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cubanmiamiboy

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Posts posted by cubanmiamiboy

  1. 45 minutes ago, Leah said:

    Are you seeing Bouder tonight? Of all the O/Os she's probably the most adept at fouettés now that Peck is injured. I am very surprised that Mearns didn't do as well, she's not the greatest technician but she usually has a lot of power.

    Of course I'm going. She is my favorite City Ballet ballerina!🥰

  2. Reichlen was cautious. There was not a lot of drama in her Odette, nor seductive power in her Odile. It was obvious she was carefully going through the choreography, but there was no nervousness either. 

    She chose single fouettes intertwined with double pirouettes two to one. They were not fast but she did complete the whole of the music, which seems to be a task nowadays .

  3. 1 hour ago, Emma said:

    From my understanding, the Lakeside scenes are adapted from Balanchine's one act version.  Has there been further changes from that?

    Not only in the lakeside scenes, but overall everywhere. For example...right after the Black Swan pdd, what follows on the 95 score-( which is tweaked from the 77)- is an incidental music passage to clarinet, in which Von Rothbart engages Siegfried in a mime to make him swear eternal love to Odile. When he does that, the music then falls into a variant of the ballet leit motif in a fast, sinister form with brass instruments while the charade unveils. Here that whole passage before the brass is eliminated, and for some reason that's beyond me, Martins chooses to play...THE WHOLE MAZURKA IN ITS PLACE..!! So then you see Rothbart and Odile on one side and the Queen and Siegfried on the other trying their best to stretch a dialogue that is supposed to be quite shorter. The endless mazurka plays while the only thing happening is Rothbart telling Odile "We fooled him" on one side and Siegfried telling his mom "I will marry her" on the other. And it takes forever....

  4. I'm watching Reichlen now. Intermezzo from Act 1. I sat on the first balcony right purposely to see her face in the love duet.  She obviously wanted "anguish" to be her pointer.

    They're really tweaking with the score. Many da capos are eliminated, and whole bars of music are gone.

  5. 1 hour ago, nanushka said:

    But how was the dancing last night?

    I was quite shocked to the whole lackluster of the production in act I scene I to really appreciate the dancing to its fullest. But I noticed something. What is being told as "speed" sometimes translates better in this production as "rushed"...what is meant to be "streamlined" looks in fact naked and pointless. I'm talking about the garden scene particularly. The pas de trois was there...but it was as if it wasn't.  The costumes didn't give an idea of who they are and why are they there. In some productions they are three villagers, in some others is Benno with two courtesans. Here it was just three dancers trying to dance and jump as fast and high as they could. The whole feeling of the dancing comes out pretty much as what we see in Nureyev or Grigorovitch choreos...fill, fill, fill with steps every bar of music as much as you possibly can.

    We had Mearns last night. The whole of her performance was of an overall coldness. I didn't notice any rapport at all with her Siegfried, Gillaume Cote. The Love Duet was anything but lovable. Very technical and all, bit there was no love there. Her Odile was also cold. I don't think I saw her smile at all during the whole ballet. She did single fouettes and after the 26th she started traveling and losing control and she stopped at 28, finishing the rest of the music with chainee turns.

  6. Oh...and those doors in the drawing room act !-( because I saw no ballroom). Is that how guests get into a place when the court is there....by pushing and slamming wide open the doors ...? I felt sorry for the two footmen that are placed on the wall right where the external doors on each side end up after being pushed several times. They have to wait for the damn doors to hit their face before diligently close them while the dancing is going on. 

    And why was the queen seated in a 1980 tv/entertainment/bookshelf module...?

  7. Intermezzo.

    Act I scene I ought to be the ugliest thing I have ever witnessed, Swan Lake wise. What on earth was PM thinking..?!? This is almost an insult to the Imperial past of this work, and I can't imagine anybody, including Balanchine himself, who would had approved of such monstrosity of a production. Choreography wise is just another try out at a Balanchinesque act, which is very similar to what one can see in John Clifford's choreos for his defunct L.A ballet. They definitely try and try, but the result is just that...a pseudo Balanchine try out. To me the whole "garden" scene could had been done sans corps, as a mere group of abstract variations, because that's what it basically looked like.

    And I thought the Soviet jesters were annoying!! This hyperactive guy in that horrendous costume and bathing cap was just the tip of the iceberg. And the nerve to sort of simulate the second male variation from T&V..!!😠

    More thoughts to come ...I need to recover.

  8. I have treated patients post op after those surgeries. They're grueling...and the recovery part is just long and hard.  Many people are able to live many years avoiding the surgery, but there's a point in which is either surgery or days without not even able to get out of bed.

    Her experience addd to the list of those dancers who have dealt with horrible injuries, and still had kept fighting  with all their means to keep doing what they love the most. From the top of my head I remembered the biographies of Villella and his knees, Farrell and her hip and Alonso with her detached retina and blindness. They all were so resilient....

  9. 18 hours ago, maps said:

    I see similarities to Cuba for willis and Myrtha and the concept of the Albrecht diagonal - no entrechats or brises.   

     

    Definitely. And remember the Cuban version comes from a very old link to those first Giselles in London in the 1930's.  Dolin himself kept revisiting and retouching the production and personally rehearsing Alonso herself for important performances up to 1980, when Vasiliev went to Havana to dance with her. And Mary Skeaping staged her own version in Havana in the 1950's. Much of her input was erased by Dolin later on, but some stuff stayed. She even staged the Fugue Des Willis back then, but it did not survived after Dolin took over.

    There are definitely many aspects I was very familiar with from Alonso/Dolin version.

    1- The elbow bending/arm covering of the Willis face while running.

    2- Berthe's mime 

    3- The fast music ending. When I heard for the first time the for-Pavlova rearranging of the finale with the slow music-( first time I saw Giselle at the MET back in 2001)- I was puzzled.

    4- The initial choreo for the "Gallop", in act I. Wrist bending for the girls.

    5- The Willis turning their back and rejecting Giselle and Albrecht after Myrtha's branch breaks when she tries to curse them next to the cross.

  10. On 1/29/2020 at 11:57 PM, Emma said:

    Tschai Pas:  Dynamic as always.  The fish dives were so daring it looked like Katia Carranza was at risk of falling out of Carlos Quenedit’s arms.  

    I agree. I went to see the program for the second time at Broward and got her in this-(I first got Jenniffer Lauren un Miami). Carranza is old school MCB ...from that generation of dancers who were taught the variations the way Villella danced them or remembered being danced by his ballerinas...and back when he would demonstrate it all. His input is priceless, as many aspects and details of his stagings are from that NYCB golden period of 50's/60's, and before Balanchine made changes in many of his works. Eddie always had the green light to stage stuff the way he had dances them. And I hope Lourdes doesn't go away with all this.

    Please bring back Eddie's staging of "Valse Fantaisie 1953" !

  11. 2 hours ago, griffie said:

    I also wasn't sure I liked Bathilde finding him at Giselle's grave at dawn. I wondered how she ended up there. Was this noblewoman out with search party for him all night, or was it that she couldn't sleep and wanted to visit Giselle's grave herself? 

     

    The original music for "The lever du Soleil et arrivee de la cour" is longer, with fanfarres that interrupt the slow music of Giselle/Albrecht. I don't know why Ratmansky didn't used all of it. As for what I've read, originally Bathilde arrives with the court searching for Albrecht, and she kneels and weeps when she witness the ghost interaction with her fiancee, and that Giselle motions toward her for Albrecht to go and be happy . Some of it is seen here, but sort of rushed sans the whole of the music.

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