cubanmiamiboy

Mmm...Tharp , to me, gets pretty much into a grey zone. I don't really find her music that exciting anyways. I was just thinking on something more powerful...more intense and energetic. Somewhere-(maybe in Farrells' biography...?)-I read something about some ballets done by Bejart in sports arenas, where dancers would make entrances in motorcycles and the like...very noisy, but very uplifting, so I was wondering if some hardcore music like heavy metal could be of any use for this type of choreography. And then there is my personal attraction for the Law of Opposites...but that's another story.

Ok, so this is a topic-(or more like a question)-I've thought about bringing on for a little while, but never did, thinking it could sound too strange, or even laughable to many. Anyway...here's the thing. I've been following and embracing and loving heavy metal as long as I've done so with ballet. Has anybody ever had the idea to reunite both, I mean, to stage a choreography using some heavy riff like, let's say...Metallca's "Enter Sandman" or any similar "score"...? Just curious about reading your opinions about it.

The only recording I know of all the original score-(1877)-is the Dutoit, which is the only one I own. I never liked Drigo's orchestrations for the 4th Act anyway-("Un poco di Chopin" and "Valse Bluette"). Act IV looks much nicer and comprised in its original '77 musical scheme.

Very nice, Alexandra...the girls look very serious and hard working.

Miami Symphony Orchestra, under Maestro Eduardo Marturet, just started their season. The program included Beethoven 5th Symphony and Tchaikovsly’s -(as it was called in another thread)- Piano Concerto # 1.. I don’t really need to review this. My long life devotion for Tchakovsky’s music would make the writing too partial-(which I know I am always anyhow, but sitll…). Just a little note…I changed my working shift that night in order to be able to attend the concert., so LONG LIVE TCHAIKOVSKY! Pianist Stewart Goodyear was amazing.Beethoven’s 5th was nice also-(particularly the Andante con Molto , IMO)…so long live Mr. B too..!

Alexandra...are they staging just the "Kingdom of the Shades" or the whole ballet...?

Has anybody seen It...? I was plannng on doing so tonight, but due to a schedule conflict I was unable to do so. Next week i'll go though. Almodovar is one of my long time favorites, and wonderful Marisa Paredes, one of hs favorite muses, stars in it. Looking forward to it!! http://www.sonyclassics.com/theskinilivein/main.html

If you enjoyed Alice, be aware that Neumeier's Littele Mermaid is very different and inspired to the "real "story: very tragical, not funny at all. And not for childrens :-) I grew up with a Russian cartoon as a baseline for "The Little Mermaid", and it contained the original story from beggining to the end, incluiding the suicide sequence. It was very beautiful... And here it is, thanks to the magic of Youtube..!

If you enjoyed Alice, be aware that Neumeier's Littele Mermaid is very different and inspired to the "real "story: very tragical, not funny at all. And not for childrens :-) I grew up with a Russian cartoon as a baseline for "The Little Mermaid", and it contained the original story from beggining to the end, incluiding the suicide sequence. It was very beautiful, and then one day, as an adult, I saw the distorted WD ending, which I've never been able to truly digest. Not everything has to be funny, or fun...kids can certainly learn also, if well prepared, from the beauty of tragic fairy tales..

From the Youtube poster: "Here are 4 extremely rare pieces from Marius Petipa's ill-fated ballet "Le Miroir magique" ("The Magic Mirror"). The ballet was set to the music of the avant-garde composer Arseny Koreshchenko, & was given its first performance for Petipa's retirement benefit at the Mariinsky Theatre on 22 February [O.S. 9 February] 1903. With my upload is the set design of Alexandre Golovine. Bolshoi Theatre Orchestra conducted by Alexander Lazarev. CD Melodiya 5634-A, 1994. 1. Scène 2. Adage (this is likely the work of Riccardo Drigo, who Petipa had revise the score) 3. Variation 4. Valse de la Princess (Variation pour Mlle. Mathilde Kschessinskaya) Enjoy" Now, can you imagine a reconstruction of this, or even a completely new Snow White ballet set to this original score...? You can't ask for a better "musique dansante" example! I would vote for a YES!. http://www.youtube.com/watch?v=4qpTPIyHbFY

Here's a clip of the whole scene, all the way to 4:32.

