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ksk04

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Everything posted by ksk04

  1. I would imagine that any dancer who has been reprimanded for even a whiff of inappropriate behavior is exactly who SAB wouldn't want to welcome to avoid potential legal issues of them being around minors, especially since the company seems to be very focused on appearing pro-active after the Martins stuff. But that's just my thinking--perhaps it will be different.
  2. They are doing Mayerling, though, in addition to the new McGregor work you posted about, unless something has changed: https://www.musiccenter.org/tickets/events-by-the-music-center/Glorya-Kaufman-Dance/1819-season/royal-ballet/
  3. I already rolled the dice with my subscription and have tickets--not sure how I have been able to "select" Copeland's shows so well without casting two years in a row now, but I will be exchanging into Lane and/or Shevchenko. Have to decide if I want to keep the Abrera ticket or not--love her, love her in the role, but haven't been able to work out seeing Sarah Lane as Clara since the Nutcracker decamped here.
  4. 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.
  5. 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...
  6. 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!
  7. Well Five Brahams Waltzes it ain't...though this is about what I expected 🙄. I will be there opening night.
  8. 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.
  9. 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.
  10. 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.
  11. 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!
  12. 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...
  13. 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.
  14. 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.
  15. ksk04

    delete

    Interesting...I will give it thought--thanks for the heads up maps! I saw Sarafanov in DQ years back with the Mariinsky.
  16. 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.
  17. 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.
  18. Laurel, thank you for reminding me of how bizarre I thought Salstein's characterization was. This was made worse at the show I went to as (as AB'sMom mentioned) his magic trick didn't go off and so it made his characterization look even more hapless/jokey. I thought Zhurbin was menacing enough on opening night, but you are right--it can/should skew darker. I agree with you that Stella is the best interpreter of this role; she captures the choreography and the characterization so well--can't wait to see her again in a few hours!
  19. I've seen two performances so far--had to swap my Lane/Cornejo tickets due to an emergency, which was really annoying as they were the ONE CAST I really, really wanted to see this year. I will have to wait another year to finally see Lane. I saw the opening night with Copeland/Simkin and last night with Seo/Stearns. I have tickets to the Abrera and Murphy (+ Hoven) shows this weekend also. Opening night was much of the same cast-wise as many shows I saw last year and the year before and last night seemed to either have debuts or castings I've not seen before (not clear which). Luis Ribagorda and Gabe Stone Shayer seem to be on double duty each show I've seen and are both fantastic: Shayer has been the Cook, Harlequin, a Bee, and Russian. Ribagorda has been the Recruit, Russian, the Butler/Major Domo. It is so great to see him back onstage; he's lost none of the charm and presence from before he left. Courtney Lavine was the Nanny/Sugar Plum last night and I don't think I saw her as this before--I thought she was charming. She also seems to be cast in everything and doing a great job. I thought Skylar Brandt was disappointing as Chinese on opening night (no crazy pirouettes at the end) but lovely in Nutcracker's sisters. Patrick Frenette was the Recruit last night with Catherine Hurlin as canteen keeper; not sure if this is a debut but he had a lot of faces going on that suggested he wasn't super comfortable with some of the choreography, even behind the eye mask. I have a hard time with the costumes for Snow and Flower--they are SO unflattering for so many of the dancers, especially flowers. They make everyone look like they have a short stocky waists. The little kids opening night were excellent--they had all the cues right and the Fritz especially had that "little sh*t" vibe that really sells the role. I saw him onstage last night as part of the kids group and wanted him back in front causing trouble! As far as the leads go, Copeland/Simkin were fine, passable. She lacks a lot of twisting and bending that makes the choreography, especially in her solo. Simkin had to save her quickly from falling out of the ending of the a la seconde unsupported pirouette at the end of the pas--though at least they tried it unsupported; Stearns, fairly expertly, made it look as if he let Seo go but kept her in his fingertips. I don't have the same anti-Seo stance that a lot of people have, probably as I haven't seen her in every role whether suitable or not. I thought she was very lush and lovely last night. She and Stearns clearly have a great rapport; he obviously enjoys dancing with her and is so much better at making eye contact and looking like a real person who wants to interact with her. He did a great job at making some of partnering look beautiful especially one of the first lifts where she is gradually raised (dead weight) higher as they spin in a circle. Didn't get a lot of that personal rapport from Copeland/Simkin. Anyway I would rather see Seo again over Copeland or Boylston (probably in most roles, frankly). I feel our repeated discussions of the torch lift have made a difference. Neither cast is doing the "stop, leg up into the hand, hoist up" nonsense. There is now a clear running jump and even if it takes an extra push to get the woman in the air, the lift looks SO MUCH BETTER. Perhaps they all needed to see Abrera and Hammoudi pull it off last year to have the confidence.
  20. It's not part of the subscription this year, so I think it was cancelled before it was ever officially announced by SCFTA. We are fresh out of luck!
  21. Yes, she did The Swan last night. But if it is a small injury issue, the Swan is much less demanding than Chopiniana, certainly. AB'sMom will have to let us know about Sunday evening. So far LOVED Osmolkina in Chopiniana with perfect Romantic style and lightness. Loved Tereshkina and Kim in Scheherazade--great chemistry. Kim is so ferocious with the way he cuts through air. Enjoyed Kondaurova in the Swan. Liked her less in Scheherazade though only in comparison to Tereshkina. Pretty neutral on Shklyarov in both Spectre and Scheherazade. Skorik's Swan--it's already a piece I can take only so much of that I really need to like the ballerina in order to enjoy it (layperson S.O. noted that he think it's the perfect vehicle for her though after seeing her in Raymonda and thinking her arms seem radically disconnected from her body). Glad some people are digging it though!
  22. I saw the opening night and don't have time to write more now (going again this evening) but Oxana Skorik was replaced by Osmolkina (hallelujah!) in Chopiniana. The cast sheet didn't specify any reason (it wasn't even noted that there was a replacement being made, though I knew from the online cast sheet that there was a change). Not sure if this is an injury or a replacement due to other reasons.
  23. Agree (though I am not a fan of Skorik). I ended up purchasing three shows to get a good variety of those three, which was especially difficult to account for Osmolkina yet avoid Skorik in something too major.
  24. I bought tickets to four nights under the assumption there would be a debut or two, so I'm pretty disappointed. I guess it's not painful to see Gillian Murphy or Stella again, but... Somehow I ended up with two Misty nights based on my pre-casting booking (I guess I should have known she would get opening night). I already swapped one to see Sarah Lane, but I'm trying to decide if I should swap the other to a Seo/Stearns show??
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