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Classic_Ballet

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  1. I am glad you too enjoy it. I thought it was an epic night. I personally dont remember a Juliet irradiating so much happiness for being in love, particularly in the balcony pdd, her variation was a celebration of love, she seemed flying all over the stage, I got chills through out the entire performance......and her acting before surrendering to dance with Paris, after begging to her parents was so moving, followed by that gorgeously emotional and heartbreaking pdd, my god, it was sensational. ...I also loveedddd the way she used her bourees to express emotions, in different moments, and how effective it was. I sense that she has a special connection to this role, but I heard that her Giselle was also really good.....I liked her before but have never been a fan. Now I cant wait to see her in SL and Don Q, since I am really really curious about her acting range and how she uses her technical power to fuel her artistry in a leading role. Its too bad that she is not dancing SL with David . I hope Simkin manages to partner her well, otherwise I sense the quality of the performance may suffer a bit. I have been a very strong critic of the current principals, after seeing Isabella last night, I think she deserves the chance to be considered apart from the rest in terms of star power and potential. I have also being quite impressed with Seo's progress, at least the show that I have recently attended by these two have been very high quality ones.....Hoping that Trenary, Brandt and Bell join the principal team sooner than later, so we can maybe recover some of the golden memories of past times.
  2. I went last night, and I am so happy that I did. I thought Boylston completely knocked the ball out of the park. My expectations were low, however, I can certainly say she stunned me, to the point that I rank her performance in my all time top 3-5 for this role. Her technical brilliance brought the choreography to life, better than ever. She made everything look so easy, yet so beautiful, and used it as a perfect vehicle to tell the story, as I have rarely seen before. Literally every phrase made sense for me last night. I remember reading somewhere that she have been taking acting classes for a while, and it shows ! She went from a girl to a madly in love woman in such a subtle, and at the same time, beautiful way. The performance progressed in emotion and her third act was just magnificent, particularly her last two scenes before the final one. Her last pdd with Paris was truly heartbraking and the moment when she decided to take the sleeping potion was so intense. I think she was so much in character that a few times she actually made some noise, particularly with her breathing, in a very organic way, and it worked for me really well. The whole show was very organic, I am still in awe. Hallberg looked much better than in the SuperGiselle show. Most importantly he partenered Boylston beautifully, those lift were just gorgeous. I loved the contrast of his Romeo and his elegant lines with the exuberant intensity that she transpired from beginning to end. The balcony pdd was very, very well danced but also full of love and beauty from both dancers. The final scene was just phenomenal, they were both at their best, bravo ! This is a great partnership and I hope we get the chance to see them dance together more often. I came out of the show pretty emotional and thinking how powerful and beautiful this ballet is, when is really well done. Together with the gorgeous score is definitely a jewel for the art. Cirio brought the house down with his technical power, the audience really loved him. His portrayal of Mercutio was cute, but still felt short for me in many regards , particularly his dead scene looked way too canned for my taste. I think also the contrast of Hallberg's lines next to him, did not make him any favor. He should dance next to Cornejo or Sinkim better. Calvin Royal looked really fantastic. Devon Teuscher's lady capulet looked underpowered, its probably a work in progress. Overall a magnificent show with two spectacular performances of the leading roles and a very strong support from the remaining characters and the corps.
  3. are you sure about this ? I checked, Teuscher got 2 Bayaderes, I believe, as did Seo and Boyslton. Teuscher seems to be the new AD favorite, KM has a clear tendency to "fall in love" for a dancer and then he will just have her/him do everything, like nothing would be enough, no matter how ready or how good or not so good she/he performs the roles given.... We had Seo ballet theater season a coupe of years ago, and she was clearly not ready for that, still nothing stopped him. The casting this week is a good example of how bringing 1-2 world class dancers could help to lift the quality of the performances, give Teucher, Boylston and/or Seo one show each, so they get their chance, and bring someone exciting for the remaining shows.
