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cubanmiamiboy

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Posts posted by cubanmiamiboy

  1. On 5/4/2020 at 5:19 AM, Roberta said:

    As a result of  searching for recent RDB telecasts that have been released as webstreAms due to the COVID-19 period, I discovered that the !981 Danish CoppeliA is now on YouTube:

     

    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.

  2. On 4/17/2020 at 9:04 AM, JuliaJ said:

    In Kathryn Morgan's recent interview on Megan Fairchild's YouTube channel, she did explicitly say she was pulled out of Firebird because of her body

    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.

  3. On 3/2/2020 at 8:02 PM, canbelto said:

    Lourdes Lopez "liked" Kathryn's body positivity post on IG. So I think this isn't a doxxing of management.

    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.

  4. On 4/15/2020 at 11:19 PM, Mousie29 said:

    Last week Megan Fairchild did a 51 minute interview with Kathryn Morgan on her instagram.  About 3/4 or 2/3 of the way through, Megan asked Kathryn about what her future hopes were (in an awkward way), regarding her "platform" and Kathryn answered that she would no longer be in Miami.  Kathryn said she would like to be dancing somewhere, anywhere (paraphrased?) and that she really missed her youtube productions/fans.

     

    I kind of guessed she would not last down here. Miami is rough.

  5. 4 hours ago, volcanohunter said:

    Well, there was that time Luke Jennings reviewed Tsiskaridze in La Bayadère. 

    "Both performances, however, were all but nullified by Nikolai Tsiskaridze's interpretation of Solor, their supposed lover. Heavily mascara-ed beneath a mauve turban, his hands flying to an imaginary string of pearls with every plot turn, he was the least plausible heterosexual hero I've ever seen. 'It's Shirley Bassey!' whispered my companion, as Tsiskaridze fluttered at Zakharova in sisterly exasperation. And it was."

    https://www.theguardian.com/stage/2007/aug/05/dance

    Yeah....he was not too manly, tbh. 

  6. 3 hours ago, canbelto said:

    I'm really curious how a company can dictate that its dancers look "more manly" off the clock. If Johnsey is not performing he has the right to look however manly or not manly he wants (whatever those terms mean).

    Of course he has the right to dress as he wants offstage. Which is what he's doing right now.

  7. 1 hour ago, nanushka said:

    But what your comments here have been suggesting — and I think it's important to articulate it, and please tell me if I am incorrect in my summary — is that Johnsey offstage was too feminine, insufficiently butch, not manly enough, too womanish despite his biological maleness, to be a successful drag performer.

    I remember Johnsey stating just that, or something along the lines. That the company wanted him-(and everyone else)- to look more manly. The whole thing, according to him, started when he opted to act/dress/look more feminine offstage. That the company has the right or not to make such rules is probably subject to endless debate. And a formal investigation took place into the matters. And it is finished by now. 

  8. 2 hours ago, nanushka said:

    What is the aspect of their "mission" that he couldn't "stick to"? What are the "wishes and desires" that management had "no obligation accommodate"? (Genuine questions.)

     

    Johnsey was clear about it. The Trocks want to be known as a troupe of men in drag. Men dancing on pointe. Men satirizing ballet-( and showing how proficient they can be on pointe if wanted). They want men who dress and look like men offstage vs their comical onstage "female" alter egos.

  9. 59 minutes ago, nanushka said:

    I was responding to your earlier post, where you seemed (to me) to be expressing doubt that some "whole concept" was "pure satire":

    I apologize if I misconstrued your tone or intent. Now I'm not sure what you meant.

    Apologies accepted 🥰. Of course I was just talking about the "whole concept" of the Trocks troupe and their approach to the art form. About gender fluidity and such I wouldn't even try to discuss, as it is quite a Pandora's box and much of a complex, personal perception that is certainly not of general consensus.

     

  10. 3 hours ago, nanushka said:

    Gender certainly can and has been the object of satire at times (including by the Trocks), but I don't see or hear anything that suggests Johnsey's gender identity — in either life or art — is or ever has been "pure satire," no.

     

    Nanushka... I didn't go that deep in my reflection. I merely stated that I perceived every single performance of Les Trocks as a ballet satire. That they can do fouettes and pirouettes on pointe with excellence..? No doubt. But I haven't seen one performance of theirs that hasn't ultimately shown a comical approach to the art form.

    Johnson filling up a female position on the ENB is a total different thing. 

     

  11. Many thanks for the link! I am always very intrigued by Tudor's repertoire. It seems quite uneasy to approach if not done the right way, which I have the feeling has been the main reason for its absence from ballet companies. "Jardin aux Lilas" seems to be the more friendly one. Take for instance, "The Judgement of Paris". I first saw the clip. Was confused as to what was I looking at. I even though for a moment the three "goddesses" were men in drag. The occasional laugh from the audience sort of guides you to ...what...a comic piece...? Then I stop and browse the net into the ballet. It seems the essence of it should be looked more into the tragedy of human decency decay and broken morals. There's no happy ending here. The costumer falls pray into the assaulting, unscrupulous hands of everyone else around. 

    Was the clip succesful at such...?

    Not sure.

  12. 11 hours ago, dirac said:

    RIP to a dedicated  patron of the arts. Ms. Bass did as well as a nice Vassar girl of her day could  by the social rules then obtaining, marrying into Texas oil money that wisely diversified into the entertainment business, and was later the beneficiary of the fattest divorce settlement Texas had seen to that time. 

