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cubanmiamiboy

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Everything posted by cubanmiamiboy

  1. 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.
  2. 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.
  3. Thank you all for the kind words. We nurses are scared. We might be more used to death around us, but this is different. It is new... something we used to hear happened long long time ago. Pandemics were quite a symbol of the past in my profession, and the last one we had, the HIV , contact, airborne and droplets precautions were quickly ruled out. Add to the equation that we're not being given the proper PPE, and the result is a perfect formula for anxiety and fear. Let's keep praying that this is over and we can return to our normal routines. Blessings to all.
  4. I had a long night at the hospital last night. Thankfully, uneventful. But this is not the case everywhere as we know very well. So much death and desolation. It truly hurts. I just re watched "Revelations", which usually lift my spirits tremendously. But it was during the "I want to be ready" solo that I broke. I pray, oh Lord, that this is all over soon and that we and our loved ones are all spared .
  5. Much appreciated dear! Of course I'll be back. I've been several times there and keep coming back. It is hard to take Barcelona out of one's heart!
  6. Around the time he went for a female corps position at the ENB he sometimes was referred as a "ballerina". I remember contesting such and not getting a very kind response.
  7. I looks like Jhonsey is no more a "gender fluid ballerina" but a male looking/male referred artistic director in Barcelona. http://www.balletdebarcelona.com/la-compania/equipo/chase-johnsey/
  8. I was recently in Barcelona, and let me tell you.... If I was to pick a european city to live, it would be there. I saw an amazing, luxurious production of Aida at the Liceu, and all I could think of was how great it would be if the city had a top notch ballet company as the perfect complement to the arts, food and beach.
  9. I just saw it!! So excited to have this jewel of a ballet in its purest form of existence right now!! Bring the recon on Mr. Ratmansky!!🥰🥰🥰🥰
  10. Iliana danced the lead in that performance. She was always a beautiful dancer. You too stay safe!
  11. I saw Gamonet's Carmen years ago when there was the "Ballet Gamonet" here in Miami. It was quite pleasant.
  12. Nothing new. Just like our current Hollywood "Shrines of Morality", #TheyKnew
  13. Don't remind me that I jumped on a plane once to see this. All my recollections are of Marcelo Ina huge beard looking like Moses and a frikin' boat spinning onstage. I slept through the whole thing. His LHBH and Anna Karenina-(saw them both in Russia)- I also found soporific as well. Not a fan at all of his own material, but certainly love his reconstructions.
  14. Or how about partnering issues..? If you remember Volochkova's case at the Bolshoi, it wasn't that much of how she looked vs. finding adequate partners for her.
  15. Lourdes agreeing with Morgan's message of encouragement doesn't necessarily equals Lourdes agreeing on Morgan looking adequate in the Firebird's leotard.
  16. If anything...I just really hope Morgan can eventually enjoy her dancing down here, even if it's less than what she expected. And this not only in terms of repertoire, but as a part of a troupe. I keep repeating that MCB is a tight bunch. I see them at the beach together...at the cafes around the city etc. What Morgan should NOT follow are Messmer's steps. The feeling of being an outcast. If she gets there her joy will be certainly jeopardized.
  17. Lauren Fadeley is her name. And she is more the muscular, tall type vs Morgan's hypothyroidism related weight.
  18. Again ..I can't stress enough the fact that MCB is a company of VERY petite dancers. Nathalia Arja, the Firebird, Is even smaller than Erica Pereira. The size difference during Slaughter was very obvious. I have the feeling that there was probably a deal for Morgan to get the role on the premises that she continued losing weight. And it just didn't happen. I think all performances were danced by Arja.
  19. 1- Wouldn't it be Lourdes herself who pulled her out of a role she very much wanted to dance....? 2- That's not what I got from the teary video. She clearly feels she was prepared for the role. She clearly states she was pulled out at the last minute. And she was emotional about it. And yes...the biggest picture here is definitely her message to the vulnerable teens that the world won't come to an end if you're not selected for Firebird based on your weight. That life goes on and can be enjoyable even without that role.
  20. I think it is wonderful to be the voice against anorexia, bulimia and body shaming. I think it is fair to be upset because you were pulled out of a role at the last minute. To think that with the evident weight difference with that of the rest of a whole company you won't be challenged to change it-( which I believe there are many healthy, comprehensive ways to do it)- is delusional. Exposing problems within the enclosed world of ballet-( just as Kirkland did with drugs, Volochkova with weight or Waterbury with non consensual sex stuff)- is always controversial. The one thing that I see comes up as very positive with Morgan might be getting the message to vulnerable teenagers on how to live with the fact that your body will never be the one that ballet companies look for, and still be happy. Morgan speaking about "unfair" casting decisions with her company on social media is not, in my book, a smart move. Remember Womack.
  21. I only saw her as the Striptease girl in Slaughter, which is a minor, heeled, non tutu role. MCB is a company of petite ballerinas, so her weight looked quite disproportionate from the rest of the cast. Dancing wise, that role is just all about grand battements, and she showed very adequate extensions.
  22. For what I saw in "Slaughter..", she's definitely NOT in tutu shape yet.
  23. Definitely. Say what you want, but an Odile escaping/avoiding her 32 fouettes will be remembered for such. On the other side, an Aurora shaking like an earthquake and unable to keep those balances sharply during her Rose Adagio will also be very noticeable.
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