fromthebalcony

Some of the men just performed Forsythe’s “Playlist” at Despertares (Hernandez’s summer gala and outreach) in Guadalajara. Additionally, Rojo danced with Hernandez, Joe Caley performed a pas, and Cirio Collective (Cirio’s summer company with his sister) performed in an evening of their own. There were numerous other international guests including Osipova.  From other company member Instagram posts, it would seem the company is on holiday. 

Lots of Instagram story accounts, but I found this: 

I am not sure if this was shared in the Dance Links, but I usually like Jerry’s reviews: https://criticaldance.org/first_impression/american-ballet-theatre-a-breath-of-fresh-eyre/

6 minutes ago, Ivy Lin said:

 

This is absolutely untrue and offensive. NYC was the starting point for many "downtown" experimental choreographers. Merce Cunningham, Paul Taylor, Twyla Tharp, Martha Graham all got their start in the "downtown" scene. At the same time while the Royal Ballet was touring Sleeping Beauty to the United States the "Ballet Society" (later NYCB) was considered the experimental ballet company with the avante-garde works. 

 

The Royal Ballet toured for many years in NYC and they always sold out or sold very well. Stuttgart Ballet also had highly successful tours, as did Bejart Ballet. 

 

Many NY choreographers were also crossover choreographers as they had success choreographing for musical theater and classical ballet. Agnes de Mille, Balanchine, Robbins, Twyla Tharp are obvious examples.

 

Sometimes a ballet just isn't all that. 

Ah, yes, you named all the acceptable choreographers I referenced in my post. I am trying to restrain myself, so I will say nothing further. 

Do I dare? I know this might be ill-received by some. Having watched ballet in many American cities and a few in Europe (mostly England and Germany), I find that the harshest audience toward anything other than Petipa and some of the traditional classics, Balanchine, and perhaps a few “acceptable” choreographers is the audience in NYC. I would wager that this ballet would be welcomed in many other cities in the US. There, I said it. 

1 hour ago, capybara said:

 

Ren? You seem very familiar with these dancers for someone watching from afar!

Actually, I do know some of the dancers from ENB. I am familiar with both of those dancers because of their involvement with YAGP. Additionally, I am friends with one of Julia’s former coaches. 

Obviously watching from the live feed is different from being there. I knew several things going in - that many people assumed Shale would win and also that Julia would be a strong contender. It is difficult in competition to compare pieces like that of the three classical pas performed. Alice did seem nervous, but rightfully so in having to dance Classique which can toy with the brain of even a seasoned professional. Shale was lovely, but it was not what I expected from him, and I feel these two dancers would have fared better with another choice.  I kept thinking Paquita or La Sylphide would have been beautiful for them.  Coppelia and Flames are both better competition fare. I thought Rhys did well, but Emilia was obviously nervous. At this point, Rhys was my pick. Ren and Julia were great, but the pas in Flames requires very little. I thought Julia was polished and very comfortable. Ren let out a huge sigh of relief after the pas, and I think it showed how nervous he was for that portion. They then danced their solo portions superbly. I do think Ren could have used more time rehearsing. After this, Julia was in the lead for me. The contemporary works were varied, and I hope in the future they disallow well-established choreographers. It is hard to compare those pieces to lesser known choreographers. I liked Alice’s piece, although not my taste in contemporary, it was interesting, different, and obviously difficult to dance. I thought Rhys did well and so did Julia. Shale’s piece, once again, was disappointing for me, as I expected more with the build -up to the competition. At the end, it was between Julia and Rhys for me, although like others, I would have been happy for any of them. Competition is more about process than winning. And kudos to James Streeter. He was wonderful. A pleasant and well-spent afternoon for me. 

I have enjoyed the videos from the dancers. Each of them is obviously talented. I hope they learn from the process and realize it’s not about winning a competition, but improving through the opportunity. I hope to get to watch the livestream as I have in the past. Merde to each of them! 

While I do not know about Nagdhi or Sambé, I do, of course, know about Kuranaga and Cirio. While neither dance for a Russian company, both have been influenced by the Russian style. Kuranaga was chosen by Yuri Grigorovich to compete at the Moscow International Ballet Competition at the age of 10. Cirio, although trained at American companies, took private lessons with Rafael Grigorian who trained under Pushkin. Both Kuranaga and Cirio (like many of the Boston dancers) were coached at Boston Ballet by Larissa Ponomarenko, long-time principal and now ballet mistress. And, obviously, Cirio has worked with both Ratmansky and Kopalkova at ABT. One does not have to dance for a Russian company to have Russian influences or connections. Certainly, they are not Russian icons, I agree there. 

I was in Boston this past weekend to see their Nutcracker. Did not get to see Misa dance, but ran into her. She mentioned that Jeffrey Cirio invited her to the gala. I am so glad they will get to dance together once again.  I would love to see this. One of my other favorites is on the list - Maria Kotchetkova. I would guess she is dancing with Daniil. She, Daniil, and Jeffrey will be missed in NY by this audience member. Daniil will be dancing some limited performances, but only in things I have seen him dance before. 

Very excited to be visiting London in January.  I will be seeing Alina Cojocaru for the first time dancing with Jeffrey Cirio!  I would like to see another show, and was leaning toward Joseph Caley (I love him on stage.)  However, I will see Joe and Alina in Manon the following week, so perhaps I should buy tickets for another Swan Lake couple.  

Yes, I am sure it is the point.  That does not make it desirable.

