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Posts posted by Jeannette
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Sorry to be Debbie Downer but I thought that Jane Eyre was horrible as a âballet.â Fine pantomime. Whiteside is a very effective mime artist as Rochester. Heâs also a strong  lifter of the tall but dull Devon Teuscher (Jane). I felt bad for other ABT principals and soloists whose talents were wasted in small acting roles, such as Stella Abrera as Blanche. The sets were plain and the tunes felt like âmusic by the yard.â Well, I gave Marston a try.Â
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p.s. I was thinking that, beside providing the understandable support for female choreographers, the acquisition of Jane Eyre fits the bill in providing a starring opportunity for principal(s) who may not have the technique to properly perform the Balanchines, Ratmanskys or Petipas.
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Sarasota USA wins the Ashton Sweepstakes once again.
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4 minutes ago, Mary said:
Can anyone say when Coppelia was last done by RB? A good while ago I think....?
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Not sure if itâs been performed since 2000, when this DVD was filmed, starring Benjamin & Acosta:
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https://www.amazon.com/Coppelia-Leanne-Benjamin/dp/B00005S6KR
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p.s. My vote is for WISE VIRGINS. I remember seeing another photo of Fonteyn dancing a solo from this ballet, in this exact costume, at the 1970 gala tribute to Sir Fred at the ROH. That memory of Fonteyn in that white gown is what led me this morning to go through my books. I knew that I had seen that dress before!
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Two possibilities to identify the character with the white billowy  dress with bulbous sleeves: photo 1- 1940 THE WISE VIRGINS by Ashton, to Bach arr. by Walton (Fonteyn & Somes)
photo 2- 1943Â THE QUEST by Ashton, to Walton score (Fonteyn & Edwards)
Iâll try to upload photos in next two posts.
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I attended Tuesday nightâs opening. While I generally enjoyed the presentation - but preferring ABTâs more faithful version and the Bolshoiâs Tsarist-Era splendor - I was underwhelmed and taken aback by the hyperflexed & brittle (ribs protruding) Maria Khoreva, who stopped just short of landing in the orchestra pit during her 29 or 30 single fouettes...lending new meaning to the designation âThe Traveling Ballerinaâ! Think of a Somova, only more petite.
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Thank goodness for the mature classical style of Gulnare, Nadezhda Batoeva....overcoming weak partnering by her Lankedem in the Pas dâEsclave (off-kilter partnered pirouettes, one coming to a dead stop). It was left up to Kimin Kim (Ali) to present the fireworks, with Timur Askerov (Conrad) delivering the charisma.
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The three Odalisques - all from the Vaganova class of 2018 - at least were a bit more tempered than Khoreva in their style, with Maria Bulanova absolutely smashing as the multi-turning 3rd Odalisque.Â
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The corps was fine, if not as lazer sharp as I recall in past viewings, starting in 1987.
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In sum, while itâs always a pleasure to see this company, Iâm not quite drinking the Khoreva Kool-Aid. At least not yet.
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Happily, it looks like there may be more trips to Sarasota in my future. The 2019-2020 season has been announced, with more Ashton rarities in the rep, including Dante Sonata and R&J:
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Thanks for all of the reports! Marston appears to be the âfull-length, audience-pleasing choreographerâ of the moment. I look forward to seeing my first full-length Marston ballet at ABT...soon!
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Thanks for the fascinating clip of 1987. Funny thing...I donât recall having seen the very last sequence (ending in hug) at the Sarasota performances. I *do* recall the sequence of lift-throws in which the woman turns in the air. Gomes, throwing Hulland, was far more impressive. Of course, that was actual performance. Maybe Schaufuss was stronger in actual performance.
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33 minutes ago, li tai po said:
Floss,
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Your suggestion that the 1987 ENB revival of Apparitions failed because of the lack of dancers with theatrical gifts similar to those of the original cast is a little harsh. The Woman in Ball Dress was played in the 1987 revival by Natalia Makarova!
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The problem was not dancing talents or acting ability. Hard to state without being unkind. The story demands that the Fonteyn character possess certain classic features. Not that Makarova wasnât beautiful in her own unique way.
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One more interesting tidbit from my viewings in Sarasota:
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Yes, there is a âFred Stepâ segment in APPARITIONS. Itâs danced by the female lead during her solo in the ballroom. As the troupeâs Marketing head explained to me, Sir Fred added this for Makarova, in the 1987 version. So Dame Margot never danced this particular Fred Step...only Makarova and the two Sarasota ballerinas.
