ksk04
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Can someone confirm that in the Makarova version, Act 2 contains the Kingodom of the Shades dance? In some versions that would be part of Act 3 (for example: http://www.bolshoi.r...ces/1/libretto/ )
Pherank, from the ABT repertory archive (http://www.abt.org/education/archive/index.html):
Set in the Royal India of the past, La Bayadère is a story of eternal love, mystery, fate, vengeance, and justice. The ballet relates the drama of a temple dancer (bayadère), Nikiya, who is loved by Solor, a noble warrior. She is also loved by the High Brahmin, but does not love him in return, as she does Solor.Act I, Scene I, Outside Temple in the Sacred Forest: The High Brahmin, priests, and temple dancers are celebrating the Indian Ritual of Fire. Nikiya, the most beautiful of the bayadères, has been chosen to be consecrated the lead temple dancer. The High Brahmin declares his love for Nikiya, but is rejected by her. Nikiya meets secretly with Solor later than evening. They dance together and swear eternal love over the Sacred Fire, but are discovered by the jealous High Brahmin, who vows to kill Solor.
Act I, Scene II, A Room in the Palace: The Rajah has decided to reward Solor’s valor and decrees that the warrior will marry his daughter, Gamzatti. Gamzatti falls in love with Solor’s portrait, and when they meet, he is overwhelmed by her beauty. Even though he has sworn eternal love to Nikiya, he cannot defy the wishes of the Rajah and agrees to marry Gamzatti. The High Brahmin informs the Rajah of Nikiya and Solor’s secret love, hoping that the Rajah will do away with Solor. Instead, the Rajah decides to kill Nikiya. The conversation is overhead by Gamzatti, who summons Nikiya to her rooms and attempts to bribe Nikiya to give up Solor. Refusing, Nikiya frantically attempts to kill Gamzatti. Nikiya flees and Gamzatti swears to destroy her.
Act I, Scene III, The Garden of the Palace: At the betrothal of Solor and Gamzatti, Nikiya is commanded to dance. Gamzatti presents her with a basket of flowers which Nikiya believes to be from Solor, and which conceals a deadly snake. Nikiya is bitten, and when Solor leaves with Gamzatti, she refuses the proffered antidote and dies.
Act II, The Tent of Solor: Solor, grief stricken and under the influence of opium, dreams of being reunited with Nikiya in the Kingdom of the Shades. Awakening, he realizes that he must prepare to marry Gamzatti.
Act III, The Temple: The vision of Nikiya remains with Solor as the wedding ceremony begins at the Sacred Temple. As Solor and Gamzatti say their vows and are blessed by the High Brahmin, the vengeance of the gods is unleashed, and the temple and all the celebrants are destroyed. Nikiya and Solor are once again united in eternal love.
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I'm apparently alone in my opinion that while her technique is extraordinary, I found the angularity of her arms detracting from her Odette, especially the continuous 90 degree break at the wrists, which I found more appropriate in her Odile. For me, there was no vulnerability in her Odette portrayal--less hyperextension and more fluidity would have made me love her, but I can't.
The wrists and elbows (especially) were a bit much for me too, angelica. I admire her portrayal right now, but I don't love it yet-hopefully she will grow in time though.
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Casting has finally been announced for Le Corsaire...still not word on what the mixed bill program is let alone casting.
Jul 11
Mixed Programme
TBA
Jul 12 Le Corsaire
X. Reyes
H. Cornejo
S. Lane
D. Simkin
M. Ilyin
Jul 13
2:00 pm
G. Murphy
M. Gomes
Y. Kajiya
J. Matthews
L. Ribagorda
7:30 PM
V. Part
C. Stearns
I. Boylston
R. Doble
A. Scott
Jul 14
P. Herrera
I. Vasiliev
S. Abrera
S. Radetsky
C. Salstein
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Thanks for posting; she always seem like such an interesting person. Very funny.
Yikes:
Irina Dvorovenko: Yes. In Russia, each ballet dancer was attached to a coach, and it was like having a mother in the ballet pretty much. So you need something more personal. Here, you cannot be attached, because everyone is running from one studio to another. So it’s a different structure. I cannot blame it, because the theater functions in this way. But that’s what people want—everyone from the dance world. Gillian [Murphy] arrived from New Zealand, and she went to take class with [ABT], and then we saw her at class at Steps and we said, “Well, how was it?” And she said, “What’s the matter with ABT? Everybody’s so depressed, everybody’s crying. What’s happening?” So it’s not only me. Everybody’s noticing that. Something strange is going on with this bunch of guest artists who take performances from the dancers who work hard. And nobody develops our dancers. The dancers who come from out [of the company], they have been already nourished by somebody and molded so they have experience to share, but our dancers also need this experience and they cannot, because no one is helping them. And also everybody is working so hard in the studios, but the amount of time is so compressed. It’s hard for everyone. -
"No one has mentioned Eifman since 2009"
Perhaps for the best...
