 PM, canbelto said:

    The Metropolitan Opera and Carnegie Hall have both announced this policy:

    https://operawire.com/metropolitan-opera-announces-mandatory-audience-vaccination/

    https://operawire.com/carnegie-hall-to-require-proof-of-vaccination/

    I think moving forward this will become the policy.

    Ok....so I guess no NYC for me for a while. This is not the best time to return anyhow....

    I'll wait.

  2. On 10/13/2021 at 2:27 AM, Drew said:

    Thank you for writing about this. I definitely weary of watching ballet on video even though in many ways I have depended on it even when there wasn't a pandemic as I don't live in a city with (what I consider) a major ballet company or that gets tours from other ballet companies.

    I'd like to say I'm reading a lot about ballet and this work by/on Legat sounds very interesting....but I haven't been doing too much ballet reading either. (Other reading yes...developing some stay-at-home hobbies too. Also: work under present circumstances also just leaves me a lot more exhausted than it used to do.)

    It is very nice hearing back from you, dear Drew! I really hope to meet you again in the future, for the Mariinsky DC performances or in NYC once something really good comes up. Please...read the book.聽 It goes really fast and has s very engaging structure.聽 Be well, dear!

  3. Its been a hell of a time.聽 Horrible in so many ways to even attempt to recount it. But we all know all of it quite well聽 I'm afraid.聽 聽And I haven't seen any live ballet. Nobody has, or course.聽 I can't stand online viewing.聽 For anything, particularly for book reading, ballet performances or even films-(I'm a hardcore cinema fan, and even that has been greatly diminished lately). Anyhow...if there's any consolation to my lack of traveling and live performances viewing, it is that I reverted to literally eating books.聽 Devouring them at light speed. And some ballet books have made it into my bookathon.

    "The Legat Legacy" is one of them.聽 The聽 book is comprised of Nikolai Gustavovitch Legat's own memoires translated for the first time from Russian to English in 1936 by Sir Paul Dukes, and here subsequently re edited by Mindy Aloff with the wonderful addition of the words of our own RG, Mr Robert Greskovic, which in his great Introduction gives us a masterly summarization of the life and immense influence on the art of teaching of the late ballet pedagogue, along with corrections on some mistakes from both the original Russian text and Dukes' translation.

    Legat's thinking is basically that of his immense respect and utterly admiration to his own teachers, Johannsen and Cecchetti, but particularly Johannsen, whom he considered the base and center of everything the world knows today as the Russian ballet school.聽 Then there's also a wonderful account on Legat's own father-(a great dancer himself)- and a few, sad words on his prematurely departed brother...although he doesn't dwell on the issue of his suicide.聽 聽We are given spicy, colorful descriptions of celebrated classmates. The famous/infamous ballerinas of the Imperial stage are all in there...with special warm words to two opposites: Kshessinskaya and Pavlova. the former one for her unparalleled technique-(only matched by her Italian rivals)- and mutual onstage empathy, and the second one for her uniqueness, warmth and purity in which she conducted their loved artform.聽 Both of them cherished by Legat as true friends.

    Later on there are accounts from some of his most distinguished pupils, telling us about the uniqueness of his method.聽 The way some of them refer to the mystique and mystery of his communication codes-(not understood by many, but like a wonderful Pandora's box wide open once someone was able to grasp it)- quite reminded me at how some聽 Balanchine's alumni speak similarly about his classes. If anything...everyone seems to agree on the fact that his classes were not for everyone, but rather to perfect the finesse of the already accomplished dancer.聽 Hence the name..."Class of Perfection", which he initiated in Petersburg and continued in London.聽

    I enjoyed tremendously the book.聽 The words of those who "got" his teaching speak of an unmatched, witty class genius, and one that England didn't really know how to handle-(Dame deValois wasn't too kind of the man, although she admitted he was s genius).

    If you haven't read it...do so.聽 Highly recommended.聽

  4. 16 hours ago, pherank said:

    聽Cancel Culture is a type of mob rule, and entirely dependent on group mind. The individual is going to suffer, and is, seemingly. That's not a positive institutional change by me.

    And it would be a mistake to think that anyone one of us is immune from cancellation.

