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Ilya

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About Ilya

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  1. I have two free tickets for today's (Monday June 27, 2016) dress rehearsal of Sleeping Beauty at 2pm. The seats are grand tier B18 and B20. These are hard tickets which you will need to pick up near 57th and Park Ave in Manhattan between 10am and 1pm today. Send me a message if interested.
  2. Queenofspade, your clip perfectly illustrates what I meant by "a little shaky at times". I have no problem with it being characterized as perfect, I just don't see it that way myself. Ditto for the other two pieces in question. So let's agree to disagree. When I brought these up, I really didn't mean to make a big issue out of them.
  3. Checking earlier posts in the thread I see that somebody else mentioned a mistake in Chopiniana so my story is at least partially corroborated.
  4. No technical errors in The Legend or Shurale (none that I noticed anyway), they just looked shaky at times. Shurale was very enjoyable regardless, The Legend not so much. In Chopiniana on Friday---also very enjoyable, albeit a tad slow for my taste---the glitch happened too quickly for me to understand exactly what happened, but a glitch it was. If I was forced to describe it in court and couldn't take the fifth , I'd say part of it looked like her hand was searching for his and not finding it. If my eyes and memory are not deceiving me, it happened during the first one of the two combinations
  5. Ghirei is not of Arabic descent (and arguably not really a villain—not in Pushkin’s poem anyway). He is a Tatar. Bakhchysarai is in Crimea and used to be the capital of the Crimean Khanate—a state that split off from the Golden Horde in the 15th century and was a protectorate of the Ottoman Empire for 300 years before being annexed by Catherine the Great of Russia. It was interesting to see the two excerpts from The Fountain of Bakhchisarai. The pdd of Maria and Vaslav was especially impressive and beautiful—in my mind, Osmolkina and Zyuzin fully redeemed themselves with it after Friday’s awf
  6. A somewhat less generous view would be that Plisetskaya's name on the promotional materials was perhaps meant to help ticket sales for a poorly conceived program. One can't help but wonder---if the gesture were genuine, surely more thought and organizational muscle should have been put into it.
  7. Nijinsky's photo was projected on the screen prior to Le Spectre. So perhaps it was meant to be a tribute to him. Sadly not a great tribute though.
  8. These performances are all billed on the BAM website and in the program as tributes to Plisetskaya. Yet most of Friday’s program didn’t look remotely related to Plisetskaya. An insert into the program announced that due to an injury to Alexei Popov, the Carnival pdd would not be performed, making an already short program even shorter. How can a company this big have no contingency plan for injuries? The projected pictures of Pavlova, Nijinsky, Cecchetti, etc looked like a tacky marketing trick. The performers should be able to stand on their own, without constantly reminding us of the vario
  9. In that case his comparison is even less accurate because it appears that the 1895 production---or at least whatever version of it that was notated---called for 20 couples (my source for this is R.J. Wiley's book). This is exactly what Ratmansky has. Perhaps Macaulay means that at the 1895 premiere there were more than 20 couples. This may be so (it would be good to know his source for this), but the notation (probably made a good decade after the premiere) calls for 20. Obviously Ratmansky has no way of reconstructing what actually transpired in 1895, only what was notated.
  10. Ratmansky was following Drigo's revision of the score used in the 1895 production. So no fast ending to the Scene II adagio.
  11. I should add to my previous post that the first one of the two swans in the 4th scene was quite marvelous (I believe it was Lou Spichtig). A couple of corrections---Rothbart never gets to the lake but rather expires on the steps leading to the arch in the back of the stage. The conductor for the premiere performance was Rossen Milanov. Regarding the Siegfried variation---R.J. Wiley (page 253) seems to suggest that in fact the "tempo di valse" variation from the original Act I music was used in the ballroom scene pdd in 1895. If so then it looks like Ratmansky exactly followed Drigo's 1895
  12. Thanks for the report Natalia! I was wondering about that Siegfried variation music---is it known for sure that Gorsky danced to it in 1895? Most productions I've seen use the first variation from the original Act 1 pdd for Siegfried. I too think that the production is outstanding, the best I've ever seen. Much more intricacy and texture than anything I've seen before---it's as though an old jewel has been dusted off, polished, and presented in all its glory. There are lots of details and fine little steps, especially in the corps choreography and the character dances, that are absent from al
  13. I, too, find this fascinating. Based on various reviews of the time, it appears that it was not uncommon for the St. Petersburg public back then to demand a number they liked to be repeated, or to cause a member of the production team to take a bow in the middle of a performance. According to Wiley’s book “Tchaikovsky’s Ballets,” Petipa was called for a bow after the “garland waltz” during the premiere. I find all this quite remarkable, for a couple of reasons. First, it shows how different the tastes were back then. These days it is hard to imagine a “Sleeping Beauty” audience anywhere in the
  14. You're welcome! Correct, it sure does sound that way! And in reading that paragraph, I couldn't help but wonder which ballets of the preceding "many decades" he deemed worthy of being "ranked with other fine arts". Quite astonishing, too, is that he is unable or unwilling to say anything at all about Tchaikovsky's music which we now know to be a hugely important milestone for ballet, especially for ballet in St. Petersburg. The Moscow public had been exposed to Tchaikovsky's ballet music via a production of "Swan Lake", but for the St. Petersburg public this seems to have been the f
  15. All the discussions and reviews of Ratmansky’s reconstructed “Sleeping Beauty” are quite fascinating. To add to the mix, here is my translation of one of the earliest (perhaps the very earliest?) reviews of this ballet. It’s by D.D. Korovyakov and appeared in “The News and Exchange Gazette” on January 5, 1890 (old style), two days after the premiere. It is reprinted in a book by O. Petrov called “Russkaya baletnaya kritika vtoroi poloviny XIX veka: Peterburg”. It has been quoted quite extensively by various historians and critics (e.g., by Marina Harss in her recent New York Times article), bu
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