I saw half of it and left. It was bad--just total dreck. Convoluted. Both under and over acted. Boring. Tries to be sexy (lots of "nude" bodies) and fails miserably. Most of all, there is hardly any dance. I'm completely befuddled by the LATimes and Register reviews. The LaTimes refers to him as the only choreographer in touch with 21st century audiences.
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When they toured SoCal two-ish years ago we got casts 1 week in advance, I believe. You just have to resign yourself to the luck of the draw; luckily SFBs principals (especially the women) rarely disappoint (though I am not a fan of Zahorian or as big a fan of Kotchekova as many on here are).
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I had to laugh at the opening language of their announcement:
As part of our mission to share the joy of dance with the widest possible audience in our community and around the globe, . . .New York's Lincoln Center? Coals to Newcastle anybody? I'd say southern California could use a visit from SFB, especially in view of the disastrous season for 2013-14 at Segerstrom.
Yep. What god do I need to sacrifice to in order to get some classical ballet down here???
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Maria Alexandrova is an excellent ballerina who has never been a Giselle. She's working her way through non-emploi roles though (Aurora and Nikya, recently), so she may have one in her before her career is over.
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SFB posted on their facebook that Mazzeo's last performance with the company was last night. Was this announced ahead of time? Rough blow to have two male principals leave in the same season (thinking of Vilanoba at the end of the season too). Any ideas where he is going (back to Italy or back to the Royal??)? He's too young to retire.
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Yes, mussel, as soon as I saw the RB announcement I thought back to this! Whoops on their part.
I assume something is up with the Mik since Osipova's listing doesn't include them. They are obviously biding their time on that contract.
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The rate at which Osipova acquires and "unacquires" principal contracts seems wildly unsustainable. Hopefully she is not burning bridges, and retains her commitments to all of these masters without stepping on too many toes--though I guess all she needs to do is point to Polunin and say "at least I'm not him."
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Also makes one wonder if it won't be shown during ABT's visit to the LA Music Center, to avoid the competition.
I thought the same.
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Didn't they take Ratmansky's Nut to DC this year? That's why I assumed it would start to tour a bit more after seeing how the one out-of-town visit went.
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No, we haven't seen Ratmansky's Nutcracker yet--I was thinking this year would be the year. SCFTA doesn't even run a Nutcracker anymore during the holidays (which--if they are hurting for money-is about the dumbest thing I've ever heard).
The Kodak theatre is the Dolby theater now and has hosted a Cirque du Soleil show there in residence for the last few years. Not sure what they are doing now that they are out of there.
Dance events are always sold out at the Dorothy Chandler (or at least well filled), though they usually only invite companies for 4 days (Thurs-Sun) vs. the usual Tues-Sun. I think perhaps the rise in gas prices over the last few years has badly affected LA residents who used to drive down to SCFTA for dance subscriptions, though from my experience the Dorothy Chandler is MUCH more expensive ticket-wise and parking-wise.
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Those are all my thoughts, California. What's more interesting is it should be ABT's year at SCFTA, since they are at Dorothy Chandler this year in July, and they aren't on the list (for a few years they obviously had some sort of joint custody agreement between the 2 theaters). ABT has performed regularly at the Center since it opened. The past few Ardani "productions" haven't fared that well at the Center, though the Osipova/Vasiliev evening at least has some recognizable programming to help it along.
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What a load of total crud.....
Diana Vishneva: On The Edge
World Premiere Event
November 6, 7, 9 & 10, 2013
SEGERSTROM HALL
Choreographers:
Carolyn Carlson and Jean-Christophe Maillot
Diana Vishneva, internationally acclaimed and award-winning prima ballerina of the Mariinsky Theatre and American Ballet Theatre, returns to Segerstrom Center in a special world premiere event to showcase her remarkable virtuosity. The program will include all new works choreographed for her by Carolyn Carlson, director of National Centre for Contemporary Choreography in Roubaix and of the Atelier de Paris at La Cartoucherie de Vincennes in Paris and Jean-Christophe Maillot, choreographer-director of Les Ballets de Monte-Carlo. Karl Lagerfeld will design her costumes. Co-production with Ardani Artists
Natalia Osipova and Ivan Vasiliev
January 24–26, 2014
SEGERSTROM HALL
Choreographers:
Marcelo Gomes – World Premiere
Maurius Petipa – from final scene of La Bayadère
Roland Petit - Le Jeune Homme et la mort Natalia Ospiova, prima ballerina of American Ballet Theatre and the Royal Ballet (
...what?), and Ivan Vasiliev, a principal dancer with American Ballet Theatre (what about the Mikhailovsky???), are without peers as today's greatest dance couple. They perform throughout the world to sold-out houses and standing ovations, including many performances at Segerstrom Center. During their return to the Center, they will perform The Kingdom of the Shades scene from Petipa's La Bayadère, Petit's Le Jeune Homme et la mort as well as a world premiere by Marcelo Gomes, principal dancer with American Ballet Theater. Gomes, who is expanding his additional career as choreographer, also created a work for Kings of the Dance in 2011 featuring Ivan Vasiliev.