  4. Kim owned the met tonight, the house was very well sold. His jump are just priceless, what an elevation, he devoured the met stage with those jetes !. To me he has it all, he projects big, he is elegant, a superb partner and his technique is just amazing. I wish they could bring him full time for the met season at least ! He brought the house down with all his solos. Seo danced beautifully, her lines are to die for, those arabesques, my gosh, her upper body and port de bra are just gorgeous. Now, after she has clearly worked on her technique, her dancing in coming along together much better. I have seen her three times in raw making no mistakes, and delivering great performances, so since I was a big detractor before, its time to eat my words and say brava. This is a role that I think she still has to develop, particularly the snake-scene in Act 1 and some sections of her variations in act 2, during which she seemed rushed and a little behind the music. Overall, she looked really stunning, and very confortable with Kim, they look beautiful together. Gillian delivered, as usual. I just love her Gamzati so much. Her Italian fouettés were solid, her fouettés had plenty of triples pirouettes and ended also very well. The fight scene was very well played, by both, her and Seo, I was relatively close and really loved this. Sadly, the three shades were just a disgrace. Lane started relatively well, but shortly after she started the releves en arabesques, she fell off point, but even worst was how she continued, she walked some steps to fill in the music and got back on point at the very end, it really looked awful. I know some people mentioned before that she can be inconsistent, and that showed today. In the last 10 years, I have seen her doing this many, many times. Anyone can have an off night, but thats not how you recover from a mistake, she is simply making it look even worst. Next, Williams performed one of the ugliest 2nd shade variations that I remember, I am not going to even comment on this, it was just really bad, from beginning to end. Shevchenko was the 3rd, and also looked quite terrible to me, the ending in particular was horrific, I literally thought that she wd lose balance and fall, luckily she pulled a very awkward move and managed to stay on point. The shades had some good moments, and some not so good moments but they didn't look that awful to me. Definitely there were some significant wobbles a few times, but not to the extent of making me think that they would lose it. Overall I thought Kim, Seo and Gillian delivered a truly fantastic show.
  5. I agree with your post completely, to me one potential solution is "balance". Bring 2-3 big stars, and combine that with opportunities to in house dancers. Having 1-2 shows per week with a world-class casting won't hurt the growing opportunities for the home dancers. In fact, I think it would be a great experience for Trenary and Brandt, for example, to dance next to Smirnova, Nuñez, etc., . I dont understand why does it have to be all or nothing, before we had a constellation of stars to the point that the season looked like a ballet festival more than anything else, and now we went 180 degrees opposite, practically zero guest artist this year. Considering the quality of the female principals, having no guest stars, especially after Vishneva is gone, is ridiculous to my eyes.
  6. Regarding the empty seats in this round of La Bayadere....Years ago ABT threw an all star week of La Bayadere, which included: Smirnova, Terechkina, Cojocaru, Vishneva and Part.....I personally, went and saw pretty much all the shows....This year I havent attended to even one....and many abt long time fans feel the same, I am sure. The met is a huge theater to fill, no question about it, but when the casting has been of star quality people have consistently attended, for sure...once again, compare the selling of Osipova/Hallberg's Giselle versus the rest...... I dont think that ABT problems to fill the house should be resolved leaving the met, its a highly prestigious venue that I believe they should keep, although its clearly not ideal. The problems surfacing now are simply the result of the mediocrity of the casting planned week after week. Home grown talent, yes, we all advocate for that (Hallberg, Murphy, Kent, Gomes), at the expense of quality, definitely not......
