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About griffie

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    balletgoer, former dancer
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    New York
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  1. Piling on to say how much I also loved the extra detail, pantomime and story. So much mime took a bit of getting used to at first, but the story development made the ballet so much richer and fit the musical narrative so well, I am now going to miss it when I see other Giselles. Ratmansky paid a lot of attention to having the storylines make more sense and having movement match the music beautifully. I liked story details like having Loys (Albrecht) run to safety behind the cross after dancing with wili Giselle, and then being discovered there and brought to Myrtha by wilis later; in some prod
  2. Faux Pas, I too wondered what Tidwell is doing these days. I did a quick google search and found he guested as Russian in the Nutcracker of Salisbury Ballet this past December in North Carolina. So he is still dancing at at least occasionally. But it does seem like he is not dancing much. Such an extraordinary talent. I remember picking him out of a corps of men at ABT as someone to watch back in the early aughts.
  3. I was at Tuesday night's program of T&V, new Tharp, and Ratmansky's Seasons. While I thought Sarah danced beautifully in T&V, and covered her slight trouble with the turns well, I can also see why a previous poster felt she might have nerves. It's very tricky choreography and I got the feeling she was concentrating intently. That meant her performance wasn't transcendent the way some of hers can be. But, her technique and grace were so lovely it was still a very good performance. I noticed that I love the way she holds her hands in fifth position in turns - her hands always continue th
  4. My apologies, Vipa, my enthusiasm made me careless. Megan LeCrone was in the fourth variation of 4T. Erica Pereira was the female lead in Square Dance and she danced competently.
  5. I saw Tuesday’s cast for the same program. Agree that Indiana Woodward was the star of the night for me. She breezed through the third movement with exceptional precision for the speed, neat footwork, tight fifths and great stage presence. She shone alongside Brouder and Reichlin. Lauren King in the fourth movement had particularly lovely carriage and port de bras. Shoutout to Megan LeCrone who sparkled in Square Dance. The company is already top-heavy with principals but Woodward and LeCrone seem clearly in line for promotion. And Taylor Stanley is the Total Package, in spades. He The audienc
  6. I too am thrilled to see dancers being promoted, and I really like Hammoudi; I think he has good stage presence. I'd vaguely thought he was a soloist already. I think he has great potential for becoming principal. And as much as my heart breaks for those soloists being passed over, I can see why Seo was chosen; there's something really distinctive about her lyrical qualities. Though I didn't see her R&J, I've heard that that it was marvelous - and, that she received long and extensive coaching for the role that she didn't have for her Giselle. Given time and coaching her Giselle may gro
  7. Herman has been extraordinary since Day 1. He is great, great, great, and needs no one else to inspire his stellar performances. Angelica, I completely agree with you that Cornejo needs no one to inspire his performances, I didn't mean it that way. But having seen him so many times over the years I have seen performances of his that were finer than others, and yesterday he was on fire. I was only imagining that even the best of the best can find that working alongside another extraordinary talent can be stimulating. I don't know that to be the case - but regardless, the presence of two
  8. Herman was amazing this afternoon as the slave trader. Flair, character, astounding jumps, simply spectacular. What a star. He had to take two bows after his solo before the show could go on. Veronika did a lovely job the whole way through, technically secure, and I agree she did beautifully on the long fouette sequence. I'd not seen Vasiliev before, but in his brief seconds of introduction in the first act I thought he he had more charisma than Cory Stearns did the entire performance. I'm not sure why this is, Cory is tall, handsome, nice long legs and feet and dances well enough, but to me
  9. Hi, a few comments on last night's (Feb. 8) performance: three spectacular ballets and one Seven Deadly Sins. Sins was somehow a miss on multiple levels: staging, choreography, costuming and even singing. Patti Lupone was overamplified or something; her voice was muddied and sometimes it was hard to make out her words. Lupone always enunciates in her singing - sometimes to the point of distraction - so I suspect it was not her fault. Wendy Whelan as Anna did a good job with not much to work with. Weill and Bracht's music isn't the most accessible to begin with and piece on the whole was less
  10. I attended last night and thoroughly enjoyed the whole show, even the Cunningham which isn't really to my taste. The level of the dancing was fantastic - in one evening I saw 8 out of the nine principals (Hallberg being in Russia). I LOVED Seven Sonatas. I thought it inventive, witty, beautiful and musical. Cornejo was indeed in great form, and when he's on, somehow the other men alongside him - no matter how accomplished - seem slightly stiff in comparison. I tend to forget just how good Xiomara Reyes is sometimes, because she flies a bit under the radar and never seems to get the publici
  11. Thanks for the detailed writeup, FauxPas. I attended Tuesday night as well and thought it a splendid evening of dance. I know that a steady diet of such pretty dancing, pretty costumes and pretty music would get tiresome quickly, but I sure do enjoy an occasional night of it! Birthday Offering was delightful choreography. So many changes of direction and interesting body tilts. I also had the program insert that Simone Messmer replaced Kuriko, and am glad of that. Her performance was the most outstanding to me in a stellar group - she sailed through the trickiest steps with exceptional
  12. I saw Friday's show, with Simkin/Dvorovenko in Prodigal. This was my first time seeing Daniil Simkin, and he was terrific - heartfelt and convincing acting alongside bravura technique. His extremely secure partnering of Irina in the tricky pas de deux was even more remarkable considering how (I hadn't realized quite how) slight of frame he is. Dvorovenko was flawless, her Siren being compelling, sexy and downright evil. She also seemed completely at ease maneuvering all those yards of fabric. Desir suffered from the changed program placement. Coming after a Balanchine masterwork highli
  13. Alistair Macaulay's NYT review for Monday's Prokofiev program is now up: http://www.nytimes.com/2009/06/03/arts/dan....html?ref=dance It was interesting to me that so many of his points were already covered by various ballettalk posters! Thanks to everyone who has posted such great reviews: I'm still trying to decide on cast for Prodigal, between Cornejo/Wiles or Simkin/Irina - would love to hear feedback on the Simkin/Irina Wed. evening performance. I'd think Wiles would be cast a bit against seductress type, but I would love to see Cornejo in this role even if theirs is not an ideal p
  14. Inaugural posting here; I don't get out very often in recent years. I saw Thursday's slate and thought I'd share a few comments - I'm someone who hasn't had the luxury of seeing these dancers often enough to be really familiar with their abilities, so please take my notes with that caveat in mind. "Leaves" was lovely, very subtle as Tudor often is, beautifully danced. As a complete work I think it has a certain lack of pacing. But it's the prettiest dancing floral wallpaper you'll ever see. I do happen to be a big fan of Xiomara's dancing but as has often happened, I was a bit distracted
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