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15 hours ago, California said:

Do you remember a specific company/production that used that music in the full-length Swan Lake? I've seen a lot of Swan Lakes and have never heard that used. But,  I suppose, anything is possible...

 

Erik Bruhn's production for National Ballet of Canada used it for the Black Swan pdd.

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I feel so sorry for ticket buyers who come to this production expecting a full-on Swan Lake with beautiful sets, gorgeous costumes, and good storytelling. I imagine they are so disappointed and certainly are not likely to return to NYC Ballet for another show of any program.

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It really is sad that so many wonderful dancers have this production as their Swan Lake  vehicle.  They deserve better.  I wonder if it’s on the table for Stafford/Whelan to do a new version? I think it would be well worth it.

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Oh...and those doors in the drawing room act !-( because I saw no ballroom). Is that how guests get into a place when the court is there....by pushing and slamming wide open the doors ...? I felt sorry for the two footmen that are placed on the wall right where the external doors on each side end up after being pushed several times. They have to wait for the damn doors to hit their face before diligently close them while the dancing is going on. 

And why was the queen seated in a 1980 tv/entertainment/bookshelf module...?

Edited by cubanmiamiboy

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5 minutes ago, GB1216 said:

It really is sad that so many wonderful dancers have this production as their Swan Lake  vehicle.  They deserve better.  I wonder if it’s on the table for Stafford/Whelan to do a new version? I think it would be well worth it.

There have to be some discussions going on, not least because it seems like they are trying to phase out Martins altogether. But it’s probably going to be very expensive to do a whole new full length production, and the lack of promotions make me think that money is probably scarce nowadays.

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1 hour ago, cubanmiamiboy said:

Oh...and those doors in the drawing room act !-( because I saw no ballroom)

This is one of my major complaints about Kirkeby's sets and costumes for both Swan Lake and R+J: he somehow contrives to make myth and romance look dinky.

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3 hours ago, Leah said:

There have to be some discussions going on, not least because it seems like they are trying to phase out Martins altogether. But it’s probably going to be very expensive to do a whole new full length production, and the lack of promotions make me think that money is probably scarce nowadays.

There are other reasons to hold off on promotions. Balance, getting top heavy, sometimes dancers look promising and then they get promoted and level out. Sometimes promotions work, sometimes not so well

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1 hour ago, nanushka said:

But how was the dancing last night?

I was quite shocked to the whole lackluster of the production in act I scene I to really appreciate the dancing to its fullest. But I noticed something. What is being told as "speed" sometimes translates better in this production as "rushed"...what is meant to be "streamlined" looks in fact naked and pointless. I'm talking about the garden scene particularly. The pas de trois was there...but it was as if it wasn't.  The costumes didn't give an idea of who they are and why are they there. In some productions they are three villagers, in some others is Benno with two courtesans. Here it was just three dancers trying to dance and jump as fast and high as they could. The whole feeling of the dancing comes out pretty much as what we see in Nureyev or Grigorovitch choreos...fill, fill, fill with steps every bar of music as much as you possibly can.

We had Mearns last night. The whole of her performance was of an overall coldness. I didn't notice any rapport at all with her Siegfried, Gillaume Cote. The Love Duet was anything but lovable. Very technical and all, bit there was no love there. Her Odile was also cold. I don't think I saw her smile at all during the whole ballet. She did single fouettes and after the 26th she started traveling and losing control and she stopped at 28, finishing the rest of the music with chainee turns.

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1 minute ago, cubanmiamiboy said:

We had Mearns last night. The whole of her performance was of an overall coldness.

Oh wow. That is not a word that I would ever have associated with Mearns, based on past experiences seeing her (though never in Swan Lake). Very interesting.

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36 minutes ago, cubanmiamiboy said:

I was quite shocked to the whole lackluster of the production in act I scene I to really appreciate the dancing to its fullest. But I noticed something. What is being told as "speed" sometimes translates better in this production as "rushed"...what is meant to be "streamlined" looks in fact naked and pointless. I'm talking about the garden scene particularly. The pas de trois was there...but it was as if it wasn't.  The costumes didn't give an idea of who they are and why are they there. In some productions they are three villagers, in some others is Benno with two courtesans. Here it was just three dancers trying to dance and jump as fast and high as they could. The whole feeling of the dancing comes out pretty much as what we see in Nureyev or Grigorovitch choreos...fill, fill, fill with steps every bar of music as much as you possibly can.