  7. I was highly disappointed when I saw that neither of them got an opportunity at a major classical role this year. I am terrified about Trenary particularly, since I remember she was given the opening night in their SB tour in Paris. I really hope she did well bc if by any chance the artistic team of abt was not pleased, I am quite sure that it will take years for her to get another shot. For references, Wiles was given opening night in SL in London, it didn't go well, and from there on was a downfall that did not stop until she left.....Lane was given a shot also with the old SB production, they weren't happy and she was "punished" for that for quite a few years, in addition to the humiliation of having the role being taken away from her. On the opposite sides, Boylston and Seo were given big roles and quickly were given more and then promoted. I really hope Trenary doesn't go through what Lane, Wiles, Abrera, Part and some others went through.....My guess is they are both the relay of Murphy and Abrera, so sadly it will probably depends on when these two retire for them to have a chance at promotion. Brandt, in my opinion has all the ingredients to become a star dancer, its not only about the quaility of her dancing and her promising artistry, she is fearless and that is key, in my opinion, to succeed. She gave a tremendously strong performance on Le Corsaire last year in a short notice replacement...Her peasant pdd on the Super-Giselle night was amazing, she threw two long long balances that lasted for ever, the whole variation was impecable, clean and strong. Those balances to me were an statement of "I am here and ready", with a full house, on the night of these two mega-stars , having no fear, going the extra mile in the little chance that you have been given, is remarkable. She is hungry and that is great, that kind of personality in a dancer produces a lot of excitement in me. in the middle of the depleted quality of the prinicipals that we have now, she is screaming for a chance !!!! On another note, I went to Osipova and Hallberg super-giselle. I found it to be an epic night. This was not only about the exceptional and unique quality of both dancers, each in their own style, but about the chemistry of the partnership, that is to me what brought the performance to a different level. I totally agree with Macaulay's review, Osipova maintains a freshness in her portrait of the role that is absolutely admirable. I also think she has been polished big time in the RB, and this together with her unreal technical skills that are also a perfect fit for this role, makes it an unforgettable Giselle. David danced with less bravura, understandable considering where he is coming from. However, I still enjoyed his Albretch as no other, his landings are so soft, he is so elegant and his lines are to die for, I could watch him dance for ever. I also attended Seo/Bolle. I have also been a very strong critic of Seo's performances in the past. I saw her in SL last year and was very impressed, particularly her Odette was magnificent, I think she is the best Odette that abt has right now by far (particularly after Part's departure). Last Friday she delivered a magnificent show. No mistake were made, she looked secure and very much in control. I wasn't particularly thrilled with her Act 1, some minor steps were simplified, the hopes were short lived and the madness scene was "ok", I would say...but still, overall I thought it was really good Act 1. In Act 2 she definitely took the performance to a different level. First, her jumps are truly amazing, with great balloon and quite high, but what really impacted me the most was how she kept her upper body so relaxed, the shoulders, her arms, no visible tension, it was really beautiful, ethereal. This is the second time in a row that I see her giving a high quality performance in a major classical role, I think she has become stronger and more secure. Maybe she has had now enough time to digest the many roles that she was given before, most of them at the same time in a season that is so short. More rehearsal time have clearly paid off. Roberto, boy what else can we say ??? at 43 he looks and dances as if he were in his early 30s, with those endless legs, gorgeous face and greek-god body and look, I wish he never retires !!!! He was such a great partner for her, they looked very confortable together.
  8. Great news, for all of us, veronica's admirers http://rnzb.org.nz/news/rnzb-welcomes-international-guest-artist-veronika-part-for-dancing-with-mozart-season/
  9. I agree completely with nysusan. ABT had golden years, I remember seasons that I could barely skip a show, it was literally a star couple dancing after the next. The level of mediocrity that has taken over the principal roster is frankly devastating, never in my life I thought I would witness such an awful time in this beloved company of mine.....Facts speak by themselves, Osipova/Hallberg's Giselle is being sold out for months, and tickets has been sold at skyrocketing prices...the rest of the shows, half empty house at their best......nothing else need to be said. I understand that having all imported star dancers impacts negatively the morale of the company, but going to the opposite extreme, not having even a single star invited for the whole season, especially at this time when the roster is at all-time bottom level of quality, is simple ridiculous. Its not only about the audience, its also about the knowledge and inspiration that such experiences (dancing next to a world-class dancer) could this bring to the young and rising stars. It should all be about a balance....The casting offered by abt this season is simple at the level of a regional company, as sad as it sounds and there is a clear response from the audience to that. Personally, I have gone from attending 3-4 times a week for years, to barely attend anymore...I am afraid that the artistic direction has made a decision to take the company into this direction, sadly for all abt long time fans, and also for the new generation of ballet lovers. It may be a coincidence, but I have noticed all this took a dramatic change after Rachel Moore departed...... Luckily, we have a single world-class level show this year, I never thought it would happen but it did. I got my tickets and will be there tonight. The rest of the season, I ll attend a show here and there, but with little excitement overall.
