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cubanmiamiboy

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Everything posted by cubanmiamiboy

  1. Any specific example you might want to share ...? I myself have never encountered a ballet viewer who was personally offended by the piece. I don't doubt that they might exist, or that many on this forum understand and hence might felt "offended by extension"-( as with whites within the BLM movement). But I haven't certainly never encountered an Asian offended by Balanchine's ballet.
  2. I've heard all and read all, and it is all very subjective, aesthetically speaking. I hated Woezzeck at the MET, and some people I know loved it. The PC aspect of the ballet is a whole different story. That it has been decided that it might offend Japanese people because it is a western fantasy on an Asian subject...a chinoiserie of some sorts, well...that might be. In my own world of ballet aesthetics it is a winner. I love it. I find it entertaining, misterious and very refined...and I wish it would be performed more regularly. To each its own, like they say....?
  3. She comes from National Ballet of Canada.
  4. Trust your own, as Drew says! If you don't have access to live performances, dig into videos. Compare different versions. One important, to me, issue in regards to ballet viewing is to define what aspect of the art form is more interesting to you. Hardcore ballet fans, or balletomannes, seem to fall into certain categories. Some of us , like myself, dwell more into the historical side of it. Performance history, reconstructions, recreations, and the like. Some others are more into dancers. They might be at stage doors getting pictures and autographs. Sort of the grupie type. Some might be ex dancers or ex ballet students themselves. Some of us, like myself, might focus more on the technical aspect of dancers, while others worship theatricals and dramatically driven performers. My advise...? Watch a lot of the same ballet. Different versions....different dancers. At some point you will realize that "Oh...I didn't see THAT on that other performance!", and so you eye gets trained. A more focused advise...? Start your journey in a chronological way. With the oldest Romantic period ballets. Then go to Russia, Petipa and the classics, step then into Paris and Diaghilev and finally move to America and Balanchine. Of course....there are many other choreographers, but that would be a good guide I think. Good luck!
  5. Old Hollywood is disappearing little by little... https://www.foxnews.com/entertainment/sean-connery-james-bond-dead-90-report
  6. Bumping up a bit this thread, although not to offer yet another "alternative" ending. I just watched an interview from Beverly Sills to Peter Martins during the intermission of his Swan Lake, from the "Live from LC" video. At some point she asks him a very direct question: "How is it possible to change a ballet finale...? I mean, as much as I wanted for Violetta to survive in La Traviata, that's just not possible. Don't you have to follow a certain original text?" To which Martins answers her not exactly addressing her question but more like dwelling into the dramatic components of his SL ending vs many others. "There are so many endings out there", he says. If I could have answered that question, it will be something along the lines of "Yes...there is an original libretto, which states a particular finale, the double suicide and ascension to heavens of the leading characters. I just, like many other choreographers out there, took the liberty to change it. This is quite easy to do, since we don't have to change the score" Damian Woetzel is also in the interview, and he also offers somehow an explanation, altough he gets his facts wrong. He hints at the double suicide being a Soviet product, which we know is not the case.
  7. I've watched this many times during this hideous lockdown, and I agree with all previous assessments. This staging is a total winner. A cornerstone in this ballet's history. As many have observed, the most radical aspect of it , dramatically, is for the audience to be presented with this totally different design of Bathilde, who morphs from the well known high nosed, cold princess to a concerned and warm noble woman who doesn't show any sign of being too affected by his fiance's bachelor stunt with a sickly, fragile peasant girl. When both Giselle and her are pointing at their fingers, indicating that they are both linked to the same man, she doesn't look as if she feels threatened by her nemesis whatsoever. Bathilde discovers the affair, and still she knows that this girl is no competition for her. Even further...she shows pity for her...she feels sorry for her. That and the fact that she, along the whole court, stays during the entire mad and death scene, is quite a statement. Many modern productions have her and the court abandon the scene in its beginning, leaving only the peasants onstage. Very interesting. The final scene of Act II is quite the main dish among the recreated additions. I have read accounts of the original libretto stating that Bathilde witnesses the whole exchange and farewell in between Albrecht and Giselle. I even recall that they describe her kneeling and trembling while watching. Ratmansky doesn't really places her during the exchange, but rather have her come into the stage right after Giselle has been swallowed by the earth, but he clearly follows the original idea of Giselle reminding Albrecht that he has a moral duty to marry Bathilde, to whom he should go. By having Albrecht reach the hand of Bathilde at the end, Ratmansky totally breaks the sacrosanct XX century image of a lonely and sorrowful Albrecht closing the ballet. Brilliant. I'm still very confused about Giselle being taken to the grass instead of going back to her grave. What is this...? Does she cease to be a Willi..? Is that a hint that she becomes corporeal...? Wat's your take on this...? Also...does anybody knows at what point in history did the idea of having Bathilde in the final scene disappeared ? Did it even make it to Petipa's re staging...? In any of the books of Markova-(quite the earliest direct link to the original Imperial version)- she mentions anything about it.