 

cubanmiamiboy, you have beautifully summed up some of my major complaints about this production. 

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I'm watching Reichlen now. Intermezzo from Act 1. I sat on the first balcony right purposely to see her face in the love duet.  She obviously wanted "anguish" to be her pointer.

They're really tweaking with the score. Many da capos are eliminated, and whole bars of music are gone.

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22 minutes ago, cubanmiamiboy said:

They're really tweaking with the score. Many da capos are eliminated, and whole bars of music are gone.

From my understanding, the Lakeside scenes are adapted from Balanchine's one act version.  Has there been further changes from that?

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1 hour ago, Emma said:

From my understanding, the Lakeside scenes are adapted from Balanchine's one act version.  Has there been further changes from that?

Not only in the lakeside scenes, but overall everywhere. For example...right after the Black Swan pdd, what follows on the 95 score-( which is tweaked from the 77)- is an incidental music passage to clarinet, in which Von Rothbart engages Siegfried in a mime to make him swear eternal love to Odile. When he does that, the music then falls into a variant of the ballet leit motif in a fast, sinister form with brass instruments while the charade unveils. Here that whole passage before the brass is eliminated, and for some reason that's beyond me, Martins chooses to play...THE WHOLE MAZURKA IN ITS PLACE..!! So then you see Rothbart and Odile on one side and the Queen and Siegfried on the other trying their best to stretch a dialogue that is supposed to be quite shorter. The endless mazurka plays while the only thing happening is Rothbart telling Odile "We fooled him" on one side and Siegfried telling his mom "I will marry her" on the other. And it takes forever....

Edited by cubanmiamiboy

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Reichlen was cautious. There was not a lot of drama in her Odette, nor seductive power in her Odile. It was obvious she was carefully going through the choreography, but there was no nervousness either. 

She chose single fouettes intertwined with double pirouettes two to one. They were not fast but she did complete the whole of the music, which seems to be a task nowadays .

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Are you seeing Bouder tonight? Of all the O/Os she's probably the most adept at fouettés now that Peck is injured. I am very surprised that Mearns didn't do as well, she's not the greatest technician but she usually has a lot of power.

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45 minutes ago, Leah said:

Are you seeing Bouder tonight? Of all the O/Os she's probably the most adept at fouettés now that Peck is injured. I am very surprised that Mearns didn't do as well, she's not the greatest technician but she usually has a lot of power.

Of course I'm going. She is my favorite City Ballet ballerina!🥰

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On 2/12/2020 at 10:18 PM, SingerWhoMoves said:

For those members of this board who were fans of Athan Sporek in Nutcracker (as both Fritz and the prince) he will be performing the Jester Trio in SL on Feb 14,  15 (eve) 16 (mat) 18, 20 and 22 (Eve). :) 

Thanks, SingerWhoMoves! As it happens, I have a ticket for Feb 18. I'll be glad to see him again!

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Hear, hear!! Very ready to see my favorite City Ballet ballerina, Miss Ashley Bouder!! And who's her Siegfried..? Our very own Jovani Furlan from MCB!! ♥️♥️♥️

Let the music begin!!

 

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3 hours ago, Leah said:

Are you seeing Bouder tonight? Of all the O/Os she's probably the most adept at fouettés now that Peck is injured. I am very surprised that Mearns didn't do as well, she's not the greatest technician but she usually has a lot of power.

Tiler Peck is back and scheduled to dance SL according to the NY Times yesterday. Or do you mean she was injured AGAIN?????

Edited by BalanchineFan

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8 minutes ago, BalanchineFan said:

Tiler Peck is back and scheduled to dance SL according to the NY Times yesterday. Or do you mean she was injured AGAIN?????

In The NY Times article she talks about having difficulty with fouettés after the injury, and at the time of the interview was only able to do 10 at a time. I meant to say that she wasn’t as likely to get through all 32 as other dancers.

Edited by Leah

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