  10. I was at today's matinee. I thought Lane had a truly spectacular first act, both technically and artistically. Her madness scene was brutal, and her Act 1 variation very impressive. There is an elegance, an expansiveness in her dancing that is absolutely magnificent, the way she finishes every phrase is remarkable and so tasteful ! C. Hurlin danced peasant pdd and she stood out too, pristine clear technique, clean, refined and musical....I was much less impressed by her partner though. Act 2, however, felt a bit underwhelming for me. Lane was still technically very, very strong, with some brilliant moments. However, I was very bothered with the little use of head/neck and also by her arms position throughout the entire act 2, very little 19th century romantic lithography in her poses. She looked way too earthy for me, with a lot of tension in her upper body as well. Some jumps looked heavy. The partnering was ok, but did not look amazing either, and certainly that didn't help her at all. It was a good second act though, but I was expecting more, I do believe she is a work in progress in this role, there is plenty of potential for a pretty spectacular Giselle in the near future, once she matures the character better. D. Simkin continues to be his same technical wonder, amazing really, those turns !. He has improved his partnering skills substantially, although there is still quite some work to be done before he can take it to the next level (Corella, Gomes, Bolle, Bocca, Carreno, just to mention a few). He didn't do the entrechat-six, but the cabrioles, I rather see the former.This is just my personal taste. The crow was muted, and that was also quite negative, I really think Lane deserved a much stronger reaction from the audience. It was as if the audience was not involved at all, no matter what they would do. Simkin managed to get some more enthusiasm at times, but still it was way less than what he deserved. I know Lane has a great troupe of fans here. I think she did great but in my opinion still far from quite a few great Giselles that we have had in the past.
  11. Classic_Ballet

    Gomes and ABT

    This is very true. Recently, Lehna Dunham had to apologize for initially supporting a writer of her show, Girls, apparently a friend of her, who had been accused of Sexual Assault. ......It could also be the case here, but I find Vishneva, Ratmasky and Kent statements quite strong, although I agree with your point that believing that someone close has done something really bad its not easy. ...On the other hand, Vishneva did label the incident to have "dubious intentions" and the critic's tweet as a "small indiscretion", I would say these two statements are more indicative of having some degree of knowledge about the facts though......both indeed highly contradictory with the official press release given by abt, from which one can interpret that something really horrifying did happen
  12. Classic_Ballet

    Gomes and ABT

    I hope that Marcelo gets proper legal advice and that they make a public statement with clear specifics to the case, sooner than later. If what happened or what he is been accused of doing its not that "horrendous", the lack of information is and will only do harm to him. For many people his resignation is an indication of accepting responsibility and he hasn't denied that the allegations occurred either (as opposite to Martins). The only public statement made so far by "an spokeswoman for Marcelo said "This is a time of reflection for Marcelo. He is gratified and strengthened by the support he has received from family, friends and colleagues"......so if the incident happened, I agree with someone who posted above that the right thing to do is to come forward, accept it, apologize and move on....btw Alessandra Ferri has written an extensive reply supporting Marcelo, in Ratmansky's FB post.
  13. I am absolutely heartbroken by this news: http://www.dancemagazine.com/marcelo-gomes-just-resigned-from-abt-2519159661.html I wish this wasn't true, we love you Marcelo and we will miss you very very badly on the met stage.
