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now voyager

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  1. I am deeply grateful to the Links team for their work. I usually look at the compilation daily, and frequently read one or two linked items, but, like some of the posters above, I read fewer published items nowadays, given what I consider to be diminished quality of some reviews (mindful of my blood pressure, I won't read Lyndsey Winship, for example), but even so, I find it invaluable to know what's out there.
  2. Sarasota Ballet’s just-announced new season includes Ashton’s Les Rendezvous, Dante Sonata, AND full-length Romeo & Juliet! Also MacMillan’s Las Hermanas: https://www.sarasotaballet.org/events/2019-2020-season
  3. Raymonda, Giselle, Swan Lake (which is indeed scheduled for February 23) and Jewels will be “live.” The others are repeats. (The Romeo, for instance, was shown in January 2018 IIRC.) The new Bolshoi season has not yet been announced.
  4. Happy Birthday to Lynn! My very first Giselle and Swan Queen (in the full-length), an amazing Juliet, a gorgeous Fairy of Beauty, a masterful Girl in Green, and a peerless Natalya Petrovna. And, speaking of Prologue Fairies, I will never forget Ann Jenner’s. Happy Birthday, Ann!
  5. I would choose left, so as not to miss Juliet's run down the stairs in the balcony scene.
  6. The casting for the Bolshoi’s summer season at the ROH is now posted on the ROH website. Some unexpected pleasures, and a few (not unexpected) disappointments.
  7. In this case, ignorance may be bliss. PAMTGG was a ballet choreographed by Balanchine in the early 1970’s. Its title was an acronym for a commercial jingle then in use by an airline then in business: “PanAm makes the going great.” Here’s a link to a review: https://www.nytimes.com/1971/06/18/archives/dance-balanchine-offers-pamtgg-work-based-on-jingle-given-by-city.html
  8. I don’t think that because someone loves 2 Pigeons, it necessarily means he/she is uncritical about the entire Ashton oeuvre. I love 2 Pigeons and many other Ashton works, and I consider Ashton one of the great choreographers of all time, but I disliked Varii Capricci ( even though I loved its original cast), and while Jazz Calendar is a lot of fun in spots, I find some of it uninspired. (For that matter, I love Balanchine, too, but PAMTGG was one of the worst ballets I’ve ever seen, and I really dislike Variations for a Door and a Sigh.)
  9. Birthday Offering needs careful casting, which I don’t think it received in the RB’s last run— when it’s better danced (as I thought it was) by ABT than by the Royal Ballet, something’s seriously wrong. I think Daphnis is a beautiful ballet.
  10. I also think those are Reid and Egon. The danseur in the center photo in 1 is clearly Ricky Cragun, and Egon is in many of the surrounding ones (e.g., the jete).
  11. He seems to be back on, according to a Tweet from Ariane Bavalier (a French dance critic). And he has reappeared in recent posts on dansomanie.
  12. The Coliseum website seems to go both ways--I just found a few seats for a performance listed as "sold out," so for people who, like me, are looking for last-minute tickets, I would suggest checking each desired performance individually, rather than relying on the summary page.
  13. I'm one of those people who saves programs and cast lists forever, goes back to them on occasion and so wants them to be accurate. I'm also finding the current situation cumbersome--I've been going to the programme selling desk in the Bow St foyer, seeing no notice, asking the programme sellers if there are any changes, sometimes getting misinformed, sometimes getting the sole printout jammed in my face so that I can hurriedly try to annotate my cast sheet properly, being told sometimes rather officiously (and IMO incorrectly) that the changes are insignificant. It seems to me that if the ROH really wants to save paper, it would save far more paper and accommodate old school viewers like myself if it were to install recycle bins (with narrow slots to accommodate only the cast sheets) near the exits.
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