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Jeannette

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  1. Jeannette
    So odd. I hope that this doesn’t mean that there’ll not be a series of tele/webcasts from POB this season. Now back to the RB’s Ray Act III... I compared what I saw last night against my recollections of Sarasota...the designs appear to be the same (Barry Kay’s) with two big exceptions: 1. London’s are noticeably paler (more muted beiges; less dark brown or red highlights...and brighter lighting) 2. In London - No patterned floor covering...just the clear light flooring. Although fussy, I missed that tile effect. The choreography & sequence of numbers are exactly the same...with the possible slight alteration of Raymonda’s clapping solo, somewhat simplified in London, particular in the final diagonal...not as expansive but this may have been Sarah Lamb’s choice of a “soft touch” interpretation...a sweeter, less kick-ass Raymonda!
  2. Jeannette
    I’ll be brief now, as I’m traveling soon but, wow, what an extraordinary triple bill this is! Each and every work so uplifting and gloriously performed. It was a true honor to have been there last night. Anna Rose and Marcellino...Alexander Campbell’s Troyte variation - what a cracker!...Sarah & Vadim in Raymonda...wonderful corps in Concerto and Ray...spot-on orchestra. And to top it off, great ROH staff, going beyond their usual jobs to make visitors feel happy and welcomed. Are they all selected on their charisma and human touch? From the drink pourers behind the crush bar to check-out people in the shop to my Stalls Circle ushers, so witty & gracious!
  3. Jeannette
    Do you know if it is slated to be webcast or cinecast? Somehow, I can’t find the list of This season’s opera or ballet webcast offerings, as in past years...such as last year’s delightful Robbins tribute program.
  4. Jeannette
    Yes, I found this among streaming options. Also, the Vienna troupe recently streamed the full Nureyev...two casts (one year apart). Of course, there’s the extraordinary La Scala recon by Vikharev, long available on DVD. Both the Mariinsky (Terioshkina) and Bolshoi (Alexandrova) have live-streamed or cinecast their respective versions (and another Bolshoi cinecast is coming on Sunday)....not to mention the two 1980s films of the Grigorovich...or the 1978 Kolpakova-led Kirov film. Tokyo’s New National Theatre Ballet issued its version on DVD a few years ago (Asami Maki, based on the Kirov). So there are options out there. For the true Russian Imperial Petipa experience, go with La Scala! Hope that the present triple bill at the ROH - soon to be cinemascast- will become commercially available so everyone can experience Nureyev’s full Act III, quite different from his later Act III in the full POB edition.
  5. Jeannette
    I looked in my 2015 playbills from Sarasota. This is a tremendous work that’s chock-full of solo and Demi-solo opportunities! Here’s the sequence of numbers, as performed in Sarasota, which I’m guessing is followed in London; I’m looking forward to seeing tomorrow night. 1. Hungarian group with solo character couple 2. Classical group entree with solo couple (Brown and Graziano in Sarasota) 3. Female solo 1 elegant 4. Female solo 2 cute & brisk 5. Female solo 3 languid...my fave! 6. Female pas de 3 7. Male pas de 4 - the Uber-famous one 8. Female solo 4 - AT POB, the “Henriette” 9. Male solo, Jean de Brienne 10. Female solo 5 - Raymonda’s great solo with bourrees and LOUD claps 11. Coda for classical group 12. Final Coda for all (character and classical groups) The great thing about this Nureyev version is how he uses some of the “tricks” from Soviet-era folk groups, such as the Moiseyev, ie, waves and waves of “the multitudes” moving forward...or quick circular group patterns (as Balanchine did at the end of Theme & Vars). Many of the soli are spiced up with more movement per measure, in True Nureyev fashion!
  6. Jeannette
    Sarasota Ballet performed this 40-minute Nureyev version in spring 2015. It’s a physically gorgeous production. It’s almost like a Paquita Grand Pas in the number of fleet-footed variations contained therein. I also remember my delight in the quality of the dancing. Margaret Barbieri and her coaching team drilled them well.
  7. Jeannette
    I second the appreciation for that clip. Not too many of the "ballet greats" of my childhood (seasoned ballet stars in the 60s) left. Carla Fracci may be "the last of the mohicans"? Also, Marcia Haydee, now in Chile.
  8. Jeannette
    I, too, received the notice about the latest change for 26 October evening: Cast change for The Royal Ballet's Concerto / Enigma Variations / Raymonda Act III Our records show that you are due to attend a performance of Concerto / Enigma Variations / Raymonda Act III. We are contacting you to let you know about the following cast change: ..... Due to injury Steven McRae is replaced by Vadim Muntagirov as Jean de Brienne. First reaction: Sorry about McRae's injury. Hope he gets well soon. He's an especially fine partner for Ms. Lamb, IMO. Second reaction, from a big Vadim fan: YIPPEE SKIPEE! Seriously, I've received too many injury replacement notices just for this performance. Praying for no more, please.
  9. Jeannette
    Alicia Alonso’s coffin is draped in Giselle’s veil. https://m.facebook.com/photo.php?fbid=117743032973275&id=100042127353552&set=p.117743032973275&source=47&ref=m_notif&notif_t=feedback_reaction_generic
  10. Jeannette
    Angela, as you say, these are just our opinions. While I completely agree with you about Jerome Kaplan’s work on Paquita (shiny polyester tutus, wild gypsy colors), his designs for the Berlin Bayadere are stunning and substantial...especially the 3rd scene (procession, betrothal). The Zurich Swan Lake was somewhere in between - wonderful Swan costumes vs acid-green mazurka in the ballroom. He seems to improve as time passes!
