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Ivy Lin

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  1. I saw the cinema relay of the Coppelia. I really enjoy the Royal Ballet production. I thought Nunez was caught maybe a few years past her best in this role. She now has a mature glow to her dancing. Can;t explain it but it's like she seems like a wise, knowing woman now rather than a feisty girl. I also thought Vadim Muntagirov seems too sensible as the foolish Franz. Still happy to see this production.
  2. I can'twait to hear her Ariadne. Her voice is really so much different live.
  3. I saw her in Queen of Spades yesterday afternoon and she is the real deal. Londoners are in for a treat when she sings Fidelio with Jonas Kaufmann. https://humbledandoverwhelmed.blogspot.com/2019/12/queen-of-spades-revival-is-aces.html
  4. I saw the interview. I thought it was pretty cute and standard format for US late night talk shows. Jimmy Kimmel has actually done some interviews with ballerinas. He's one of my favorite late-night comedians. Here's the full interview on YT:
  5. This post is a good example of how one can make your Instagram an engaging place for fans and not turn it into a walking billboard. Svetlana Zakharova is not oversharing, she's not really advertising anything (other than that cake which looks delicious) but it is a fun post that simply shares an experience and expresses gratitude towards her fans. This is another example: a nice peak into rehearsals and it does advertise an upcoming debut but not in an obvious way.
  6. I have read some complaints on dancers' boards that Gaynor Minden platforms are not flat and it's very hard to darn the platform to increase stability. No idea how true that is though -- I suspect for professional dancers they would have custom made shoes. These sounded like girls just using pointes for the first time.
  7. Svetlana Zakharova's Instagram is a surprise. Not the usual glamour shots, but a lot of candids of her family. I like following that account too. I also like Sara Mearns' Instagram because she often gives herself feedback over her performance and it's sometimes very candid.
  8. Many of the common endorsements: pointe shoes (with Capezios, Blochs and Gaynor Minden wearers being particularly eager to advertise -- I notice that Freed and Grishko wearers don't advertise as much maybe as the pointe shoes are worn by so many dancers?), leotards and dance wear, and for some dancers cross fitness tools like rolling pins for muscles and pilates balls. Also Tiger Balm and other ointments dancers often use to alleviate pain and injury. I really don't mind the advertisements as a dancer's life is short and if they can make extra $$$ go for it. Sometimes the "professional photographers" IMO veer dangerously close to ana chic with their photos or the dancers who choose to photograph themselves in somewhat ana chic ways. I have seen these photos circulated online in ana forums for "thinspiration" and I think dancers do have to be mindful that a photograph of them that purposely shows off their entire ribcage can be construed the wrong way.
  9. The Royal Ballet fans are incredibly lucky that several times a season there are cinemacasts of performances. Here in the U.S. a dancer's instagram page is often the only video evidence we'll ever have of a dancer in a role. So I do follow several dancers if only because videos (and nowadays even photographs) are so rarely circulated otherwise. What I do find irritating is the dancers whose instagram stories are simply videos or photos of audience members praising said performance.
  10. You really can't put the toothpaste back in the tube though. Serious question: is all post-Petipa choreography going to be tossed out in this purification of ballet? Balanchine? Robbins? MacMillan? Anything post-war?
  11. What do you all think of Alessandra Ferri? She had extremely over-arched feet and as the years went on wore bulkier shoes to support her feet.
  12. Uh ... you didn't just compare a dancing lifting her leg above 90 degrees to throwing gladiators to lions did you? But also: then is all modern choreography to be tossed out? All Balanchine, all MacMillan, all Wheeldon, etc.? Also @maryrosesatonapin if you go up to dancers and tell them that they have to wear "beautiful" shoes that do not suit their feet then you are telling them to endanger themselves. Dancers today have custom-designed pointe shoes to fit the specifics of their feet.
  13. Katharine, I dont think you can lay all the blame on "but maestro Cecchetti didnt teach this way." Quite frankly modern choreographers demand different aesthetics than say Petipa. For instance MacMillan's Manon does require "leg lifting." We really cant turn back the clock.
  14. I think it harkens back to a very ugly "tradition" where rich patrons often "owned" a ballerina and feel like they had a right to tell her how to dress and look. I mean think of this: do we dare go up to say, a professional tennis player and tell her that her sneakers are ugly? Or that she should wear prettier outfits on the court? Ballerinas are professionals who have difficult, dangerous jobs. They should wear the shoes that most help them achieve their dance assignments. The other thing is that many dancers simply do not have beautiful, arched, tapered feet. All this talk about Margot Fonteyn -- Balanchine once called her feet "slabs of butter" and Ninette di Valois used to say "Nothing we can do about her feet." From the side her feet did not have an especially high arch: That is not her fault. It's not the fault of Alina Cojocaru, Natalia Osipova, and other dancers who have bunions. It's also not the fault of, say, Svetlana Zakharova that she has such beautiful arches: Dancers are born with what they are born with.
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