    馃憦馃憦馃憦

  5. 4 minutes ago, Helene said:

    My friend who graduated from nursing school within the last decade聽worked in hospitals only, so color me confused.聽

    It is not a secret than certain chains of hospitals, like the one I work now, don't hire new grads. There are others than do...but not that many. Usually a nurse starts in a nursing home or home health setting to eventually jump to a hospital. With a couple of years on one's back, at least management can guess the nurse has been at least in one code blue.

    All this, of course, if you depend only on your resume...and you don't have someone who gets you in-( as it was my case many years ago).

    In other words, and to link this with the ballet discussion. I hope that, if a quota starts in SF ballet, that they somehow can pair said quota with real talent. Otherwise the whole thing will be a sad travesty.

  6. 1 hour ago, Helene said:

    People get hired for all kinds of reasons that have little to do with their resume.聽 People get hired for their resume, when their resume does not really reflect their ability.聽 People don't get interviews because of the name on their resume, so anyone who is hired is not necessarily the best available聽candidate, but among those who are considered acceptable by the hiring manager.

    Unless hiring is blind, whether it be a musician behind a screen who walking over a carpet that hid their gender, race, etc.聽 -- and, usually the final audition is not blind -- or purely based on professional test results, which most likely have their own implicit biases, the only way to know you weren't hired for reasons other than competence and merit is to hire yourself.聽 And if you hired yourself for other reasons, you at least know why.

    Got a little lost here. Sorry, Helene.馃槅

    Nursing is a black and white thing. Hospitals don't hire new grads. They don't want newbies in a code blue. So that's why I wonder if things are getting more....relaxed, now that there's pressure from all types of new diversity boards or diversity managers.

    As per ballet, well.... Swan Lake is not a code blue, and nobody's gonna die after seeing Misty and her 12 traveling fouettes. But hey....they definitely opened a whole Pandora's box.

  7. 10 minutes ago, Phrenchphry11 said:

    You know, it's interesting you bring that up - at my current place of work we've instituted the "Rooney Rule" where we have to interview at least one minority candidate for every role we have open.聽 I wonder if that's something that can be done in the ballet world.

    And.... I'm both Latin and gay. And boy...would I hate if I would know that I'm part of that hiring quota and not because of my long nursing resume....馃え

    But I guess I'll never know. How does the hiring part approaches that on your workplace...? After you tell the hired party that they are hired....do you tell them that they're part of a quota...?

  8. I wonder if they would pull another Misty Copeland number. (And no...no need to get into a discussion about her....again. We all know all very well all the "in favor" or "against" theories that her controversial appointment as Principal generated)

    I am a nurse, and in my hospital there is a hiring quota for nurses. Certain amount of LGBT and certain amount of certain minorities are to be hired. I wonder if they can start doing that in ballet as well....

  9. What a disgrace. Nothing was proved and still he was cancelled and vilified.聽 聽And now he killed himself.聽 This is horrid.聽

    聽Bring on the acussers. Publicly. Ask them to publicly prove their case. Yes. Publicly because the vilifying and destruction of their lives and careers was public. So if there's no prove, that needs to be seen in public too.聽

  10. This are times to be tough. Generally speaking. Cancel culture and bullying are running wild and rampant. Allegations are being taken as proof, and people really have to have their heads well centered not to succumb. Just last night I was watching a prominent politician-( a certain Governor)- speak about it, and his demeanor stroke a note on me. I thought..."wow....I would be crawling in a corner....but look at this guy. So strong and unafraid".

    And just a few hours later, this....

    What a shame.

    My deep condolences. I truly hate all this. It makes me want to vomit.

  11. "After a year's absence from performing in front of live audiences due to COVID-19,聽Dance NOW! Miami (DNM) returns to the stage on聽Saturday, April 3 at 8:30 pm,聽bringing their second program of the season tothe聽Aventura Arts & Cultural Center.聽One of the leading contemporary companies in Florida, they will perform the reconstruction of Jos茅 Lim贸n's聽iconicLa Malinche,as part of their聽annual Masterpiece In Motionseries,聽along with other works.