Les Ballets de Monte-Carlo – American Premiere
Jean-Christophe Maillot, choreographer-director
Under the Presidency of H.R.H. the Princess of Hanover
February 27–March 2, 2014
SEGERSTROM HALL
Swan Lake – American Premiere of Jean-Christophe Maillot's new production
Choreography by Jean-Christophe Maillot
Les Ballets de Monte-Carlo, one of Europe's most exciting ballets companies, returns to the Center with the American premiere of Jean-Christophe Maillot's interpretation of the classic Swan Lake. Les Ballets de Monte-Carlo was greeted with standing ovations during its Center debut in 2011 performing Maillot's Cinderella.
Alvin Ailey American Dance Theater
Robert Battle, Artistic Director
Masazumi Chaya, Associate Artistic Director
Repertory Highlights including Revelations
March 27–30, 2014
SEGERSTROM HALL
The Miami Herald wrote that the company's new artistic director, Robert Battle, "represents a new generation, not just at Ailey, but in modern dance." The dancers of Alvin Ailey American Dance Theater are electrifying – "the most gorgeous dancing you ever did see," as New York Magazine wrote. The company is a Center favorite, and will bring programs filled with repertory favorites and new works created for the company by many of today's most talented choreographers. Not only America's cultural ambassador to the world, but, as The New York Times wrote of Alvin Ailey American Dance Theater, "possibly the most successful modern dance company on the planet."
http://www.scfta.org...aspx?NavID=1054 -
This is hysterically awful.
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Well I guess the Bolshoi's loss (McGregor's Rite) is the Royal's gain?
It will be a revival of the MacMillan version.
Oops! I read that much too quickly since it's on a bill with a McGregor piece. Thanks for the correction
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Well I guess the Bolshoi's loss (McGregor's Rite) is the Royal's gain? Wish they'd broadcast a few of their triples, but nice to see Winter's Tale get a viewing--I'm interested!
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Full length video of Big Red being Ruby Red emerges via youtube user baletvideo. Not sure how long it will last so don't want to post a direct link (Novikova and Schyklarov also appear).
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Well...we can watch her bow for all three ballets. Looks like Yulia Stepanova was the tall girl in Rubies.
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Hope they bring a better batch than what we got in October. Though seeing Big Red was worth it all, I guess!
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According to the Mariinsky twitter page, Big Red Kondorova will be dancing lead roles in each section of Jewels tonight. Soooo jealous! Hope we can find some Youtube clips at least.
Wow. Would enjoy seeing that. Hopefully the sneaky camera operators are out in full force.
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I am rather surprised to see Agnes de Mille's Fall River Legend revived. I saw this ballet about LIzzie Borden quite a bit when performed by the Royal Winnipeg Ballet in the 70s (I was only 10!). Has anyone else performed it recently?
ABT does it occasionally; or did, rather, when they were doing longer Fall seasons. I hope we can get a film out of it with POB doing it
SCFTA Dance Season 13-14
in Multi- and Cross-Company Events, Festivals, Galas, & Dancer Groups/Solos
Posted
A much needed addition to the 13/14 season:
The Hamburg Ballett
February 7–9, 2014
SEGERSTROM HALL
Program:
Liliom (American Premiere)
Choreography, staging and design by John Neumeier
Music by Michel Legrand Liliom was commissioned by The Hamburg Ballett and the Hamburg State Opera. Following the 2011 world premiere, the creators of the ballet's two leading roles, Carsten Jung (The Hamburg Ballett) in the title role and Alina Cojocaru (The Royal Ballet) as Julie were honored with the prestigious Prix Benois de la Danse for their respective performances. Legrand received the Prix Benois de la Danse for his composition. Neumeier, the company's director and chief choreographer, based his work on Ferenc Molnár's play of the same name, which was also the inspiration for Rogers and Hammerstein's Broadway classic, Carousel. The music for the ballet is an award-winning original score by the Academy Award®-winning composer Michel Legrand.