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About ksk04

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. Thanks for the info everyone! I guess it shows I don't do the Instagram thing...
  2. I keep going back and forth with this because last I checked tickets were still available, but ultimately want to know what they are dancing (can't take another evening like Isadora so soon after the last). There's no one I want to see enough to throw so much caution to the wind.
  3. Josette, I thought the same thing and my mind started wandering to what other horrors the season subscription holds. I do agree it was nice to hear the Prokofiev score instead of something atrocious; I just kept replaying moments from Ashton's Cinderella in my head. Some of the interview from the Press Telegram article makes no sense. For example, " Varnava emphasized that his examination of Duncan, set to the score of Sergei Prokofiev’s “Cinderella,” isn’t strictly autobiographical. He’s more interested in her art and legacy. 'There is so much to explore besides the details of her life, which I think are sometimes paid too much attention. I’m more interested in what she achieved as an artist.'" I saw literally nothing of what Duncan achieved "as an artist" in this production. All it seemed to do was explore, poorly, details of her life? Whatever...
  4. I'm putting my impressions on Isadora here, I guess. Basically as expected based on the promos, past experiences with Ardani productions, and the last Osipova solo vehicle. I feel like I cannot give an unbiased judging to choreography whose main vocabulary is squatting, flex feet, jutting legs, and turned in legs as a stand in for emotional expression. There were really absurd parts to the narrative (the giving birth in car scene comes to mind) and the character of Isadora never feels like a person who is making any of her own decisions; in the ballet she is directed from one scene to another, sort of haplessly, by (I think) a Terpsichore figure. Having it danced to the score of Cinderella was extra disappointing as I can see better choreography in my head throughout the whole evening. I am not an expert on Duncan's dancing but I have read a bit about her, seen "the clip" of her on Youtube, and also Ashton's 5 Brahms Waltzes and I didn't see anything of the lightness and freedom I associate with Duncan in this piece (which are also qualities of Osipova, no?). Even when she jumps there is some nonsense flexed foot which takes away any of the lightness. The whole evening seemed to make Osipova as ugly and ungainly as possible. Lots of strained emoting. There's a fairly large supporting cast for something like this and lots of costume changes. I'm glad Veronika Part can cash this paycheck but that is about as much as I can offer on her. She is there as a satire of a ballerina and given terribly clunky, unballetic (imo) choreography and a gaudy costume. I enjoyed fleeting moments of her port de bras, but overall lackluster. As usual, it seemed like people loved it. Standing O, etc. I hope someone else can share their opinion!
  5. ksk04

    Isadora starring Natalia Osipova

    Well Five Brahams Waltzes it ain't...though this is about what I expected 🙄. I will be there opening night.
  6. I was there last night at the Seo/Stearns/Murphy cast. To echo Dreamer, the corps looked good in the shades scene aside from the speed at which to raise their arabesques and some wobbles once the initial entrance is done. The three newly promoted soloists were the Shades--Fang, Williams, and Hurlin. Seo and Stearns are not well suited to this ballet--they lack any grandeur or bravado in their dancing. I found the Nikiya's death scene to be especially disappointing. Neither had major technical problems (though I was not able to stay for the final act), but they also did not inhabit the role and milk the choreography for what it is asking. Stearns is no warrior and Seo is no adagio dancer. She seemed to have an especially stiff back which is not a great quality for Nikiya. I've seen them together recently in Ratmansky's SB and Nut and those are better fits for them. Gillian Murphy was in good form and didn't appear to be having some of the smaller technical problems reported at parts of the Met season; she was excellent in her first Act solo and fouette sequence, as well as her movements in the confrontation with Nikiya and her possession over Solor while watching Nikiya dance. I was happy to see her in the role since it's unlikely I will get the opportunity again.
  7. Casting is finally posted for the extremely brief trip to CA with La Bayadere. Per the Dorothy Chandler site: Friday, July 13 @ 7:30 p.m. Saturday, July 14 @ 7:30 p.m. Sunday, July 15 @ 2:00 p.m. Isabella Boylston Hee Seo Devon Teuscher Alban Lendorf Cory Stearns Joo Won Ahn Misty Copeland Gillian Murphy Christine Shevchenko I have tickets to Saturday...prefer to see the Sunday cast to get a good look at the newly promoted ladies (since neither Teuscher nor Shevchenko got to debut in the Nutcracker out here last year) but a little worried about how much longer we'll be seeing Murphy and this is a great role for her.
  8. I am so ecstatic about Mayerling. I also hate that this is in LA proper so I won't be able to see all three casts as the back and forth would be painful. NEVERMIND: I am also confused if the previously announced RB/Wayne Macgregor/Walt Disney Hall collab is in addition to this, or does this replace that event for unnamed reasons? Or was that the Wayne Macgregor run in October (though that is with his company, not the RB)? To me it seems weird that the Royal would announce their tours, including a visit to LA, but not announce they are bringing Mayerling as well? Sorry, I was going off of the email announcement which didn't clarify this, not the website link. I see now the other program.
  9. I received an email explaining the Music Center will do a "Facebook live launch" of their upcoming 18/19 season tomorrow: Personally, I would just love an email listing this right now but to each marketer his own!
  10. I agree. In this instance, however, you can only select one performance per event as I found out today (and confirmed with a SCFTA rep on the phone). Once tickets come you can purchase more single tickets (like the regular subscription). I found this disappointing as I would have booked instantly several performances for each of the classical runs from ABT/Mik. You'd think, as you say, that they'd want as much of my money as they could get right now. Maybe in the future...
  11. Segerstrom is offering a "Choreograph" Your Own series this year (I think for the first time in recent memory). You can pick 3 shows and make a series--beneficial if you're trying to skip anything.
  12. Thanks mussel. As usual, no emailed word to their loyal customers yet! It also says ABT's Nutcracker from December 14-23. Disappointing there's such a short run for Harlequinade. Thought they could have used Nutcracker momentum there for something. No comment on the Osipova Isadora or the return of Eifman. Oh dear.
  13. Interesting...I will give it thought--thanks for the heads up maps! I saw Sarafanov in DQ years back with the Mariinsky.
  14. I think it's all in what you can tolerate with the Giselle options, honestly, to echo what everyone else has said. I have seen seen Misty's Giselle last year with La Scala; it's not great with the fudging of choreo and a total lack of lightness in jumps, but I imagine better than Boylston who seems incongruous with the romantic port de bras and epaulement required in the second act--that would be like nails on the chalkboard to me the whole time, but perhaps that might bother you less. Cornejo and Abrera would seal the Copeland choice because I wouldn't pass up the opportunity to see them in anything.
  15. Foiled again for Lane!!! Darn. After yesterday's show I have two major comments: (1) Does ABT really only have one handkerchief that turns into a cane (unless I totally missed the "trick" part...)? They can't find another after it broke on Salstein????? Zhurbin walked around waving a cane in everyone's face as if this was a good substitution for the magic trick; and (2) Abrera needs a new partner for this role. They took the role away from Gorak already, and maybe it's time to let someone else have a swing at it. Lots of small partnering blunders especially at the end of the pas de deux and during the coda with pirouettes. Missed the music on the torch lift. Onto Murphy/Hoven tonight. Hoping Blaine impresses--I saw him when he suddenly debuted in the Bright Stream a few years ago (forget who he was replacing) and have hoped for more opportunities for him since then.