Juliet

Juliet has Production Amnesia..... who had the green outfit and lots of extra dancing to do ? I thought it was Wilfrid who had the outfit like he came out of a crackerjack box.....

Well, if you ask the folks at the Bolshoi, we all KNOW who they think the Real Good Guy is. He didn't get the holographic sequins or the jaunty velvet beret, but he got that great green outfit and Those Boots to show off his beats...... [ 04-26-2001: Message edited by: Juliet ]

Love the Peter Wright production. Loved the Kirov one which they brought a couple of years ago to NY. Don't love the San Francisco one for two reasons: peasant pas de huit (I think it's 8, not 4) and all those brown peasant costumes and girls with babushki on their heads.

Yes, I have this early Malakhov video, and while he is very young, he is ardent and so expressive...... I think his is one of the best thought-out and realized Albrechts....the later (1996) biographical video, "True Prince" has him working on Giselle with Yseult Lendval, and is really, really interesting to see....it's spooky and eerie and she is so insubstantial....he is just beautiful in this (which is, of course, the point.) I was very sorry to have missed him at Kennedy Center earlier this month. I have many favourite Giselle moments, but one I must echo from an earlier mention on this thread is the exquisite pdd with Fonteyn and Nureyev. I *think* it was shot at the first performance of theirs together and it showed me so much that I hadn't seen before, mostly about Fonteyn. Exquisite. Why has no one mentioned the Alicia Alonzo Giselle? It is very distinctive, and although one marvels at her age when it was filmed, I think it is lovely.......

And Jose Manuel Carreno encored this little feat when he did it with Durante a couple of years ago. Only his was when Giselle died... he collapsed (after a few little picturesque twirls), raised himself akin to Lazarus, adknowledged the applause, and then remembered what he was supposed to be doing and curled himself back up in his cape....

Or is he carrying on his other peccadillos in Bathilde's cottage.....does he have a key from prior assignations...... I didn't know about this mime....very interesting--thanks!

Thank you! I didn't know that the dancing was something so intrinsic--I enjoyed having the quotation..... They ought to have a buffet table for the poor dears, at the very least.....

What does love of dancing have to do with it? They are girls who've died before their wedding day.....I haven't asked about specific causes, but have universal acknowledgement that men are not high on the favourites list. Especially Albrecht. (See question #1) While I love the pretty-in-white look which is traditional, I also think that a ghostly, mouldering, shredded look is quite appropriate....the only thing I have strong objections to is wings. Wilis Should Not Wear Wings.

Miami City Ballet is doing Duo Concertante on their mixed bill program at Kennedy Center in May (Les Patineurs, Duo, Sylvia pdd, Slaughter on 10th Avenue)....I am looking forward to it, as I will have to miss their Jewels that weekend.

Thought I saw you there, CygneDanois...and others, too, but wasn't able to talk... I didn't feel any sparkle in Theme, and the female corps was not only disparate in attack, timing, and general energy level, but it looked to me as if serious coaching was needed here. These are very, very talented people, but a corps is a corps and is supposed to do things together, no? Gillian Murphy can turn, and her unengaged demeanor was not objectionable in this piece. Indeed, she looked quite lovely, except for those wrists, which I found very jarring....Carreno was beautiful, period. Unlike many I have heard, I *like* the costumes--so that was also something pleasant in the equation........maybe I was just expecting more from this piece, but I found the experience somewhat tepid.... Obviously, I am on another planet, but I enjoyed the Taylor piece a good deal. Costumes very imaginative, suited to the choreographyand period; lighting and decor very, very interesting (subway tunnels, fretwork, city skyline); maybe I was watching another ballet than the rest of you? I wasn't bowled over, but found the choreography interesting and the individual performances quite full-bodied; *this* is the piece which looked as if it had rehearsal time and some thought behind it. So? I was really pleasantly surprised, not having great expectations after reading Tuesday thoughts on opening night... Sleeping Beauty was notable for the elegant performances by Dvorovenko and Belotserkovsky--I won't go into my usual paeans, but they did not disappoint. Also sparkling Michele Wiles' beautifully articulated Diamond Fairy--perfectly cast--and Yan Chen, who attempted some sort of characterization of Princess Florine (unfortunately not often done.) Joaquin De Luz was rather lumpen as Bluebird, and his arms were doing whirligigs rather than fluttering....I was surprised and disappointed as his feet were quick and light, but not the rest of him..... I was happy to see Stella Abrera cast as Lilac Fairy. Would have been even happier to see her dance something.