  14. It seems that there are pretty divided opinions about her here. I am personally a fan, she is small but I found her to be beautifully proportionated and musical. She is technically very strong, I think we all agree on this. I saw her Sylvia and loved it. Her personality off stage seems hilarious to me, there are plenty of videos on her Instagram rehearsing SL with Kolpakova...... This is one from the golden cockerel that I found hilariously funny https://www.instagram.com/p/BGanvyLEUeE/?taken-by=balletrusse&hl=en
  15. I also had been an avid ABT goer for over 15 years, and this is prob the most depressing season I remember in a long time...particularly, I just dont connect with Ratmansky, there hasnt been a single piece of choreography that he has done for abt that I have found particularly exciting to the point of being eager to see it over and over again. Most of his works for me have been a bad experience, as for this year's cockerel for example, or simply ok but no more, thanks....His SB is what I have enjoyed the best, but I dont feel like seeing it 2-3 times in a run, one time is enough for an academic exercise, I want to see 21st century dancing......... I am a hugeeee Ashton fan, and this is the one thing that I really appreciate a lot about abt programs in the last 2-3 years, all his works are master pieces in my eyes, but sadly, the casting is not up to the challenge and it does not motivate me at all to go as often as I used to go before.....I remember a few years back some runs of Bayadere with Smirnova, Vishneva, Tereshkina, Part, boy it was a feast !....I know a lot of people here dont like imported stars, I think they sell and everything should be given in appropriate quantities. It is understandable that people don't want the season to become into a ballet festival with no abt dancers taking a big part of it, but I personally dont want an all abt season right now, basically because very few of the current ballerinas are exciting or could be considered world-class artist. The coaching mentioned before is a great point, the fact that if people are not given chances they wont develop is more to discussion, world-class dancers are and will be very few, others can accomplish the job but no matter how many opportunities they get, they will never reach the same level, because they dont have the same talent. Years ago the balance was right, 1-2 stars per season, but the difference was that the in-house roster was plagued of world-class artist so the company was offering world-class shows every week.....personally, i will always remember watching Nina A, Ferri, Vishneva, Marianela Nuñez, Osipova, Cojocaru, Smirnova, Obratsova and some others, as one of my most fulfilling experiences attending to ballet over the years, ithese shows will stay in my brain and mind for ever, and it was thanks to the policy that the company had during those years.....home grown talent is great, but not at the expense of sacrificing the quality of the performances.. with that being said, I wanted to comment on the 2 SL that attended last week: Part/Whiteside, Seo/Bolle. Part to me continues to be the reigning swan queen in the company, and one of the best out there. There is no much more to add to what its being said before, her majestic lines, liquid arms and her musicality is simply stunning...it is truly tragic that she has been sidelined (not given more opportunities) over all these years......i also agree that this was not prob her best SL, 2 factors contributed to that in my opinion. First, once again , she danced alone, Whiteside is just not well artistically matched with her, not to mention that the chemistry was inexistent. He is a good technician, but his dancing is tight, restricted, an highly unmusical at times. I was also surprised to read that Alastair M found that he partnered her well, really ?? I was close in orchestra, the wobbling was obvious and present all the time, partnered pirouettes were messy, in the final scene of the lake, for example, during the final lift Part had to use one of her hands to hold herself, which looked more like a Don Q lift to me than anything else...but more than anything, I did not feel any emotions from him during the whole show......At this point, given that she wont dance with Gomes or Bolle anymore, i rather take Stearns, at least he has beautiful lines and seems to partner her better.....The second factor is that I think Part clearly had or recently should have had a back injury. I dont think that she skipped that gorgeous cambree that was mentioned before because of age, gezz, I could have done better than that, that is obviously to me a matter of an injury, I hope she recovers well, and soon.....overall her Odette was her usual gorgeous and her Odile was better than before, I also noticed she was technically as secured as