  8. I think every time a big scandal happens within the ballet world that somehow seems to hint at its inner world the company image gets indeed tainted. Being Bolshoi with the acid attack, being a ballerina speaking out -( Kirkland, Volochkova, Womack, Morgan among others), being an AD being removed due to sexual conduct-( Martins)- bits and pieces of the enclosed world of ballet is revealed as a Pandora's box for the rest of the world to peak and be scandalized at. And those stories stay somehow in people's minds. Tell me that if after the acid attack your vision of how the Bolshoi was the same...
  9. Gelsey Kirkland's point relayed heavily on this. She believed that, besides her own, NYCB and its directives-( Balanchine at the time)- were indeed very responsible for turning a blind eye to situations.
  10. I'm glad that Ramasar didn't have his career destroyed, and that his is a cautionary tale for all men, both those guilty or those others who might suffer unjustified vilification if your theory is indeed being applied to them.
  11. So sexual assault is then equal to sexual abuse. Waterbury was assaulted because she was unknowingly filmed. Even if the sex was consensual. This is how it works...?
  12. But I'm confused. If they had consensual sex, that could be considered assault due to the unknown, to her, recording...?
  13. Given that the whole society agrees unilaterally on defining sexual assault. Waterbury wasn't sexually assaulted.
  14. Hi Drew! Sorry for this delayed response. Hadn't visited the site in a while. So...of course I saw the wonderful recon with both the recreated Fugue and Spessivtzeva's diagonal. It was great! And here's the Fugue. Enjoy !
  15. Miami is tough as a city. It takes a while to get used to it. Many never do. And the company is a very enclosed one. Super small and super closed. This dancers are like a little Rat Pack. And when there's someone who doesn't quite really fit, it's very noticeable from their social media platforms. I believe that was the case with Messmer and also somehow with Morgan too. The whole idea of calling anything Miami "home" is an enormous task that many never conquer. I'm still a work in progress after 21 years, and I sort of smelled Morgan wouldn't adapt that easy. I know Eddie never did either.
  16. I truly hope a wave of cancel culture doesn't start for ballet companies...
  17. What a delightful production! Thanks for the link, Roberta. Yes. Lots and lots of mine. Actually there's an entire mime scene during the whole of the Mazurka in act I, very much like Peter Martin's in his SL ballroom act, where a whole mime between the four characters happen while yet another Mazurka is danced in the background. Also, the "War and Discord" music is used for Franz and his friends in the final act. 😀 Definitely a folk oriented production, with the wonderful Hungarian colors.
  18. I keep coming back to this. I think it is GENIUS!! Love love love.🥰
  19. And that could probably be the end of her tenure down here. Lopez did pull her out of the role, but also offered it to her. Tbh, I saw Morgan as the Striptease girl and didn't see her ready yet , body wise. Maybe she won't ever be back to where she was before getting sick. Quite a shame. For some reason I thought she could do a triumphant big return as O/O in Ratmansky's upcoming SL. The whole social media lacrimose post is a mistake, in my book, if she wants to keep trying to fit in a company. That will only scare AD's, and like it or not, the weight issue, even being a cruel, raw topic, comes with the job. On its non spoken description though... Joy Womack is the poster child for such controversial online rantings.
  20. That post, I suspect, was a catalyst. Morgan clearly said she wanted to dance the role and that she was pulled out of it. She never says that she understands the reasons why. She was definitely upset and she obviously felt she should had danced it. Lourdes liking the post is a mere "I hear you, and I acknowledge that you are frustrated". But that's it. The end result is the same. Morgan feels she should had been onstage for Firebird. Lourdes decided against it.
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