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  1. For something truly new & surprisingly traditional! Joffrey Studio Co & trainees: Ballet de Cour by Durante Verzola to Chopin... music recognizable to Ashton fans. Substantial 19 minutes of sublimity, in tutu & pointes for ladies & men in traditional ballet outfits! https://m.youtube.com/watch?v=Y18f04LDAe0 For me, the best of a handful of original ballets created during the past COVID year... just straight-up beautiful dancing without outdoorsy or non-proscenium gimmicks! (Ratmansky’s Bernstein in a Bubble for ABT, Shropshire’s Handelwerk for
  2. La Source: Alas, it’s the same cast/show as was presented publicly in 2011. Very good cast, mind you.
  3. PNB is tweaking its spring offerings, changing the order & content of what’s shown...e.g., the new Wheeldon was to have been included in the just-completed Rep 4 streaming. It now comes in the Rep 6 show (June 10 premiere); it switched with a 2017 recording of Ratmansky’s Pictures at an Exhibition (that was FABULOUS!). Saddest change: the promised archival recording of Balanchine’s Serenade - during Rep 5, as an extra to the Balanchine/Danilova Coppelia In May - has been removed from the bonus offerings.😢 Read about the three remaining Rep programs here: http
  4. I like Nicoletta Manni in soubrette roles because of her youthful sunny countenance (smiley way)! Just not my cup of tea as Odile.
  5. I agree, Jan. It’s always a joy to see Balanchine’s Concerto Barocco. I loved the filming/editing, mostly traditional “straight-on” camera but peppered with unusual angles. If this were my first view of this ballet, I may have been a bit frustrated. This wasn’t the case, so the periodic funky angles were absolute delights! I didn’t quite understand Clear’s (Welch) connection with 9-11, except that it premiered one month after the tragedy. I enjoyed the Bach score. Suspended was fun but no masterpiece. Looking forward to viewing Wheeldon’s Polyphonia in the next program.
  6. Thanks. Hopefully others won’t have the troubles that I had. By the way, this (the DVD option ad) is precisely what I first pre-ordered around Christmas (same $29 price)....which I eventually cancelled in late-Feb when the provider (another 3rd party - the only option at the time) kept delaying & delaying shipping. What was originally promised as arriving in late-January was stretched to April 2. I gave up & pursued the UK Amazon option, which took two tries, as regular intl Mail was supposedly unable to ship. After my money was returned in mid-March, I said “To he**” and tried the DHL
  7. I just checked the US Amazon site & the DVD is still not available. The Blu-Ray version is there, from a third-party dealer, for three times the price...and, from my past experience with such dealers, good luck in getting your DVD. The Jerome Robbins Trust must be trying extra hard to keep it out of Americans’ collections. (I’ve no doubt that the problem is with the Robbins & not Marston, who seems very generous in making her work’s films available.)
  8. I finally got my DVD of the fabulous double bill and agree, jmhopton! But what a saga of months of waiting and having to reorder via the UK Amazon affiliate- twice...lastly with the expensive DHL option - before I finally received my copy in late-March. It was worth the wait. Why the American Amazon delay (pull) it? Robbins rights troubles?
  9. Congratulations to Tamara & Isaac! 🥳 I wish that the article would have stuck to the baby news but maybe I’m just too old fashioned. 😉
  10. Absolute opposite, actually. For what you describe, you may want to check-out the last act of Petipa’s Sleeping Beauty, sometimes performed on its own as “Aurora’s Wedding”... although I’ve never seen it with confetti.
  11. Here is Kotin performing it as a “pas de deux” with World champ Debi Thomas (USA). Enjoy! https://m.youtube.com/watch?v=R6VkZaJab2Q
  12. Agreed. I loved that it afforded a look at a range of the troupes’ principals & soloists beyond Nicolette Manni, who’s fine but somewhat overhyped. For example, I was especially impressed with Maria Celeste Losa as Dryad Queen in Don Q...also dancing the Henriette solo in Raymonda. Also loved Claudio Coviello’s Manfred solo...successor to Bolle as Italy’s next great star danseur?
  13. The early ‘90s BRB production of Choreartium was during the Sir Peter Wright period, yes? With new directors come changes. Bintley wasn’t a fan but perhaps Acosta will feel differently in time.
  14. I vote for either Choreartium or Les Presages...majestic works that I’ve seen as staged by Tatiana Leskova, a real genius stager, pedagogue and feisty taskmaster. Ex-Ballets-Russes, based on Rio (98-yrs-young, with fellow stagers in Rio, Chicago, etc. who could assist). I’ve often wondered if the masterpieces from mid-20th-C (1930s to 1970s) aren’t performed so often...yet companies throw money left and right to new choreographers, with iffy results? We see lots of 19th-c classics, some Diaghilev early-20th, lots of current choreography, but hardly any mid-20th-c heritage, except f
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