cubanmiamiboy

This has been my "most beautiful 3 minutes" segment during the whole past week..!

This most be one of the most exquisite productions I've ever seen. Everything is just perfection. Osipova is a technical wonder. Her entrechats during the Act II PDD are one of those VERY few where one can actually see them...almost as if suspended on the air. The only others I can think of in terms of similarity are those of Yuri Soloviev. The sets and costumes can't be more glorious. Acosta is, in my eyes, one of the only two current performers who conveys enough maturity and masculinity in this role to make it what it should be-(Gomes being the other one). The characters and situations are developed to its maximum. Very few times have I seen a mad scene in which the ballerina reminds me of a real psych patient. Berthe is also very well developed. The desperation and horror after Giselle's death...the way she violently discards both Albrecht and Hilarion when they try to get close to her daughter's dead body. Wow. Also, this mad scene has been very carefully created, with so many hints to Giselle's previous story-(as with the moments where she recalls in her blurry mind the knock on her cottage's door and her opening scene). Osipova FLIES during the initiation scene, and Myrtha's weakness during the sequence of Giselle protecting Albrecht with her body in cross is very well presented. Acosta went all vintage by taking us back to the manly times where one hand partnering in adagio was more common. BRAVO!!! Wow, wow, wow...this most be probably THE Giselle of the 10's. I'm sure Spessivtseva, Ulanova, Markova, Alonso, Dolin, Youskevitch and the rest of the regal court of this ballet would be very proud of what they did with it.

I wonder who the repetiteurs of Massine's choreos are...(or at least of "Choreartium"...)

Who else saw it...? I found Miss Flemming wonderful, if only vocally wise. On the other hand, the too close cameras here made for a big exposure in her less than satisfying outcome in the histrionic field. Her acting didn't speak to mee, IMO, and I could not see too much raport between her and Beczala's Prince. The other downer here was how dark the sets looked, which I think was a broadcast's problem-(can anybody tell if the lighting was good in the big house?). At times, as in the garden party, one couldn't see almost anything. Kuddos for Dolora Zajick as the cackling swamp witch, Ježibaba, John Relyea as the Water Gnome and Emily Magee as the Foreign Princess.

From what I've read thru the years...some of them... Kschessinskaya/Gerdt Karsavina/Nijinsky Markova/Dolin Alonso/Youskevitch Danilova/Franklin Dudinskaya/Sergueev Fonteyn/Nureyev. . Tallchief/Eglevsky Maximova/Vasiliev Kirkland/Baryshnikov Farrell/Martins

But ten minutes of devilish series of jetes, pirouettes tour jetes and everything in between for the man..!

Lucky you...

Oh..."Spectre" is one of those ballets I could watch hundreds of times in a row non stopping..!

Congrats!

Nice to see Polunin's name. He seems to be taking roots...

Program II taking place this weekend in Palm Beach. I'm sure we'll have a much kinder review than my sour one from our friend bart...

Yes...Napoli will do it for you I'm sure...

If anybody happens to see Feijoo's Giselle, please report back...

Wow...although I wouldn't doubt it. Russians seem to have kept their Giselle untouchable for a long time, and Olga's were latter additions, so I guess they are considered non traditional...? Also, they took place and developed out of Russia, so I guess they have never been performed there...? If you think of it, they neither do Sppessivtzeva's iconic three fish dives of Beauty-(aren't Russians probably the ONLY ones who don't perform them, actually...?) From the Osipova's Giselle at the Royal thread... "I really like Spessivtseva’s diagonal, more than our traditional turns. But I wasn’t allowed to do it, not yet. If I dance this ballet often and it really becomes part of my repertoire, I will dance the diagonal. My coach thinks that it is an acceptable version, and quite possibly it will be a better and more effective one for me. For the moment, though, it’s better not to do it; there is lots of talk as it is."

Enjoyed tremendously L"elissir d'amore radio broadcast today..! Loved La Netrebko... Did any bodyhere see it in the big house...?

So nice to see the characters names being retained. So for once Zulma and Moyna are not merely "two willis" or Berthe "Giselle's mother". Willfried is usually the most omited one ...

Oh...I'im in on this one! Acosta is s veteran on the role and has had first hand experience with two of the most heavy, venerable lineage versions out there, Wright's and Alonso's. Osipova has aquired world wide maturity and she's now an older, more experienced ballerina . Can't wait..!!

Oh wow...I see Lorena is still dancing the role. Nice...

Glad you liked the clip, Parma..! (And thanks too for your repost...almost five years after I started the thread! )

Bart...I'm sure you will enjoy this program way more than I did. Please tell us about it..! :-) . Cheers.

The Garnier has that on its website too...

Well. Here I am. "Barocco" is definitely very pretty. Even as a complete fan of the grand schemes of ballets with opulent sets, sparkling elaborate tutus and symphonic, romantic sounds of cymbals, trumpets and timpani a la T&V, Beauty, Diamonds and Black Swans with their fair shares of fouettes and pyrotechnics, I can also indulge in the elegant simplicity of something like this with its very structured score and restrained choreo. At some points, mostly when the danseur is onstage along with the women, it feels to me, choreographically, as an enhanced version of Apollo's dances with the muses. It was nice to see Katia Carranza come back to the Miamian stage-(she's now a company's guest dancer). The second ballerina was danced by Soloist Jennifer Lauren. Reyneris Reyes was the danseur. Two thumbs up. Then there came something called "Chutes and Ladders" by Justin Peck-(NYCB), which was danced by Soloist Sara Esty and Principal Renan Cerdeiro to a Britten's score of a string quartet placed on a platform onstage. An uber generic "bleh" choreo of a PDD it was. Duato's thing-(Jardi Tancat)- came next, a modern dance, senseless bore of barefoot dancers moving along chants in Catalan-(I understand that this can look very exotic for the Anglo audience, but for me it was boring to death). For a period of time in the beginning-(that seems like an eternity)- the dancers move to no sound...very 80'eesh. Ratmansky's Symphonic Dances closed the program. Running and running...and more running all along. I was getting dizzy. Never liked it since I first saw it. The second movement-(the waltzing section)-is the most interesting, with its flowing multicolored tunics for the women and its mysterious flavor. But that's all. It doesn't inspire me more than a mere curiosity. The music, of course, is the saving card here. P.D. I just posted something on Facebook and a friend just replied..."Same strange program of Friday evening...". P. P. D. the same friend just commented-(about Duato's thing)..."Pseudo Martha Graham...it's been done better before...Why is a ballet company doing this...?"

When seating in orchestra, I usually go for middle rows..too close to the stage is never a good business UNLESS you want to see a particular dancer in a PDD, her pointe work, partnering skills of the danseur and the like, but in general the whole ballet is better viewed from a little far away.