I have never seen her, when dancing alone.......other side notes, Marcelo stole the show as VR, he owns the role, period, and the pas de trois in act 1 was beautifully danced as well (i am sorry i dont remember now who danced it) ...i second the suggestion given in another threat here, bring Fabrice Calmels and partner her with him ! they have actually danced together, it wd be a dream ! Seo/Bolle: I have been a strong critic of Seo blandness and weaknesses before, and I also said that it would take me years to go and see her again. This year, I ended up in her SL because of a dear friend of mine who adoressss Bolle.....To be completely fair, I have to say that I was completely blown away by her Odette this time. She was absolutely exquisite, shockingly stunning, you can tell that she is been really well coached, her portrait of Odette is now full of details, and she danced not only beautifully but strongly. It is quite impressive how much she has improved technically and artistically. Of course, she has always had beautiful lines and gorgeous feet, but it wasnt until this show that I was allowed to recreate on them. There was also a great deal of chemistry with Bolle, which made the overall show way more satisfying that the gorgeous Part SL. Her Odile was also very well portrayed and danced. She held a beautiful balance for everrrrrr (reminded me of Herrera, specially those beautifully arched feet), and her Odile variation was clean and perfectly danced....There were still problems in the coda, when then fouettes arrived, she tried a double pirouette at the beginning and lost control, but I think she recovered ok and managed to finish them (I didnt count, but they seemed close to 32)....i.e, there is still work to do, but I saw also plenty of improvement and other beautiful qualities come alive, her characterization of Odette reminded me a lot of Julie K, which was at her times one of my fav in the role.....the adagio was specially touching and emotional, she looked really fabulous here..........so I am going to take a step back and say that I see a big potential here, I hope she continues working in that direction and that the company provides the proper coaching and nurture her well.....perhaps she was overwhelmed before because she was expected to dance too much, too soon........i hope it was that, maybe she can dance from now on with a greater sense of freedom. ...in any case, since I critiziced her harshly before, I thought it was also fair to write how happy I was with this show, how much she has improved and how impressive and gorgeously beautiful was her performance to my eyes. other notes, Foster was VR. I dont know if it was because I saw Marcelo 2 night before, but i disliked him a lot.....pas de trois was again beautifully danced, i think it was Royal, Schevchenko and Devon T, all of them looked beautiful, great classisism, elegant and pristine clean technique.
  16. Since we are talking about the future, and there will be soon a second generational transition in the roster of the principal ballerinas (Gillian, Part, Stella are 38yo, Misty 34, I think), I thought about posting these clips here, with the hope of bringing new ideas for the renovation phase. There is no latin female principal in the abt roster, for the 1st time in many years....so here are a couple of suggestions 1) Maya Piñeiro, Currently a Prinicipal in Pennsylvania Ballet 2) Estheysis Menendez, who recently defected from the Cuban National Ballet and is currently living in the US Menendez ending of the 2nd Act (8min in this clip) is glorious.....and her technical display in the black swan coda (-1:00 in the second clips) stunning https://www.facebook.com/adrian.masvidal/videos/1086759941367665/ Both in their early 20s, I believe. Together with Trenary, Brandt..maybe Waski and Bethea......they could bring back the golden years of the company
  17. I just noticed that Gisele Bethea has been appointed as an apprentice at abt, since January 2016. This is probably one of the most exciting recent news for the company. Considering the current quality of the principal ballerinas, which to me is probably in an all time low (with few exceptions), having Gisele in the company as an apprentice when she is only 15yo, gives me hopes for better times, sighhh..... I hope Gisele develops as expected, without rushing her.....abt should be reminded of Herrera's career.... Hopefully together with S. Brandt, C. Trenary and some other very talented and promising ballerinas that are still in the corps, we will have once again the company that we have always loved, delivering remarkable performances that will make us go back to the met night after night At least I have an incentive now to go to see abt and witness Gisele's development and hopefully, enjoy her progress and transformation into a real artist......