Well, I remember when they did it in Boston.  The dancers said it was fun once it got to stage (and, of course, the music is great), but that some of them felt (mostly women) that it was not especially challenging, and almost a bit demeaning.  I enjoyed watching it, but I did think the women were more like backdrop go-go dancers in much of the piece.  

https://video.search.yahoo.com/yhs/search?fr=yhs-itm-001&hsimp=yhs-001&hspart=itm&p=christopher+bruce+rooster#id=6&vid=694470b82d7909abf265c606e5f8f5fa&action=view

What was the audience reaction?  It is a fun ballet to watch, although I know many dancers who complain about dancing it.

The All Balanchine program features four of my favorite ballets.  Symphony in C should not feel in disarray, so hopefully it was just an off night.  Please do give it another chance.

Irmgard - I was lucky enough to be in London for some of these performances this time around, and you summed up many of my thoughts on each dancer.  Several differences of opinion:  I did not enjoy "Vera" as much as everyone else has mentioned.  I thought the choreography was a bit juvenile, but it was danced lovingly by Costa and Garrett.  "Second Breath" never grew on me.  I think the concept was amazing, but it grew tiresome in many of the sections.  Certainly, Liam Scarlett has a real talent for pas de deux choreography.  The final pas of "No Man's Land" was stunning.  I love Joseph Caley.  He has understated elegance in all he does.  For me the piece of the performance was Khan's "Dust."  While Streeter and Rojo seemed more outwardly emotional, Cirio and Takahashi danced it with such internal pain and struggle, I was reduced to tears.  I must remark that Reimair was a striking portrayal of the "first man."  

For this regular U.S. ballet attendee, it was really a treat to see such a wide range of ballets in one performance, albeit all on the same topic.  I hope to get to the Coliseum in January, but I am certainly heading to Chicago for Khan's "Giselle."  How I wish we could see more of his work here.  

The news of Paul Taylor's death was very sad for us here, but the news of Peter Frame's death was devastating to many of us.  Taylor, of course, is well-known by all.  Peter, not as well known, was a beautiful dancer.  Probably even more important was the legacy he left so many students at SAB, CPYB, and BAE.  We are all grieving the loss of one gone way too soon.

I was only in England for a very short time, but had the opportunity to see English National and Royal Ballet at the MacMillan celebrations.  I count myself blessed for having seen that performance.  Although The Judas Tree was difficult to watch, Song of the Earth quickly became a favorite of mine!  The performance was a ballet highlight of my year!   

Thanks for your review.  I really want to see Pite's Emergence, but just have not found the opportunity.

Thank you very much.  That is quite a big deal then.

Excuse this American's ignorance, and I suppose I could research it, but what exactly is a "life peer?"  Is it simply a title or does some other reward go along with it? 

I think it must also present a challenge financially to have living situations in both cities.  

3 hours ago, toursenlair said:

Francesco Gabriele Frola (he goes by "Gabriele"), who has just been promoted to Principal at NBOC, will be sharing his time between Toronto and ENB next year, as will his significant other, Emma Hawes.

This is a similar arrangement as with Jurgita Dronina, but I think you will be seeing a lot more of them than we do.  Jurgita performed two Auroras and two Sugar Plums in Toronto this year and that's it.

Gabriele is a very impressive dancer technically, and in the last year he has started to come into his own in terms of stage presence and acting ability.

For me, Emma is the prize in that deal.  

30 minutes ago, MAB said:

I think the problem with Harlequinade is that it hasn't any real performance history in Britain even though John Gilpin used to dance it decades ago,  The piece works best when it goes beyond archness into outright camp, anyone who ever saw the Panovs dance it will know what I mean.  In some ways, like the William Tell pas de deux, it is a good choice as it isn't standard gala fare and gives the audience something a bit different, but sadly so difficult for younger dancers to pull off.  Although Precious Adams wasn't ideal in it, I loved her modern solo and thought it one of the highlights of the evening.  I also loved Giorgio Garrett, what a personality, a very unique asset to the company in my view,

Interestingly, Harlequinade is used quite often at competition for younger dancers.  I think of Simkin performing the variation at Varna.  It appears at YAGP quite a bit also.  MAB, I agree with you about Adams' contemporary work and about Garrett. I am hoping to get back to London this fall, and I hope to see some of these dancers once again.  I will certainly be asking for performance suggestions in terms of both London companies.  

28 minutes ago, Blossom said:

It was obvious McCormick was being set up to win with the choice of pdd and the contemporary piece. It was a bit of a flashback to 2 years ago which anointed Corrales a star and although not quite as striking a performance, he will fill the virtuoso gap quite nicely I’m sure. 

 

I really enjoyed Vowles and Garrett’s pdd from William Tell. Garrett has a wonderful sense of humour on stage which was shown in both his pieces and he is definitely one to watch. Vowles is such a pretty dancer and makes the little beats look like a breeze and loved her contemporary performance. 

 

Wasnt keen on Harlequinade at all for these dancers as a classical piece but Adams’ talent is evident. Her contemporary piece was not my cup of tea  but she was incredible. 

 

I do do like this event as a chance to get to know the dancers- shame there are no filmed insights as with the Royal Ballet which really help to build a connection to the company. I love this event but felt that despite being a wonderful piece of PR, especially with the dancers dotted around in the audience, it just wasn’t as exhilirating as in previous years, potentially due to the choices made in terms of choreography.

 

 

I agree with you that choreographic choices need to be more equal.  It is difficult to compare a male dancing Ali to a male dancing the role in William Tell.  I liked Garrett also, but I just do not think he was well-suited to that role and did not really show his capability.  Perhaps it would be better if they were to all do a Bournonville pas or all do a more virtuoso pas in order to do a better comparison.  Also agree on Precious Adams.  Harlequinade was not a good choice for her.