Giannina

May I encourage all our newcomers, both to the site and to ballet, to post whatever is on your mind. May I use myself as encouragement. I've been on the site since the beginning but was afraid to say/ask/volunteer anything. Alexandra, our Administrator, kept urging me, encouraging me, almost daring me. Slowly I began to post, and to my amazement found that others echoed most of my feelings. I've loved ballet all my life but have learned so much by participating on the board. And here I am, a Moderator, and having a wonderful time. We've all been new. We all want to pass on the love of ballet to those just discovering the art. Ask us questions; we'll answer. Tell us what you think; you'll start discussions. Alexandra has made this site a wonderful place for ballet enthusiasts of all levels. Giannina

Thank you, thank you, thank you, Estelle! Giannina

My Italian father was an opera nut and I grew up with opera music playing constantly. I can hum a lot of arias! My Dad's favorite opera was "La Boheme" and he always cried at the ending. When I was about 10 he took me to "La Boheme" at San Francisco's War Memorial Opera House. I wasn't crazy about it but I loved being there with my father and we both cried at the ending. Giannina

Sondheim's "Into the Woods" is playing at the Ahmanson Theatre in Los Angeles. My daughter and I saw it Saturday and had a wonderful time. I have the original cast on tape, and several years ago I saw a production of this musical in Pasadena starring Leslie Uggams. Starring at the Ahmanson is Vanessa Williams. While this cast was very talented it cannot, and probably should not, compare with Bernadette Peters and company. Williams is not as funny as Peters, nor is her witch as haggard nor her "normal self" as glamorous, nor is her voice as rich. If not compared to others Williams is good in her role. The cow, Milky White, is portrayed by an actor rather than being a cardboard cut-out. While somewhat distracting she does lend a comic air to group dance numbers. The 2 Prince's have the most treasured roles in that their music is beautiful (as is it all) and they are so darn funny. These 2 princes couldn't help but be a riot, but they lent nothing other than the funny lines to their role; no characterization. It was sorely missed. I love this musical; a local Junior College recently presented it and I even loved their production. This staging is headed for Broadway. I recommend it to all. Giannina

My ballet attendance history had a 15 year gap during which time I fought to convince my husband that going to a ballet performance was not a death sentence. Upon my return I loved every single thing I could see. As for changing tastes I am now in the process of learning to appreciate Ashton and I'm having a wonderful time. Giannina

I agree with dirac and Colleen, and have been somewhat isolated in my opinion (thanks to the two of you). To me, removing the figures makes it art instead of a sport. I really don't want to see an art form in the Olympics; it's like the current idea of adding ballet to the "sport". Dirac's comment on jumps is on the button (sort of a pun there!). And ice dancing....don't get me started. Giannina

It comes in DVD too? Giannina

How about the people who pressured the French judge? I find them more at fault than she is. Giannina

Swan Lake Thurs. night starred Paloma Herrera and Marcelo Gomes. I saw Herrera in SL years ago; she was superb technique and no swan. I so looked forward to this performance, hoping that the two had come together for her. It was not to be, though there were moments. I found her leaden in the White pdd. The steps were there and nicely done, but no spirit, no buoyancy. As always the Black pdd was better, but she didn't really shine until her first solo and that was truly lovely. Act IV was beautiful, and in their final pdd the stars were in their element. A few thoughts. The womens' costumes for the pas de trois are so beautiful; the border print on their skirts is a fashion statement. Herman Cornejo repeated his role as Benno and repeated his success. Ricardo Torres was "Prince" Rothbart and his enterpretation was very different from Gomes' Tues. night. In the ball scene Torres was a predator and toying with the women. Gomes, on the other hand, was having a wonderful time, strutting his stuff, vamping the women, being handsome and knowing it. At the conclusion, when Prince Rothbart plops himself down next to the queen and sharply turns to her, Torres is saying, "I'm dangerous!" while Gomes smilingly says, "How 'bout THAT, Queenie?!" I find this Swan Lake production's Act IV my favorite. The opening corps dance, rather than groups dancing the identical steps, reminds me of swans flying into and landing in a lake. The agitation of the storm leads into the agitation of Odette and Sigfried and makes their pdd all the more beautiful. Their death leap is a bit campy but I won't quibble. The theater was jammed. Wonderful to see as ballet attendance at Orange County has been slack. I guess Swan Lake hasn't lost it's drawing power. Giannina

