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DD Driver

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  1. Sure, however Yuan Yuan Tan has made her side of the story quite clear by reposting this criticism on her own Instagram Story - that measn it is there for all to see for 24 hours. https://www.instagram.com/tanyuanyuansf/ Original post: https://www.instagram.com/reel/C3ejBv6gEMW/?igsh=dmZpanR6cHQyZmk3
  2. ...sometimes a dancer makes the assessment that this is the moment to show what they can do.
  3. No,it is not unexpected for coaches to ask for less turns. In Australia, dancers that I know, have been drilled to be responsive to the coaching at PdL. Show that they can adapt to new coaches, rather than perform their solo in the way they have practised for months with their own teachers. Their teachers are often ex-principal dancers. I have seen, however, some dancers - ok I'm thinking of some Americans - who opt to continue their practised version e.g. no. of turns, when they perform their solo on stage. They are assuming that they will not be judged badly for this, so long as they 'pull it off'. I don't know if any of the judges notice this decision anyway as they are not present for the individual coaching sessions. I'm not saying the choices are right or wrong as for example, people turn at different speeds and ADs also have different artistic interpretations. All dancers who did the same variation as my DD, when she did PdL, were told to reduce the turns down to doubles. My DD is a skilled but 'slow turner'. There are however fast turners who can, on their good days, fit more into the music.
  4. I do think the increased volume of combined classes (junior with seniors) made it less interesting to watch. Also harder for dancers to show their individual strengths or to get seen doing so. The Paris Opera coaches ask for musicality, which in my experience at PdL, means triples become doubles. Not all dancers follow this coaching. I don't know if judges are aware of/agree with these choices. Probably individual judge's preferences at that stage.
  5. It seemed to me that this year there were more combined classes e.g. A & B girls all together. I think this makes it harder for individuals to be seen. I would hope it changes back next year.
  6. In our experience, of the Australian YGP semi-finals, every moment counts, as a moment to show yourself. Getting to the YAGP NY Finals is just one opportunity. Larissa and/or her team are watching, talking to some entrants and taking lots of videos that may be sent directly to AD's. If a dancer knows the schools or companies that they are targeting then they can communicate this in their entry & at the event, if asked. Good matches can be made, such as an offer or scholarship for: a place, short term visit or summer intensive. Yes, YAGP like who they like - as do all AD's. Yes, it also helps if you are already known to them e.g. attended in previous years.
  7. Well....I saw Danil & Sharni together in Swan Lake & Don Q this year. I agree that he is a bit short for her however I loved the pyrotechnics! I think the occassional guest artist is a good thing but too much of it caused problems for ABT, I believe.
  8. This is wonderful news for QB & the ballet scene in Australia!. So happy!
  9. I saw Marcus Morelli as Puck in The Dream a few weeks ago. He is such an asset to the company. Although he is short, there seems many ballets where he is an essential player and elevates the whole show.
  10. Oh were the protesters also fighting for the return of sex-based rights? I don't think so. Anyway the ends justifies ANY means is a not a great argument.
  11. The Intl Convention Centre is in Darling Harbour. A very large venue but it is a wide theatre. The Joan Sutherland theatre in the Sydney Opera House, is narrower and deeper so if your seat is at the back...then you are very very far from the stage. It's hard to see IMHO.
  12. As to the Sydney venues.... The Sydney, Ballet International Gala (BIG) event was held in Sydney yesterday. I enjoyed the International Convention Centre (ICC) as a venue very much! I particularly enjoyed Alina Cojocaru dancing the Manon bedroom Pas de Deux scene with Victor Estevez (Queensland Ballet) and Roberto Bolle/Melissa Hamilton, Caravaggio.
  13. I'm sure it will be a great event! Not so many Australians this year I expect. The cost of travel and accommodation is so high. Also the Entry fee was 500 pounds plus a year's RAD membership (even though the students have now completed training unless going for Solo Seal). These costs surprised me as I would have thought more effort would be made to encourage participation, given these students have gone through so many years of RAD training & fees.
  14. I think they all get 1 week's holiday after the London run so probably happy to get a moment to holiday in the UK and Europe
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