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cubanmiamiboy

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Everything posted by cubanmiamiboy

  1. Drew! That was the first thing I noticed!! Read the very last post here.
  2. Who saw this today? So many wonderful details! So many nuances! And the Fugue is back! And Bathilde in the final scene!♥️
  3. Here's Ratmansky's take on this "lost" piece of Giselle. https://m.facebook.com/story.php?story_fbid=10157295743974191&id=647664190
  4. The Spessivtzeva solo final diagonal is back in Russia!! Ratmansky has done a great job at paying homage to those few ballerinas and companies that kept it through the years. Alicia Alonso is dead now, and oh...she would had been so happy to see it danced outside Cuba. Spessiptzeva, Markova and Alonso must be celebrating up there. Bravo Ratmansky!! Brava Smirnova!!!♥️
  5. I heard myself Villella referring to the character as a samurai, in one of his wonderful pre-performance talks. Of course there's no narrative there, but the words "samurai", "geisha" and "nuptials" are engraved in the work. They're constantly mentioned in articles about the ballet. But if you believe he's wrong, then...
  6. I totally agree. I'm saying that in the eyes of the general public, seeing an Asian play Butterfly or Bugaku,.or seeing Leontyne Price as Aida vs a darkened skin Tebaldi, or seeing the Cuban Desi playing the Cuban Ricky makes it less confusing....more comfortable, perhaps less politically incorrect .
  7. Disagreeing. America's most common knowledge of a Cuban was -(and still is for older generations)- Desiderio Arnaz-(Desi)- and his Ricky Ricardo. His way of acting is a parody of a Cuban guy with Latin short temper, but in any case, one always give him the benefit of his creation for being Cuban himself. Would it had been Jerry Lewis doing it, it would had been a different story. Perhaps Ricky would be offensive for the Cuban community. But as it is, it is not.
  8. There would not be need for it The exaggerated, Cio Cio-Sam-like makeup-( black eyeliner pointing up, black eyebrows pointing up etc)- could be eliminated. I'm telling you...I saw it in here, with the changes for the MCB tea-( Asian dancers)- vs the NYCB tea. They both still looked somehow "naked" without the wigs, but in NY the two blonde girls I saw looked plain weird.
  9. It it just that. A rehearsal. The samurai without his costume loses all. And he doesn't look menacing enough, btw. Bugaku without costumes is like Giselle pdd or the Black Swan pdd without costumes. As beautiful as the choreography is costumes are vital to the drama. Exactly
  10. A-Your credentials are wonderful! And B- I have some too. I am a nurse.👨‍⚕️ But....C- our opinions are subjective, for both of us, Academy or not, and for every company who decides what to stage and whatnot there's also subjective opinion. As with La Scala's Raymonda presenting the good boy crusaders in full chest cross regalia vs ABT dropping the piece altogether. If there's something absurd would be to erase this beautiful ballet as if it is akin to the issue of the blacks slaves of La Bayadere. There's a huge difference in intention.
  11. The piece is obviously a fantasy, an Orientalism, and as such will always be performed. But if done by an Asian company the whole issue of Yellow Face, "cultural appropriation" and such is eliminated. This year MCB Nutcracker followed NYCB "no yellow face" for Tea, but the dance was done at all times by two Asian dancers. And so it still preserved some of its intended allure, even sans wigs. I was told by a dancer that the two Asian girls was just a coincidence, but I don't believe so.
  12. Doug Fullington....where are you when we need you....?☝️
  13. I don't know how long before I re visit ABT's Swan Lake. The current array of female Principals don't attract me enough to jump on a plane as I have been doing for many years now. But there's NYCB, a company I see here and there. Last time I traveled to see them was for their Coppelia, and was very pleased. So I have decided to try their SL, and see the great City ballerinas on it. I have tickets for all performances from 02/14 to 02/20, including the weekend double take. I want to see my favorite NYCB ballerina, Ashley Bouder's Odile!♥️ What am I to expect, production wise....?
  14. Let's agree to disagree here. Bugaku without costumes would be even more senseless than Balanchine's experiment with Sylphides. Bugaku, from the source it took inspiration, to its name, to the geisha-like way the females walk, to the samurai-way way the males stance and march around, to its grand stance on hair, makeup and costume design is the grandest Orientalist balletic fantasy/ode to Orientalism I have ever seen. You take that from the ballet, you erase it. I don't think Balanchine would be satisfied to see his piece morphed into a rehearsal-like situation. Again....I can see perfectly this piece being performed by an all-Asian company, preferentially a Japanese one. Their heritage, their inner right.