Green, green, green. Giannina

Thanks so much for that, Dale. Giannina

Setting aside my timid nature (face it, Giannina; you're chicken) I'm going to be positive about ABT's production of Swan Lake. I liked it. Green Slime Rothbath was a bit creepy but I liked the dual personality. "Prince" Rothbart at the ball made me think of Bourne's seductive Swan Lake ball scene; Marcelo Gomes was wonderful in the role. The sets were beautiful. The evening ended on an upsetting note: Julie Kent developed a lemon-sized spot of blood on her left foot half way through the ball scene. My mother-instincts may have overwhelmed me but I swear the expression on her face changed for the rest of the production. The only obvious sign of trouble was the fouettes. Half way through she was traveling so badly to her right that she ended them and finished with a series pirouettes off stage right. The wrong direction! That had her coming back on stage from the wrong side but she and Carreno adapted. Newspaper reviews won't be out til tomorrow so I'm hoping she's OK. Kent is soooo thin. Just hours before I'd seen Ashley Tuttle in a rehearsal; she's a healthy girl and the memory of her made Kent look even thinner. Kent's dancing was sublime though I thought she overdid the arm waving a bit. Jose Manuel Carreno was solid, and an attentive partner. Herman Cornejo in the pas de trois was noteworthy. It's surprising how little Odette/Odile dances in Swan Lake. Giannina [ February 13, 2002: Message edited by: Giannina Mooney ]

I do. Hadn't thought about her in eons. Giannina

Death in Green Table, if done right, can also be very scary. Giannina [ February 01, 2002: Message edited by: Giannina Mooney ]

Ballet through the eyes of Sonja; I'm getting addicted. Once more.....thanks, Sonja. Giannina

I can't seem to shut up here. On neither the program for the given performance nor in the 4 pound (price) booklet sold in the lobby is there mention of any dancer other than those dancing the leads. It's like the corps didn't exist. Somewhat insulting to them, and not very informative to the public. Giannina [ January 30, 2002: Message edited by: Giannina Mooney ]

Lolly... Lordy, do you ever! Giannina

I was there the 23rd and 24th (had a wonderful trip, thank you!) I agree with the raves of both casts so will add just a few thoughts. Of Coppen and Kobborg (couldn't they make these names just a bit dissimilar while I get to know these dancers?!): Kobborg was the stronger dancer, bordering on perfection in his control. I had forgotten about those rapid pirouettes; his were truly impressive! I found his interpretation of Onegin's character detrimental to the story. He made Onegin seem demented; he'd suddenly get this wild look in his eye and look off in the distance as if he heard voices. As a result the final pdd seemed less plausible since I found it hard to believe Titiana would fall in love with someone so wierd. Coppen's Onegin was much more socially acceptable (and he's so darn cute!) Of the women: After seeing Tapper Wed. I thought nothing could top it, but Cojocaru did. Like Kobborg she was as close to perfect as you could hope. Tapper was wonderful but Cojocaru added just a bit more expansion, control, development to what she did. For me the final pdd's passion belonged to Tapper and Coppen, mostly because of Coppen's carefully developed characterization of Onegin (OK, the cuteness didn't hurt). Two great performances back to back; who could ask for more. Giannina

Jeannie, didn't you once post that you had some sort of computer file of everythingyouhaveeverseen? I save everything including newspaper reviews; finding them is another story. But there they are (after Autumn's hours in a shaft of afternoon sunlight) and it's so pleasant. Never throw anything away. Giannina

Stravinsky. Love the part that I get more dissonant and bizzare as I age! Giannina

Stravinsky. Love the part that I get more dissonant and bizzare as I age! Giannina

I think I would characterize 2001 as the year I developed an appreciation for Ashton's genius. His choreography was always there, but last year I finally took a good look and fell in love. Giannina

Well, to be local: I hope for a return to the longer ballet season at Orange County Performing Art Center. I'd like more companies to tour and to stay longer. Giannina

Well, to be local: I hope for a return to the longer ballet season at Orange County Performing Art Center. I'd like more companies to tour and to stay longer. Giannina

Lolly....Yup! I'm seeing Royal's Onegin twice and somebody's Cinderella (too lazy to go check). Giannina