  18. Do you live in London ? Please, let us have her here in nyc for a bit )).....just a few seasons hehe
  19. omg Marianela is a dreammmmm, I have no words to describe this marvel, she was exquisite, her dancing is so luxurious and her technique so strong, clean and transparent, she was also so adorable as Cindirella.....She mades everything look so easy, so natural, her dancing its so creamy, i could go on and on for ever....Marianela has it all, I can only only wish for more of her next year, pleaseeeeee. Isabella was magnificent, she looked to me more beautiful than ever, and those jetes !!! I loved how much more controlled I notices her arms, she really delivered some impressive dancing last night. Whiteside is a great partner, he made Marianela look stunning, however neither his dancing, or acting matches her, in my opinion...and I think his weaknesses are much more noticeable next to her. I didnt like the partnership overall, I would love to see Marianela dancing with David or Joe Gorak. Huge Kudos to Romam Z and Salstein, the stepsisters, the audience laughed a lot with them, very funny really, it was the ice on the cake for this magnificent night.
  20. even if she does 3 fouettes in the coda, falls off point, you name it..... she will be promoted anyways........
  21. yay ! thats a great idea, thanks !!! ......I havent seen Raymonda in a long time.......I was very disappointed with the RB program, so that wasnt a choice for me either this time, this is just a personal taste, but I would have loved to see them in the classics....still remember the gorgeousssss Giselle of POB a few years ago.....
  22. You are not alone. I feel exactly the same way, disgusted........many of my balletomane friends feel the same as well. I have been going to ABT shows for over 15 years, 3-4 times a week, many of my friends have been attending even longer than that. This season, I have barely seen them there, and I have attended very few times myself. It has gotten to the point that I even left for a 2 week vacation during the season, something I never did before. I remember having such a hard time deciding which performance I would use to "rest", sometimes I would even see the entire run.....This has turned 180 degrees...... now, I find myself looking for a show that I would like to see. This got even worst after the 3 retirements of this year. When I think about the previous roster of dancers, especially the females, Ferri, Nina A, Irina D, A. Mackerrow, Julie K and so many more.... and see that my choices now are Misty C, Seo 3 x week, and Boylston I can barely believe my eyes.....Personally, I dont remember the company been in such decline in a long long time......I go to ABT to see quality, excitement, world-class dancing...with all due respect, these new promoted ballerinas (to my disbelieve, I am assuming Misty C will soon be a principal) dont come even close to that, now abt looks like a regional, small company, .......except when they have a mega-star like Osipova, Vishneva, Obratzova or Cojocaru dancing......To top it off, Part and Murphy, which are the only remains from the golden era of the company, are actually barely dancing, especially Part (Murphy given a Juliet in a matinee, and still banned from Giselle, etc)....Everything is like upside down to me...... I personally have decided that I will not pay a ticket to see poor dancing, or to see a show that instead of bringing excitement and joy, it only brings disgust and sadness to me,....which is the feeling I have gotten when seeing the new "primas" of the company.....I love ballet and this is quite sad to me, but i rather see nothing and keep the memories of the great times alive .............. I love seeing in-house dancers being nurture, growing, but not at the cost of declining the quality to point that we are now.....My only hopes for a change are these three names: Joe Gorak, Skylar Brandt (impressive in everything I have seen her dance) and C. Trenary.............. I am also hoping that Semionova returns, losing her will be tragic, and maybe having Smirnova and/or Obratzova, or Nunez back and dancing more..........in the meantime, i will either go more to nycb or basically will continue to save money for more vacation time..........
  23. Thank you for this, she looks amazing !! ....and I loveddd Skylar Brandt comment !! lovely to see that they get alone so well. I saw C. Trenary dancing in Pillar of Fire last week, next to Gillian. I was very, very impressed with her, I hope she gets more chances to develop soon, you can clearly tell that her potential is huge,..........same goes for Brandt, she is small but her proportions are great, she reminds me a bit to Alina C...... The one thing that I am very happy about abt artistic team this year is that finally J Gorak has been put on principal promotion track and has been given all the opportunities that his amazing talent deserves.
  24. i loved the ending, "american or not, a real ballerina is born, not made" uhmmmmmm go figure KM
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