    The Dallas Morning News

    ArtNet

    Her house and garden:

    Ups and downs with NYCB:

     

     

    Wow...that part of her ups and downs with NYCB is quite intense. So interesting to see that Villella is brought into the article as a the example of how things ought to be done between board and AD, given that he would end up embodying the same exact issue years later, the tumultuous affair ending with his exit-( opposite case of Martins').

  13. 1 hour ago, rhys said:

    Both the Bolshoi and the Royal Ballet showed La Bayadere in the last ballet cinema season, and though I'd seen both productions before and had vaguely preferred the Makarova production for offering a resolution, this time I actually thought the truncated Bolshoi version was more satisfying, in a manner of speaking.

    It ends in the Kingdom of the Shades, not with the pas de deux, but with Solor seeing a final vision of Nikiya and fainting away.
    This time It seemed to me as if Solor had died, in a psychic if not a physical sense.
    I think like volcanohunter I didn't think Solor deserved the apotheosis in the original/restored version, so this felt right - a beautiful dream of reconciliation and forgiveness, then catharsis for us not in their reunion, but in his death.

    I can't wait to see a R&J where the friar comes to the tomb, gives both lovers an antidote and marries them when they wake up,  all of it with supplementary music by Khachaturian. They deserve it, damnit...

     

  14. 7 hours ago, Helene said:

    If it ends with Kingdom of the Shades, or even the pas de deux, that's a pretty good opium dream.

    If it ends with the Kingdom of the Shades, what we have is the Soviet truncated "version" with a very alive Solor. La Bayadere ends with the temple destruction. And Solor is dead.

  15. Ever since I started watching ballet, live or on video, the issue of the afterlife apotheosis of both Swan Lake and La Bayadere have interested me.  More than not we see countless of faux finales that have nothing to do with the original libretti, which in both cases call for the reunification of the dead leading couple in the afterlife, via an onstage apotheosis.

    I'm sure most of you are familiar with the reasons given by every other ballet scholar about the nature of the changes.  For Swan Lake, the non adherence of an afterlife idea by the new communist ideology, and for La Bayadere...well, the only thing I can recall reading is that it was the lack of adequate machinery to produce the temple destruction finale what gave way for the altogether suppression of the fourth act. I suspect a similar situation of that of Swan Lake might had taken part in the decision, though.

    We're no longer in Soviet times, but very little has been done to "clean" those ballets of their false endings.  But there are some  winners. For Swan Lake we have McKenzie's vision for ABT and most likely Ratmansky's recon for Zurich-( which I haven't seen, but given that he did such a historical production, I'm willing to bet that he restored the real finale).

    For La Bayadere we have Makarova's recreation, the defunct Vikharev recon for the Mariinsky and now Ratmansky's recon for Staatsoper.  Makarova's recreation of the last act has seen more light, given that it has been staged in other companies aside from ABT-(Royal, La Scala), so whole generations of ballet goers are by now pretty familiar with the afterlife reunion real finale. Swan Lake remains the most changed, with crazy ideas popping here and there about the final scene. You know them well. They are insane.

    And then...even though Vikharev and Ratmansky follow the real deal, their scenes look to me less convincing than Makarova's, which I believe gives more clearly the idea of the two souls being reunited in the afterlife by having the couple walk toward the clouds via the set of steps. In both reconstructions we see the ghost of Nikiya showing up in the destroyed temple and rising Solor among the dead bodies, which are still visible onstage.  Not too "paradise like" if you ask me.  Still too earthy. Swan Lake's winner is, of course, McKenzie's two lovers souls ascending  with the sun into the heavens.

    The old Dowell's Royal production included the double suicide/souls reunification-( via a strange sliding boat)- but that's done now. 

    Thoughts...? Have you see perhaps old productions of Swan Lake with a satisfactory, clear adherence to the original finale...? La Bayadere is really not as well known, so there's either Makarova's recreation or Ratmansky's recon.

    Edited to add: Please note that I'm not trying to discuss "alternative"-(false)- endings of both ballets-( including the Soviet and Soviet- derivatives like the truncated Mariinsky, Bolshoi or POB). My intention is to focus on the productions that follow the original libretto finale -(which includes the death of both couples and their reunion in the afterlife)-  how this finale has prevailed around and how clear it is for the untrained spectator eye.

    Swan Lake - Dance - Review - The New York Times

    Armchair Travel | Seeing Things

  16. 5 hours ago, Mariangela said:

    Hi!

    Taking advantage of this period of quarantine in which the Paris Opera Ballet site made it available, I watched the Swan Lake by Nureyev, I found it fascinating from many points of view, especially for the role of Siegfried which has been deepened, and the way in which Wolfgang/Rothbart treats him. I loved the interpretation of Germain Louvet, I think the role of Siegfried suits him very much, and also of Léonore Baulac, but I preferred her Odette instead of her Odile. Have you seen this version of Swan Lake? What do you think about it? 

    I can't stand it. That faux finale with Siegfried drowning and sticking his head here and there is horrid. And he also has him doing pirouettes at any time all the time. Whole invented dancing passages for the male dancer that doesn't add anything to the story. At times it feels like a class demonstration.  And the mirror dancing so favored by him. Nope. Not my cup of tea.

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