    La Malinche is the first piece Lim贸n choreographed for his own company in 1947. It is based on the real life story of an indigenous Nahua woman who played a key role in the Spanish conquest of the Aztec Empire, and is a legendary character in Mexican cultural history. The piece has been reconstructed on DNM by Daniel Lewis, Lim贸n's protege and former Artistic Director of the Limon Dance Company after the founder's death, well known in Miami as the Founding Dean of the Dance Department of New World School of the Arts. La Malinche is presented in collaboration with the Jos茅 Lim贸n Foundation and the 75th anniversary of the Lim贸n Company."

    https://www.dancenowmiami.org/events/program2

  12. On 2/15/2021 at 1:09 PM, volcanohunter said:

    If you want to get some idea of what Grand Pas Classique in a full-length setting would be like, try Marco Spada. I won't speak for anyone else, but I found 2+ hours of Auber's music to be unbearable.聽:pinch:

    But THAT'S the thing...it doesn't has to be necessarily the same composer! You see...I'm thinking more on the lines of what Petipa's ballerinas did, and many times with his own approval, which was to interpolate dances from other ballets....in many cases pieces that were good enough to survive on their own without the rest. Pieces that they knew had tested the balletomannes waters and would be safe tickets to new creations.

  13. On 2/15/2021 at 8:40 PM, canbelto said:

    I could see if they did a ballet about, say, Anna Pavlova or Marie Taglioni that they'd interpolate some of their most well known numbers into the ballet.

    Bingo! Like "La Mort du Cygne" on a 1 act ballet ! I mean, even if we love the piece as a gala item.... wouldn't it be more... exciting to see it as part of a larger work...? My point is that, given that the pieces are 1- Popular, for which they have survived as solos, and 2- that they are quite not much seen given their restricted frame of gala nights, they could be of better use!

  14. 1 hour ago, volcanohunter said:

    I couldn't say the music is unknown. Several productions of聽Swan Lake聽I've seen use the adage, but not Balanchine's choreography, obviously. Other productions use the聽male variation for Siegfried. In a few cases the聽female variation is used, although not聽for Odile. And practically every audio recording of the score includes it, because musicians are interested in what Tchaikovsky composed, not how Petipa reordered the score afterward.聽

    Intricate hand grips are extremely characteristic of Balanchine, used in ballets that don't imply any seduction whatsoever. And we can't claim to be respecting Balanchine's intentions if we drop the piece into a context he never intended.

    There is so little of Petipa聽in most productions of Swan Lake.聽I would be聽against removing whatever after-Petipa choreography聽remains.

    Well....this is a fantasy. If we go against "dropping the piece in a context they never intended", this whole thing makes no sense of course. Dolin would probably say no about Grand Pas de Quatre as part of a full length. So would Gsovsky and everybody else, including Balanchine.

    My point is that some of this pieces are so little performed nowadays that it is a shame that being so wonderful and exciting, they are constricted to gala performances...and quite disappearing-( like Grand Pas de Quatre).

    And then...in many new creations we see, the pdd's are... so forgettable, that I believe it would be probably better to re use an existing material that has gone successfully thru the test of time.

    How about Satanella pdd...? (I know...it comes from a pre existing full length...but..it has been by itself for so long...! )

    Or...Grand Pas Classique..?

  15. 22 hours ago, volcanohunter said:

    Does the聽Tschaikovsky Pas de Deux聽strike you as even remotely seductive? It doesn't seem that way to me, so I can't imagine how it could be made to work dramatically in that context.聽

    Choreography wise...? Well of course! At some point there's even a little hand playing between the dancers! And many ballerinas do a lot of eye flirting while in the entree/adagio. Ashley Bouder, for instance.

  16. 13 hours ago, canbelto said:

    Uh ... the choreography just doesn;t fit Swan Lake. It's more a 9 minute virtuoso display and thus the perfect gala piece. I also couldn;t imagine anyone doing the Tchai pas in an Odile costume,

    Oh...there would be no changes whatsoever. My idea includes the notion of respecting ALL aspects of the gala piece, including the original costumes. I would certainly welcome Balanchine's creation within a SL. The audience would had a double treat. 1- The Choreography by Balanchine and 2- The opportunity to listen to this deleted and now almost unknown 1877 SL music, along with the little聽Sobeshchanskaya/Minus/Tchaikovsky/Petipa story on the how and why it got created and eventually deleted. With the actual vast array of endless black tutu'ed carbon copy Odiles around the world, the Tchai Pas would be quite a refreshing contender! As per being a virtuoso piece. Well....every pdd of the classical repertoire I can think of is surely a virtuoso piece. Some of them EVEN MORE "showy" than Tchai pas-( as with everything where we expect 32 routes).聽 Tchai Pas has, to my eyes, really nothing that moves away from the classical language. It's pure classical ballet to pure "musique dansante".

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