I'm sure the majority of members here have seen one way or the other the complete mime of Berthe narrating the story of the Willis to her terrified audience, including Giselle and Loys. But for anyone who hasn't had the opportunity to see it live-(or in video, as I've never found one that contains it so far)-here's a clip of the whole thing as it's still kept in Cuba. Giselle is Annette Delgado. Loys is Joel Carreno. The mime runs from 1:03 to 2:17. Enjoy!

re: Les Sylphides staging. I just checked the sources and the Cuban Sylphides staging dates from 1948, and it was brought from what was being danced at BRdMC. That specific arms position-(which I just noticed is still done in Cuba)-is certainly from back then, which makes it around the same time that Baronova was dancing it. Talk about continuation in two different directions...

As Natalia says..."Petipa lives!"... Thanks, Alexandra for this clips.

The point of becoming a national curiosity...? Sorry to be a little off topic, but...what a painful act to watch. Anyway...back to DWTS....

...meaning "In couronne" but with one hand sort of "dropped" below the other one...? If this is, then it is the same position of the Willis of the Cuban Giselle. The two hands are situated at different heights above the head

Cox is DEFINITELY NOT an Albrecht, and maybe-(but not necessarily)-neither a Franz, and I guess he wouldn't accept, being a principal, dancing a Peasant Pas de deux role, considering that an Albrecht in Miami could come from anywhere in the ranks, even down to a Soloist.

Well..this is a brief report on last night's town parties of Halloween. I went out-(my home made Rio Carnival meets Venice Carnival costume headpiece was so heavy I could barely walk... )-but anyways...just to report that Aronofsky's influence was HUGE this year. LOTS and lots of Odiles-(original Portman makeup and everything)-and even some Odettes, including many men in drag... . I found a friend of mine in a white tutu and even weari ng huge pointe shoes, and when I jokingly suggested that we should do a fish dive for all the hundreds cameras taking pictures around us, suddenly he retreated back and then...I WAS UP N THE AR, MY FACE ALMOST TOUCHING THE FLOOR!!...( I had meant to carry him, not vceversa...BTW... , but I tried my best to be graceful , and I think I did good... ). I will try to upload some of the swan pictures I took and linked them here.

Cerdeiro, in my humble opinion, is a dancer that has been pushed a little too fast to Soloist. He can take the light Balanchine roles fine, no doubt, but for the heavy sets, even those of Balanchine, I don't think he's still prepared. He was casted last season in the Balanchine/Villella staging of Diane&Actaeon, and even being this staging somehow watered down technically from the original, he wasn't up to the challenge. Kleber Rebello is also a Soloist, and he's definitely superior in his dancing. Also, from the past I remember "The Lifter" of the company, soloist Daniel Baker-(now sadly gone)-who wasn't offered many solos during his tenure in Miami and still was also superior than Cerdero.

Look up at Dudinskaya in the Sizova SB video...now THAT's scary...

Didn't the BRdMC had a staging of Raymonda pre BAlanchine...? There's a little clip of Krassovska dancing the part in the bonus materal from the documentary, if memory serves...

It is funny. Some years ago I saw this danced by MCB and loved it and thought it to be one of my favorites from my recently acquired "new" Balanchine repertoire. Back then I hadn't seen any Raymonda...not even on video. Later on I purchased the Bessmertnova DVD-(still my favorite...she is "my" Raymonda)-and now, after all the digging and exposure this ballet is having, watching it again I realize that it doesn't fit anywhere nearby its former position in my mind. It's amazng though how B.,after so many years post his last Raymonda viewing as a young man, was able to "transplant" it to new soil. Entire sequences-(particularly Raymonda's piano variation)-are strikingly the same as in the original choreography. Eglevsky's muscular, compact body looks as if having a life of its own, being able to be as weightless and airy as if he was as thin as Jose Martinez from the POB.

What's the staging background of this production ?. Was N. Sergueiev still around...? Was there any previous SB at the Vic-Wells around the times of the first stagings done by him during the 30's-(Giselle, SL, Nutcracker)- starring Markova...? Did Markova ever danced the role in England before Fonteyn...?

Ditto.