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Jeannette

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  1. This is now available to watch, without registration, on ABT’s YouTube channel. https://m.youtube.com/watch?v=k47P8muYh2Q The 1 hr/16min film has a lot of self-congratulatory fluff but it’s worth a look for the excerpts of new ballets: Collage and Creed (Silas Farley/Arvo Part) Desire (Helen Pickett/Peter Salem) City of Women (James Whiteside/Schubert) I long to see all three new ballets in full...especially Whiteside’s, full of clever quotations from Balanchine, Petipa et al. Principal Christine Schevchenko and soloist Katie Williams - letting their hair down, like the leads in Serenade - are particularly magnificent among the cast of nine ladies. All three works are classically based, with women on pointe (woohoo!). Pickett’s is the most abstract-modern but nonetheless gorgeous...all five dancers spectacular, although my eye kept going to new-principal danseur, sinewy & heartbreakingly musical Joo Won Ahn. The Farley work, to heavenly choral music, is a gathering of angels, with Patrick Frenette a stand out. Lordie, I must see this entire work!!! The excerpts shown are substantial (each between 7 -11 minutes) and well filmed on outdoor stages. Thank you, ABT!
  2. You seem to be describing my feelings about the NYCB Justin Peck’s The Times Are Racing! 😬
  3. Thanks, Rina. Beside the context, my main concern is that the pdd wasn’t danced in a light & carefree manner...seemed labored...one can sense a “heave ho!” yell from the man, despite plastered smiles. HOWEVER, even this wasn’t nearly as bad as one live rendition that I witnessed at an Ashton gala event, when the man failed to lift the woman at the start of the work, so he improvised the first run across the stage by carrying her in his arms like a sweet bundle against his waist.
  4. Ashton spotted in Ballet Arizona’s 2021/22 season’s programming ...Les Patineurs in October! https://balletaz.org/performance/contemporary-moves-2021/ Interesting that it’s part of the “Contemporary Moves” Show. They're also dancing a Balanchine rarity in the spring - Bouree Fantasque.
  5. It’s what audiences expect in Big Moments, sorry to say. Note the backlash to certain ballerinas unable to progress past 12 fouettes, for ex. The general public (not expert members of this forum) expect The Big Moments.
  6. Sorry to disagree but the fishdives segment is one of THE wow moments in the entire balletic cannon...like the 32 fouettes in SL. I expect sheer explosion. Pow! I’ll never forget when Cojocaru/Kobborg performed them here at the Kennedy Center. Go Big or Go Home.
  7. Sim, I didn’t mean that Ashton should be programmed less. I meant that I fear that more performances like this one might result in less programming. That first lift by Sambe when, during the initial diagonal run, he quickly turns (still lifting the lady) and gives his back to the audience... I kept thinking Wayne Sleep, who Ashton would never have cast in a high-lifting Soviet-style pdd. Maybe I’m being too sensitive. Forgive me.
  8. I just watched the Voices of Spring that I missed yesterday due to a technical glitch. Sigh. Absolute miscasting here, IMHO. O’Sullivan and Sambe - who I’ve greatly admired as individual dancers in the past - labored through Ashton’s steps with plastered grins...as if they had been forced to perform. This was about as far from the carefree and smooth (yet tongue-in-cheek) style of the originators, Park & Eagling, as one could get. Coming at the end of a string of finely-performed pas de deux, this only hurt the case for programming more Ashton works in the future.
  9. Excuse me but the ice cream was served to me by none other than Vadim...my husband named Vadim, that is! 🤪 What a lovely show! V & I both enjoyed the Zucchetti-Rachmaninoff work, Anemoi. So touching, lyrical. Fabulous group of very young dancers. Sasaki and Dias are both stunning...and Lukas B-B and Nakao both impressive partners. The company is in very good hands and feet! I look forward to more creations from Zucchetti. Diverts: Agnus Dei - The Pita film is moving, although not my usual cup of tea. The effect of falling into the orch pit was a surprise. Morgen was sentitively rendered...although I preferred the originals (Hayward and Corrales) last year. Winter Dreams - WOW, Laura Morera! Such passion in movement and, to be honest, Ryoichi Hirano must have adjusted his interpretation since the reviews of opening night, as he conveyed much more feeling this time around. He knew that the eyes of the world were on him! After the Rain pdd - I'm used to the Wendy Whelan aesthetic in this (which I won't describe...), so was not expecting the extraordinary lightness of being from the more 'real woman' Stix-Brunell. Very, very beautiful. Voices of Spring - I cannot judge...as the sound went wacko the moment that this began...the score played twice...the first about two measures before the second one. Only the second one was in synch with the dancers. MY LUCK...with the ASHTON!!! (The Anti-Ashton Demons must know about me.) I'll give it another try when I rewatch the show over the weekend. Sleeping Beauty A3. What a treat. The group on stage was not as sparse as I imagined. It was fine, just lacking Lilac's attendants, the "trees" in the Red Riding Hood episode and the guys who carry the Cat's platform. [No Three Ivans in this version, right?] All featured dancers were wonderful. Nunez and Muntagirov simply outstanding. However, my Golden Stars among the wedding celebrants were Isabella Gasparini in the Florestan-and-Sisters pas de trois (what a sparkler!) AND...OMG, James Hay as the Bluebird. Holy Moley, Batman!
