cubanmiamiboy

Yes, and I have done that too WHEN it was possible--for example during the Balanchine Celebration at NYCB in 93 (they did an entire season of nothing but Balanchine, including several rarities which apparently will never be revived again... ), when I saw twenty-seven performances--but as I don't live in Miami (nor Seattle for that matter) I can't go to every performance of every rep so I can finally see Ms. J. Delgado in T&V. NOR should I be forced to, I hasten to add. The fact is that any ballet company has 'utility' dancers--dancers who are just fine as far as they go, which is not very, and whom I never need or want to see in demanding principal roles in masterpieces. Tricia Albertson of MCB is one example. she's fine; she does the steps; I'm always disappointed and unimpressed with her in a big part. It is simply Realpolitik that there will be stars in companies, that there will be dancers whom almost no one cares to see (to say the least) who will be inflicted on the public anyway (Eleanor d'Antuono, Heather Watts, Yvonne Borree, Nilas Martins--the list from the past is endless...), and that advance casting informantion allows the balletgoer to avoid as many of these unfortunate circumstances as possible--and to go more often. Sadly, most of us do not have the option of attending most or all performances of a given ballet or ballets, and are not about to subject ourselves to The Somova Show. LOL! "The Somova Show"...he,he... ( This girl is REALLY going down in history... . I believe she's the most talked-about ballerina on this board..at least lately...) "There is no such thing as bad publicity except your own obituary". Brendan Behan

Here they are...also from rg, of course...!

To the Mods: This might be somewhere else in this board, and if that's the case, please delete it or move it. I just bumped into this lecture given by Vikharev and Fedosova in Tokyo, 2000 about the reconstruction of Sleeping Beauty. There are many thumbnails on it of the original production pictures. Enjoy! http://www.geocities.jp/ttpballet/lecture/sleepe.html

Are you serious that you'd really do that? ... Yes...I know... But Patrick. There's also another simpler reason that we're forgetting here and I believe makes a huge impact on this. MCB is a TINY company!-(I'm talking about number of Principals)-compared to, let's say, the Mariinsky or City Ballet with their gazillion numbers of front men and women. And hence, I really don't have that many bullets to play the Russian Roulette, you see...? I really don't have the luxury to indulge in a "sudden, pleasant surprise" due to the non announced casting, seriously... BUT... In the process I've learned how the "Gods of Casting"-(as bart calls them)-like to direct their kingdom, and so when the performances move to Broward or West Palm, I can be 99.9% sure of who will dance what/when...

Tonight I went to the New World Symphony at the Knight Concert Hall, and they played a beautiful program, an “All-Brahms” night. The program consisted in his Hungarian dances Nos. 1 and 10, his Piano Quartet No. 1 n G minor Op 25 in Schoenberg’s reverent, faithful orchestration and finally, after the intermezzo, his Concerto No. 2 in B-flat major for Piano and Orchestra, Op 83. The first two pieces, the Hungarian Dances, were quick. The No. 1 is a textbook demonstration of an orchestra sonority contrast in between the bassoon/strings on one side and the woodwinds/triangle on the other. The No. 10 look like if it could belong to the last act of Raymonda…very reminiscent of a Csarda style. About the Piano quartet brilliantly orchestrated by Schoenberg, this is what he had to say when asked the reasons for doing it. 1-I like the piece 2-It is seldom played 3-It is always very badly played, because the better the pianist, the louder he plays and then you hear nothing from the strings. I want to hear everything. Finally, I had the pleasure to hear Polish-born pianist Emanuel Ax in a moving rendition of Brahms’ Concerto No. 2. One of my favorite parts of this concert comes in the third movement, the andante, in which the piano shares the spotlight with a solo cello playing a sweet and humble melody. The Orchestra was directed by Mr. Michael Tilson, from which I have a little anecdote to tell about tonight’s performance.

If any good the practice had done in my case is that I have decided to attend to as many performances as I can..(I used to do the same in Havana, unlike my friends who were more into specific dancers). At the end I know that sooner or later I HAVE to bump into-let's say randomly- Jeanette doing T&V... -(and on the way reinforcing her Star status when compared to less acomplished performances). Edited to add: Jeanette is just an example... Edited again to further add: No, I'm lying...Her name used as the example is based in the true experience.

But Gillian Murphy is also American and she is - FAR AND AWAY their best T&V ballerina. I would go so far as to say that she is one of the best I've ever seen in this role. I know, technically she was born in England but that is a mere technicality, she's as American as apple pie. I don't know what's keeping her from the Havana performances, but it's a pity. You're totally right, Susan. When I first checked in Wikipedia all ABT's dancers profiles, I realized about Murphy's British background-(which really surprised me, since I always thought she was American-born). For what I've seen of her-(and for what I know about the Cuban audience general taste)-I bet with no doubt that she would have become Havana's darling right away. So yes...it is a real pity that she's not going...