  15. Stripping the ballet off the wigs and kimonos would be equal to erase it. I really don't think anyone who loves it would settle for such. And of course, the Trust would never agree to it. I might be in the minority here, but I see it as one of the most beautiful, stylized, non traditional Balanchine ballets. I really hope it survives in non American revivals. Actually I REALLY would hope it could find a caring nest in an Asian company.
  16. I have experienced the same issue with probably all Asian troupes I've ever seen-( as well as with most individual performers). This might be a possibility... https://www.scmp.com/lifestyle/families/article/2155172/how-chinese-couples-find-it-hard-show-their-emotions-and-why
  17. I started the thread because, interestingly, it was one of the first Balanchine ballets I ever saw, and it struck me for its high plasticity and misterious allure. Sadly, I very much would say it is probably dropped by now from NYCB and even down here.
  18. From the Copeland thread, the issue of Yellow face has risen here and there. Orientalism is being tackled right now as we know-( Balanchine's Tea). Gone are the wigs for the girls, the mustache for the boy and the yellow face makeup. But... what's gonna happen to Bugaku..? The whole thing is like THE ode to Orientalism. Do you think there will be a long, long time before we see it again at NYCB..? In MCB it was done for the last time quite a few years ago...
  19. It has occurred to me more than one time that Ratmansky has taken a lot of inspiration from the post Diaghilev Ballet Russes era style when creating many of his pieces. For instance, this clip from Massine's "Les Presages" seems to be a cut out of Alexei's "Symphonic Dances".
  20. I was ruminating yesterday while browsing through old pages of BalletTalk. It has been 14 years since I joined, and what a great source of information has it been! Needless to say, there have been countless of posters who have contributed immensely to the bulk of this site with their viewing experience and knowledge. Some of them are gone to the heavens now...some others just stopped writing, but I certainly remember them all very well. So my big appreciation to some of the names I can think of from the top of my head. Mel Johnson-(RIP), PopularLibrary-(RIP), Carbro-(RIP), Estelle, Solor, PapeetePatrick, bart, Hans, Leigh Witchell, Leonid-(oh...how do I miss his posts!), Doug Fullington, atm711 and many others. From the bottom of my heart, thanks to all!
  21. I went to today's matinee of this program. It opened on Friday, but I had to work both Friday and Saturday nigh shifts, so today when I came back from work in the morning I stayed awake to go see this. I'm Old Fashioned. Robbins. Never seen it before. A balletic tribute to a Fred Astaire's ballroom-style number with Rita Hayworth that is played in a huge screen onstage before the dancers take center. I found it cute, although somehow repetitive at some point, very much in the way of "Dances at a Gathering", with combinations and more combinations of dancers doing similar stuff onstage. A couple of male variations looked like cut outs from West Side Story. My mom loved it, as anything Americana, telling me that it reminded her of the films she used to watch as a kid. As the 90% of the theater population today sort of fell under that age range and older, I guess people felt quite identified with the soul of this piece. At the end the whole ensemble takes the stage all dressed as Fred and Rita while the clip plays again on the screen and the dancers double up doing the same choreo until the end, when they turn around to wave good bye to the marching off onscreen couple, The Bitter Earth. Wheeldon I have seen a few pieces by Wheeldon and nothing I can remember has been particularly interesting. I thought this would be the case too, as it is usually with me and anything too contemporary-(there was a quote by the late Mel Johnson that would describe my distaste, but it would be too politically incorrect 😉 ). Anyhow...this was not the scenario this time. The piece is a short pdd, and it had its big share of gymnastics, but still managed to look smooth and soothing, with the big help of Dinah Washington's soulful 1960's voice. Quite romantic and even somber and sad at times, it was danced by Ashley Knox and Carlos Quenedit-(ex Cuban National Ballet dancer). Tschaikovsky PDD. Balanchine Always a winner. always a show stopper. Doesn't it pick your curiosity on how the original choreo within Swan Lake might had looked like,...? Anyhow, the fish dives were daring-(real throwing, body extended with legs together, face almost touching the floor)- the and the tempo was fast. The dancers, Jennifer Lauren and my favorite Kleber Rebello did a beautiful job. Bravi. Symphonic Dances. Ratmansky. Only the middle section with the tuxedo like costumes for the men and the bright colored tunics for the women actually does something for me. The rest quite bores me, so I usually close my eyes and listen to the Rachmaninoff score.
  22. Nothing else has been said about it...
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