Then why did M. Belosertkovsky decide to go golden? As contrast to Dvorovenko? Her registers fine on stage with me....

Happy April Fool's day!

When they were in Annapolis last week, they had completed three months of a four and a half month tour of (mostly)one night stands. I don't know if it would be possible to meet with Radchenko beforehand, but it would be a very good idea (to get the casting, if nothing else!) When they were here, there was no one from the production staff, let alone the cast, much in evidence, but you might be able to contact them and arrange something beforehand. Wardrobe mistress arrived at 5 pm for a 7:30 show...... I heard very positive reviews of the performance. It is generally much easier to draw an audience in a smaller town with a Russian company, no matter how tired or mediocre the dancing. This is not generally the case with Moscow Festival Ballet -- although the stages and touring company may be small, the calibre of the dancing is usually quite fine. The production is not a new one (far from it) but they do a very good job with resources available!

No, they were more reminiscent of shrouds.....very effective, if very different. Berman was such a theatrical Theatrical designer....but I recall that many people did not care for their Wilis looking like real dead girls. At least he didn't put holographic sequins on every available costume, unlike Some Companies we know.....

No, they were more reminiscent of shrouds.....very effective, if very different. Berman was such a theatrical Theatrical designer....but I recall that many people did not care for their Wilis looking like real dead girls. At least he didn't put holographic sequins on every available costume, unlike Some Companies we know.....

You're in luck....they're doing it this summer at Saratoga.

I have never, ever, seen a female dancer who had the slightest trouble navigating in 3" (and higher) heels. One of the nice things about ballet training is that you learn how to balance.....

There's a short article on it in this month's Dance Magazine--it is, indeed, the Ronald Hynd one....and it sounds well coached and attention paid to details.... Sounds beautiful...

I heard from someone who had also seen this performance that it was *absolutely* beautiful. Thank you, Drew, for writing about it....

Well, I really, really liked it. I won't go out and buy the music (yes, you're correct, you did hear it in "Eyes Wide Shut"), but I thought it was a most interesting ballet. Who is cavilling about leotard ballets? In New York? Aren't we used to them by now? And Holly Hynes did an excellent job with the aubergine colour and subtleties of cut for the men. Does the fact that he quoted movement from other pieces label his work as "derivative," and therefore, not valuable and interesting? I know a great many contemporary choreographers whose work is immensely derivative -- yes, shadow patchwork-quilts of others' works, and yet they are still beautiful and evocative. I don't agree with the self-promotion (puffery) label being placed on this artist and neither do I agree with the paeans being sung in the NYTimes. I do think that the work I saw on Thursday night was very, very interesting......the lighting was superb, the dancers were cast properly (although I doubt if ever another pair of dancers but Whelan and Soto can do their roles justice) and I found it a really stimulating and well-danced performance. If I make a black and white dress with a big hat setting it off is everyone going to say it's no good because it quotes from Cecil Beaton? Of course not. And if you do, I wouldn't care, because a good idea doesn't cease being a good idea just because I didn't use it first. I thought this ballet was a solid, well-crafted work that I would not be at all adverse to seeing again----and not only because here in Washington we have to sit through mostly drek in new ballet creations....never mind the costumes....... [This message has been edited by Juliet (edited January 06, 2001).]

Eugene, happy new year-- Listen to the first three symphonies--they aren't hysterical at all. C'mon, you LOVE "Manon" and you are complaining about hysterical utterances????? Actually, that is the beauty of this board--we are all so diverse that it is considerably more interesting!

Daniel Ullbricht is very, very talented. He is also about 5'4' in height. Peter Martins can acknowledge his talent, give him some very valuable performing experience, and perhaps get him on a road to a contract with a company which uses smaller dancers. I notice that Faye Arthurs is down for Coffee next week--it will be interesting to see her in this debut. I was exceedingly disappointed in D. McBrearty in this role a week or so ago....not in the least pretty, much less enticing.....although I think she has looked good in other roles, I wonder why she is cast for this.