BTW...this is not official news, but I think it won't hurt anybody. One of my friends from Havana told me that the performances of ABT were sold in two days ENTIRELY...the Karl Marx Theater of Miramar at its full capacity...(5500 seats) (So get ready, Michelle!! )

A new documentary by Cuban filmakers Gabriel Davalos and Celia Perez titled "Grand Pas du Corps" has been released in Havana. The film is being dedicated to the workships of the men and women of the Cuban troupe's Corps, too often neglected by the Star System. Here are a couple of clips. Enjoy! http://www.youtube.com/watch?v=yEU03zKNoow http://www.youtube.com/watch?v=d5atxT51qtY&feature=related

Everyone loves a star and the chance to adore him or her. Me, too. The issue is: how essential is, and is it appropriate for all occasions?. That, in turn, depends on one's formative experience and personal taste. The new thread is already getting lots of interesting comments, so we should probably continue our conversation on the star-system there, reserving this thread for MCB's Program I. The Fort Lauderdale and West Palm Beach are coming up, and I hope there will be lots more to write about that !!!

Not to mention the willingness of some balletgoers to jump on a plane and travel to another state-(or even to another country)-to see this or that dancer... I've done it,and will keep doing it...(next, Vishneva's Giselle... ), and I suspect I'm not an isolated case here...

Couldn't it be the reason for which ABT-(and this is just a wild guess from an outsider)- is nowadays probably a more exciting company than City Ballet...?

I think this "star system" vs. "nameless" ballet deserves a thread of its own... So I just opened it here... http://ballettalk.invisionzone.com/index.php?/topic/32764-ballet-star-system-or-facelessnameless/page__pid__277000#entry277000 Enjoy!

From the MCB Forum, a discussion that I believe deserves a thread of its own... Enjoy! I'm glad I'm not the only one who hates this frustrating, unnerving practice... So: What do you all think...? Does this situation reflects your home-based company...? Has this practice proved to be succesful...?

I was just trying to figure out whose coda is the most daring here. Hard to decide. This two girls are just HURRICANES!! What do you all think...? Natasha-(starting at 1:56) http://www.youtube.com/watch?v=zLNW3aioL1w&feature=related or Vi. http://www.youtube.com/watch?v=9CqjtIG1ZRY

I hadn't forgotten your request, cahill, but as I said before...I was trying to generate something interesting that could add some real weight to this thread, but...I haven't really been too successful. On top of that, now that the performances are far away, I remember even less of them, at least from Fanfare. Yes, Robbins' piece was cute...but just that. I can't even remember the music ! -(which is a BIG plus in my ballet viewing). Plus, I've never been too devoted of parodies and comedies in general, and that seemed to be the key element of this ballet. If anything, it was a nice way to salute the orchestra...and period. Bugaku was interesting, weird, perhaps somewhat exotic, but it didn't impress me either. Never been a fan of contortions, and at some point-(right after the tutu was gone for good)-it kind of indulged too much on it. I'm sorry that this is all I can think of about this two ballets. To finish as honest as I started, if it wasn't because I was going with my friend, my mother and two coworkers on Sunday-(one ex-ballerina and a neophyte to which Bugaku was the best piece of the program)-I would had gone after the second intermezzo, just in time to catch T&V, for which I had seen the other two the night before-(remember that on Friday night I was only able to watch "Theme...").

Thanks for the info, Patrick. When in the city I definitely want to check the site out... . Last time I saw it it was just a huge, empty space.

I know! I LOVED Gomes' Albretch-(more than his Loys, which was too much of a bad boy... )-and I can just imagine Part's Myrtha...

I understand all of the above jack...but along with all those reasons, another immediate result of the practice is the inability to really develop a fan base on determined dancers...and hence the excitement that this type of artistic rivalries usually generates.

I'm glad I'm not the only one who hates this frustrating, unnerving practice...

Thank you all for your quick responses! I just forwared the whole topic to my friend. That sounds promising YID but my friend wants to see the MET, and that's another reason for the trip...

bart and jack...Catoya has been a no show in this program, at least so far.

So my friend tells me that he wants to see Giselle in NYC when Vishneva dances. He happens to have seen her recently in France doing Bayadere and loved her so it's been decided...we're going to NYC. Please...tell me about her Giselle. I have thousands of questions, but I basically need to know the general consensus here. I have faith in you guys, and you know...I don't mess up with Giselle. In another level...would it be too soon to book a performance with her based on the current ABT schedule...? Is Vishneva usually reliable...? Is ABT's schedule usually reliable...? I know...questions and more questions... Thanks in advance...!

Great news. Yesterday I was watching Bessmertnova's, which I adore...(I especially LOVE the music of the last act's Grand Pas' Adagio, which is sublime). I'm very curious to finally see how the White Lady was initially designed, and its original weight on the story. Can't wait for the clips to pop on Youtube...