  10. Well, I'm just sitting here enjoying my ice cream. ONCNP was right. Unlike the receipt, the streaming site now indicates "Coming Soon" at 8pm BST, 3pm EST. Here is the link to a clearer look at the cast sheet & order of the Diverts - with Agnus Dei coming first: 09.07.21-live-stream.pdf (roh.org.uk) Also within the streaming site is this notice about the Ek piece: As the original commissioners have sole media rights for Mats Ek’s woman with water, this divertissement will not be included in the streamed version of this performance.
  11. My receipt for the just-ordered stream (paid this morn) clearly states “The event will start at 7pm BST on 9 July 2021.” I realize that we’ll have access for one month but I want the joy of experiencing it live, if at all possible. I’m even planning my dressy frock for my virtual trip to the ROH, with ice cream at intervals, just like in the old days. 😉
  12. Do we know who’ll dance the SB ActIII secondary-featured roles (bluebirds, Pas de 3, etc) during the livestream of 9 July? Shall we assume the same as in the opening night?
  13. Curious - Are there theatrical unions in Japan, covering ballet and opera performers, such as AGMA in the US? If so, I wonder how pro companies are allowed to force corps women (not men) to sell tickets in order to work, if that’s still the case? I’d love to be corrected, if things have changed in the last 10 years. The “pay to play” article at the top of this thread may be about the U.S. but it raises questions on compensation of dancers - particularly female corps - elsewhere.
  14. I believe that that's still the case in Japan, Jan. What's more, most corps ladies are expected to "sell tickets" meaning that they're allotted a number of tickets and family/friends/associates pay...with the understanding that the tickets must be sold for the lady to keep her place in the company. The big exception, I've been told. is the National Ballet (formerly "New National Theatre Ballet"). I sincerely hope that that practice has changed.
  15. Isn’t this Pas de Dieux retitled to Starstruck? I love the dvd from Ballet de Nice with Pas de Dieux and Staats’ Soir de Fete: https://www.ebay.com/itm/382156096133 How lucky for Scottish Ballet patrons to see it live!
  16. I recently dropped Marquee after the one-week free trial (to watch The Washington Ballet’s first two substantial - over 10 minutes - streams). In flipping through their full-length classical ballet offerings, I saw very little that I didn’t already have on commercial DVD. Maybe for the casual viewer who doesn’t collect ballets...DVDs on shelves...or for folks with an equal passion for other arts. I’m all ballet - all the time! 💗
  17. From the Bolshoi Ballet's affiliated academy in Brazil comes a film of their 2021 year-end gala, When the Curtains Open. This includes both students and notable alumni guest artists, including NYCB's Jovani Furlan in the DON Q pdd: https://www.youtube.com/watch?v=wyuFLz42FaU
  18. “Thank goodness” for presenting one (1) 15-minute, relatively-obscure Ashton work next season?! Sorry, maryrosatonapin, as I wholeheartedly agree with 99% of what you wrote. But the sudden - hopefully not permanent - dropping of Ashton as a regular staple of Sarasota’s repertoire is upsetting. Maybe just to me but I suspect not.
  19. What about Leonid Massine??? So many greats are being ignored as companies announce their repertoires for the new season! I understand that company ADs want to fund their friends (fund living choreographers), make work on today’s dancers...but it’s a crime that this is done at the expense of most of our art’s heritage. The history of ballet consists of much more than Petipa and Balanchine.
  20. I’d love to hear from the Webbs as to why, after so many seasons championing Ashton at Sarasota Ballet, they’ve programmed only one smallish work by the choreographer (Valses Nobles) into their entire upcoming season. Any other company, I’d attribute it to post-COVID recovery and a need to refill the coffers with evening-long family blockbusters but that’s not the case here.
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