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Rock

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About Rock

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
  • City**
    Palisades
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    United States

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  1. For display purposes during a pandemic is not a good reason. To have a record of your own work, how it looked, how it was done, is a good reason.
  2. The handclap is there. They clap on the way up and then turn the palms on the way down.
  3. Wow Helene! Well said. That basically nails it. As to the Ulbricht explanation, Balanchine (and Kirov I believe) taught a pirouette is done from a straight back leg - so you're in 4th, not squatting - and the force comes from the back foot with little or no plié. The weight remains on the front leg so there is no shifting back-and-forth as you take off. Tombé is a much-used but difficult concept in Balanchine ballets. It's "falling". Nobody ever did it better than Suzanne Farrell.
  4. Was that instrument, so near the microphone, a bassoon? Allegro Brillante, being a short one movement piece, is very often paired with another ballet with only a pause in-between. My guess would be that that player was not involved in the Tschaikovsky and had just entered the pit, not normal practice to have a mic there, did a few warm up notes which were not heard by the audience but picked up and magnified by the mic for the recording. Only noticed by us, watching it on film. Where one does frequently hear instruments warming up is before the lights go down and the conductor enters the pit. You're right - it should have been edited out.
  5. Those over the head shots are taken from the fly floor - looking directly down at the stage. That angle would never be seen from the front of the house. It wouldn't be seen, actually, by anyone other than crew members. An unfortunate choice. Someone trying to be creative. I think the orchestra had microphones for this filming and no one thought to turn them off during the bows. Those players warming up would not normally be heard in the theatre.
  6. I believe Maria Tallchief was 5'4". She was not a tall ballerina like Diana Adams.
  7. Good Heavens - how interesting. Thank you for posting that.
  8. Sorry - suspended, terminated, declared redundant, whatever word you choose. It's disheartening and sad.
  9. Does anybody get this? If there are "no matters to pursue" against him why is he suspended?
  10. I think that belittles those women. They're not exceptions to any rule.
  11. Vipa - in regards to your "it's almost always a he" comment, there's Aurelie Dupont, Karen Kain, Tamara Rojo, Victoria Morgan, Lourdes Lopez, Colleen Neary, Julie Kent, Patricia Barker, Virginia Johnson, Emily Molnar, Dorothy Pugh, Carine Binda.....
  12. That's correct Emma - also whether you have the performance is a factor in the hours.
  13. Yes, the big difference being overtime, which, corps members have much more of than soloists.
  14. There's two issues here. Three. First, most dancers don't do it for the money. Second, being in the corps is very useful in teaching dancers about stagecraft, getting stronger, etc. And third, the kind of organization that might be a little slow with promotions is often the same kind of place that holds onto careers, giving those dancers a graceful and dignified period to exit. There's no rush is there? What could be wrong about Roman Mejia having another year in the corps? If he's promoted he has to come out of the corps so he'll have a lot less opportunities to get out there - which is what it's all about.
  15. Could someone clarify where this complaint stands? What happens when the DA declines to prosecute? I assume this case is ongoing so I'm confused. It hasn't been dropped has it? I would understand if they couldn't find evidence about involvement of the NYCB or SAB, but surely those pictures and emails would be sufficient to continue a case against Finlay (and possibly Ramasar) - no?
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