cubanmiamiboy

I find Boylston very boring. I certainly did, Susan..via Radvanovsky's Tosca! 🤗🤗🤗

Boylston was totally out of touch with "In the Upper Room"

Because of the obvious.

This whole affair of El Don/Balanchine vs Dulcinea/Farrell onstage sounds bizarre to me.

I went to tonight's performance, and I'm sad to report it was one of the most ,to me, boring programs I've ever seen done by any company. I don't have the program right now, but I'm sure other will identify the works. First one was a colorful unitard thing with a couple of wooden props that the dancers kept pushing and turning. Totally forgettable. Them came a hybrid in between tap, rock and roll, swing and tablao, which was even MORE boring than the first one. And finally the much overdone, overrated "In the Upper Room" closed the night. I think I even dozed off a bit. 😶

Who knows...😎

I always found amusing that, among the myriad of Markova's books out there, both from herself and from other authors, her private life seems to be a complete untouched subject...quasi a mistery.

Wonderful performance of Suite en Blanc. Bravi!

You are right. My mom just told me. On Saturday I sat upstairs to better appreciate the patterns of Barocco and BI and couldn't really distinguish the faces. It was Fadeley in Company B.

I went back last night for more of Barocco and Ballet Imperial. Interestingly...I ended up liking "Company B" even more this time. Kuddos to Corps member Eric Trope for his cocky "Oh Johnny, oh Johnny", and to fiery redhead Alexander Peters for his sassy "Boogie Woogie Bugle Boy"-( which I noted is a character that always gets the "all American look" type of dancer). Simone Mesmmer did a dreamy "I can dream, can't I..?", which, silly me, got me all teary. Quite an intense suggested backstory there. Barocco and BI were, of course, wonderful. You CAN'T go wrong with those two, and MCB knows them well. Barocco had veterans Katia Carranza and Reyneris Reyes plus up and coming Principal Jennifer Lauren in the solo parts. Ballet Imperial had also veteran Tricia Albertson plus Ashley Knox and Rainer Krenstetter in their role debuts. Lots of "bravi" from the whole sold out house! https://m.facebook.com/story.php?story_fbid=10156181540634191&id=647664190

Great night at the ballet! Full house, Lourdes Lopez on stage announcing a new Executive Director, and a wonderful program. Concerto Barocco opened the program. So elegant...so structured...so pure. The leads were the very handsome, tall Jovanni Furlan, with Ashley Knox and Simone Messmer as 1st and 2nd violins. It was role debut for the three of them...and they were right on spot. I haven't really clicked too much with Messmer's dancing ever since she joined the company, but here she looked beautiful. Being a tall, elegant ballerina, and being this role one that doesn't rely in pyrotechnics-( which is not her strength)-, she was very pleasant to the eye. Company B. When I first saw this Taylor's piece, I really didn't warm up to it-(never been too much of a fan of non-pointes works)- but this time it really "showed me" its multiple complex subtleties, and moreover...its darkened "impending doom" that floats all over its apparently happy, carefree dances. War, sexuality, taboos...I saw it all tonight. A particular wink to our wonderful Kleber Rebello's "Tico-Tico:. Bravo. And then...there is Ballet Imperial. I always welcome such exuberant displays of grand ballet in the way only Balanchine was capable to do. Along the romantic notes of Tchaikosky's piano, the gliding dancers keep reminding us of Mr B's respectful but, at the same time, playful homage to his Imperial balletic past. MCB knows very well this piece, and it shows. Petite Nathalia Arja was delightful , and when she first showed onstage running around the circle of dancers, I knew I was up for a beautiful performance, And beautiful it was. Topping it all there was the return of our beloved Jeannette Delgado, after her one season hiatus in Spain. She 's back and she's back as strong and commanding as ever. She and Renato Panteado gave us old school MCB all the way. BIENVENIDA A CASA! Will be back tomorrow. 😉

I would say it should be the season opener for 2020-2021

https://m.facebook.com/story.php?story_fbid=10156168600014191&id=647664190

I am excited to see this ballet again. I love Balanchine the most when he's all over Tchaikovsky. His leotard stuff I don't care too much I must confess. But Ballet Imperial is one of those that really ilustrates what he knew about tsarist balletic splendor. I will miss seeing Mary Carnen Catoya on it tough...

This upcoming Friday the company opens the season with a ballet they really know and cherish: TPC#2. Interestingly...when Villella was still on board he called the work "Ballet Imperial". Reasons unknown to me, given that the version he staged is the "no-tutu/no- backdrops" one, but with the old name. Concerto Barocco is also in, as well as Taylor's Company B. And our beloved Jeanette Delgado is back from her one season hiatus!!!🤗🤗🤗

I learned Opera listening to her voice. The world has lost its truly last Operatic Diva. Rest in peace, eternal Norma. Viva La Superba! https://www.bbc.co.uk/news/amp/world-europe-45769808

I'm so happy to see Marcelo dancing so much, such wonderful roles everywhere. I think that, at this point of his career, he's just thriving...probably even more than if he had stayed at ABT.

It didn't take too long, once I landed in US, to realize that Americans are indeed quite reticent to other cultures kisses salutations. I quickly adapted accordingly.

There's no way to limit what a victim feels. It is what it is. Remember those famous words... "Never forget"...? It is even a popular hashtag now

Gomes has been busy. I say GOOD FOR HIM!!! 🤗

Agree 200 %

Just ruminating that for every Waterbury out there belonging to the #metoo movement there are quite a bunch on the other side who fall under the #theyknew one. Double standards and hypocrisy are usually rampant in this type of situations.

Exactly. And remember...ever since Gelsey wrote her guts off many of her ballet world contemporaries sort of looked the other way with disgust at her for having done so. Fraternity type. I don't see why hushing ought to be different now than then.

What's probably in everyone's minds is who knew what, how much and since when.

Quick update on Womack. She's back in Russia... she's "so over the conventional world of ballet"-(verbatim)- and tired of "proving yourself to some old guy"-(I assume AD's). She's also looking into her post-performance life. Teaching is in her horizon, so she says.