I went on Saturday night (Div. of Angels, Beauty pdd, Weren't we Fools? and Jabula) and Sunday afternoon. I am going to blast Manhattnik out of his cave to write about the Sunday afternoon performance at least (He and I disagree about some of the Saturday night, so you can hear MY views first! Quick notes on Sunday: It was a relatively low-key beginning for Stiefel in Prodigal, but I agree that he became more involved with the role as the ballet progressed....It was Michele Wiles' debut in Siren and I think she will get better and better in this role...I was happy to see her cast for it. She was quite good, despite the production hitches, and will only get better, I feel. I was very disappointed in Black Swan...I think Murphy is a turner and that's about it, at this point. I know this was done as a set-piece, out of context, and yet I have seen many dancers inbue the role with a *little* bit of personality...I didn't see icy reserve, I saw a blank sheet of paper. Picone is very pretty, has a beautiful body, and he was quite nice. I had expected more than nice. Lilac Garden was not as affecting as it is for me sometimes, but I do think Erica Fishbach allayed my disappointment at not seeing Sandra Brown quite well. I didn't sense a "connectedness" in Kent, but maybe either she or I were on different wavelengths. Etudes was a stellar, stellar cast--Malakhov looked as if he was actually enjoying himself by the end of the ballet--and was beautiful to watch in the role, of course with his jumps and beats....Corella snapped those fingers and leapt through the air and twirled and grinned and was, as usual, thoroughly engaging without being a caricature of himself. And Dvorovenko was The Ballerina with a megawatt lighting job and a mien to match. She was wonderful and she knew it. Don't know why they didn't cast her in Sylphide last season, either..... ********* Saturday night was Diversion of Angels....Stella Abrera was lovely and still in the white role, but the rest did nothing for me. I love Graham costumes...but why they keep doing this ballet is beyond my ken... Sleeping Beauty pdd was Belotserkovsky and Dvorovenko and I will not go on for pages rhapsodizing....although I could. He was not the least bit flashy, the technique was assured and demeanor princely, but he was a beautiful thing to watch.....Dvorovenko was radiant. It was wonderful. Perfect. More on Jabula and the Cole Porter piece later--did anyone else see them? I really, really liked them----

I don't think ballet creates an artificial world. A lot of Sleeping Beauty is a good deal more real to me than "reality." I like sexy ballets. What is lewd for me may not be what is lewd for you. What is sexy for me may not be sexy to you. A group of men dancing is extremely sexy , I think, but it might not be for you--this ballet, this week. I am not looking for idealization when I look at a stage. Beauty is different for everyone; at different times in a person's life the definition may vary. I dislike vulgarity: my definition is quite different than yours may be, however. I don't think Agon is sexy in the least. Depending on the performer, the "look" can vary enormously--as pointed out in the note on Tarantella, a step can either look quick and saucy or like a woman is inserting a tampon. I happen to like MacMillan (I am not even ducking!)...although not, I must say, Manon. What I find sexy in Romeo and Juliet might be the music one night, the way she touches him another, Mercutio, the third.... I think there is room for tremendous difference in this world....that said, the grand pdd in Sleeping Beauty is one of the loveliest things I know: because there is room for scope and imagination. Scope and imagination is the sexiest thing I know and what better place for it than ballet.... We all see differently. [This message has been edited by Juliet (edited October 07, 2000).]

Jeny Ringer Lucia Lacarra or...my favourite for this: Viviana Durante. (Let's hear it for Passionate Outbursts!) I am stuck, stuck, stuck for Rhett....maybe Irek Mukhamedov? It can't be someone callow... No one BUT Peter Boal could do Ashley. Melanie is sweet Julie Kent. Prissy : I'm stuck. No one who's an African American woman dancing ballet now can be that gutless and dopey....it would have to be the acting job of the century. You know very well Mark Morris would just love to wear a turban and do The Big Deal role.... This is a start....unfortunately, I am not a big GWTW aficionada....