  11. Jeannette
    Rest in Peace, Alicia Alonso. She led a long and fruitful life.
  12. Jeannette
    What timing for my trip to London! Hope that all will be back to normal by next Monday. (Ha! Famous last words.)
  13. Jeannette
    Seriously? Oh dear. Sign of the times, as the “serious” performing arts try to draw in bigger audiences. Here in Washington, I’ve seen food & drink allowed only at annual WB performances of The Nutcracker at the Warner Theater.
  14. Jeannette
    It just occurred to me a reason why Acts 1 & 2 of the Mariinsky Paquita is such a turn-off. You know how some 19th-C ballets have one “Gypsy Dance”...we see it, applaud and the gypsies move on? This is one huge gypsy divertissement that doesn’t seem to end... until the A3 Grand Pas. Very little pointe work. Only Paquita wears pointe shoes throughout the ballet. Yes, the Lacotte and Ratmansky editions had gypsies but not so overpowering. (With all due respect for Gypsy and Roma people...termed “travelers” in the Kennedy Center scenario.)
  15. Jeannette
    Very helpful! Thank you, maryrose and Lizbie.
  16. Jeannette
    I'll be in London on business a week from now. Is this show recommended? I'm definitely going to the mixed bill at the ROH but was wondering whether or not to tack-on this show.
  17. Jeannette
    Yes, it was quite the luxury to fly them in, rather than train the local children, as in the past. Worth every penny.
  18. Jeannette
    I saw this twice at the Kennedy Center - casts led by Tereshkina/Askerov and Batoeva/Parish - and must agree with Assoluta and others who are less impressed by this production. The staging and mise en scene in Acts 1&2 are so garbled, with so many irrelevant characters (to provide more bit roles?), set among garish tacky sets with cotton-candy pink trees...that I seriously considered giving away my 2nd set of tickets...but am glad that I did not, as Batoeva and Parish were delightful in the leads on Sat night, despite a partnering mishap in the A3 adagio. Individually, they were grand. Biggest Bravo to the 16 Vaganova Acad kids, who performed impeccably in the A3 polonaise & mazurka. A true honor to have witnessed this live.
  19. Jeannette
    Maybe they’ll tour again after they acquire their next Ratmansky work, Harlequinade (co-production with ABT)? Is so, you’re in for a real treat.
  20. Jeannette
    Just curious - When’s the last time that the Australian Ballet toured the UK? I recall the tour that included the very modern Swan Lake (by Murphy) in early ‘00s. I’ve seen their Ratmansky works (Cinders and the gorgeous Scuola di Ballo) only in their home theatre in Melbourne.
  21. Jeannette
    Thanks for this. Makes sense. I far prefer AR’s Australian version of Cinderella to the Mariinsky’s, by the way.
  22. Jeannette
    Bruce, ABT has never danced Ratmansky’s Cinderella. Perhaps you’re recalling his version for the Mariinsky? For the record, ABT has performed no less than four Cinderellas by other choreographers: Baryshnikov 1983 (with male stepsisters on pointe!); Stevenson 1996; Kudelka 2006; and (sigh!) Ashton 2014. Getting back to the point of international touring by the great ballet troupes, it’s all about the greater expense via-a-vis dwindling audiences for the classics. It’s especially exasperating for anyone living outside of NY, as ABT and NYCB aren’t presented in cinemas (or live-streaming or on the ancient medium called TV) as are the Royal and the Bolshoi. How to build audiences and patrons without proper exposure?
  23. Jeannette
    Thanks for the lively report, Terpsichore.
  24. Jeannette
    I watched this program at my local cinema and totally agree with you about Flight Pattern. Dreadful, dreary, dark. What a waste of a classically trained corps! We saw one nice volley of jumps from Marcellino Sambe near the very end but, other than that, hardly any dancing. A bunch of synchronized slow undulations with some miming from a distraught mother. Yawn...It makes Jane Eyre seem like Sleeping Beauty. Osipova as Medusa? Ok, it’s not Kitri but it brings out her acting skills. At least I didn’t yawn, as I would a bit later with Flight Pattern. At least we got drama, costumes, sets. Wheeldon’s Golden Hour began the evening on a high. What brilliant ballet - true ballet movement! - to gorgeous music. Loved all of the soloists, particularly the ethereal Sarah Lamb, gorgeous in her golden dress, partnered by the strong Alexander Campbell in...uh...his golden diaper. Honestly, the original costumes for the San Francisco premiere of this ballet were so perfect - south-Asian tinged unitards in shades of blues, greens and tans - that I don’t understand the reason for the changes.
  25. Jeannette
    @Jan McNulty it’s not a national thing. We Americans love our Ashton, who blended steps and stories so beautifully...very British! MacMillan is another British pillar of ABT. We also love narrative ballets, in general. I reread my Bronte before traveling to NY with an open mind, so looking forward to this. I feel that the main problem with Jane Eyre is the limited vocabulary of ballet steps.
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