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I think youâve hit the nail on the head: the need for extraordinary personalities - plus the right physiques & âauraâ - in the two leading roles. Now back in my home, Iâm thinking, âWhat if anybody BUT Marcelo wouldâve danced the Poet? I cannot imagine. (Marcelo danced all three performances, subbing for the indisposed Ricardo Graziano at the matinee.) Just thinking...who else is such an enormous charismatic personality, a bit older but still with stellar technique (fleet Ashtonian footwork, quick double tours alternating in direction, expert partnering, etc.)? Maybe Carlos Acosta...a couple of years ago? Who else could do it now?
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For the Fonteyn role, Hulland certainly brought the glamourous look, pliant back, etc. & 2nd cast Danielle Brown was lovely but...Iâm hoping to someday see someone who looks and moves like Fonteyn in the role. Having just seen the Washington Balletâs amazing Katherine Barkman as Aurora in SB...with her raven hair, porcelain skin, Fonteyn proportions and, especially, use of her EYES just like Fonteyn...excuse me for dreaming a bit.
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Fonty, itâs definitely well worth the trip. Letâs see if APPARITIONS will be programmed for the 2019/20 season...either in the US or the UK. This is too substantial and important a production to be shelved.Â
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In my report, I failed to mention a vital contribution to its success: the excellent sound of the Sarasota Orchestra in the pit, conducted by Ormsby Wilkins. They truly did justice to the Liszt-Jacob score, as arranged by Lambert.
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Also, kudos to Doug Nicholson of BRB, who oversaw the team that brought to life the gorgeous Beaton designs. Bravo tutti!
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My only complaint - and I realize that I am overly sensitive on this: Â the order of the double bill. Ending the night with the rousing (bombastic?) STARS & STRIPES somewhat stole the thunder from what (to me) should have been the standout ballet, APPARITIONS. But how can S&S be anything but a closer? I get it. Thatâs why, on the 3rd and final show on Saturday night, I walked out at intermission...to truly savour every step & note of APPARITIONS. No âYankee Doodleâ to eclipse the sublimity of the Ashton.
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10 hours ago, Darlex said:
Thank you, Bruce. Always interesting to see different dancers' interpretations of these ballets and good to see such renowned dancers choosing to dance Ashton's work at a Gala. I was curious to see that the colour of her costume looks more reddy pink than the orange that I remember (could just be the lighting?), but also the cut looks more regimented than Sibley's.
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On a different subject, are any balletcoers in Sarasota now? If so, would love to hear your views on Apparitions.
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Darlex, I was in Sarasota & started a thread to discuss the recon.
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I feel as if I've gone to Ballet Heaven and back, having just witnessed the revival of Sir Frederick Ashton's legendary 1936 ballet APPARITIONS, performed by the Sarasota Ballet of Florida, USA! A.D. Iain Webb, chief repetiteur Margaret Barbieri and the entire troupe have truly outdone themselves this time, breathing life into a ballet last seen in the late 1980s.  For this eager balletomane, persistence has paid off. After having booked airline, hotel and theatre tickets for a weekend in April 2017, then being told that the production was cancelled to allow more time for proper preparation...APPARITIONS was back on two years later, for March 8-9, 2019.Â
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This fascinating romantic, neo-gothic work, depicts a tormented poet, seeking "L'Amour Supreme" in a drug-induced series of dreams, first to a bright ballrooms where hussars partner ladies in billowing pastel gowns, then to a desolate plain populated by a perky female corps of Belfry Spirits (think Stars from Ashton's Cinderella, with black/white romantic tutus and spiky white wigs), then a red Hades-like cave in which the Poet is tormented by a crimson-caped devilish crew. After the nightmares, our Poet stabs himself to death, whereby he is lifted by purple-clad monks, with his Amour Supreme leading the mourners. In the end, the Poet's lifted figure forms the top of a pyramid, surrounded by a very Nijinska-like grouping. Of course, Nijinska was very much an early inspiration for Ashton. So many echoes of Nijinska in this work!
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Guest artist Marcelo Gomes *is* The Poet - the role originated by Robert Helpman. What a role it is - on stage almost every moment of the 45-minute work - not only acting and partnering but dancing all-out (pirouettes in both directions, quick leaps, darting arabesques). This is a real tour de force, precisely for someone of Gomes' personality and abilities. His first cast Woman in a Ballgown (the Fonteyn role) was the icily glamorous blonde company prima Victoria Hulland.
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The corps has many opportunities to shine - the ballroom scene, the aforementioned Belfry Spirits, the devilish crowd in the cave - and shine they did.
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Kudos to Ashton repetiteur Grant Coyle for staging the work, with assistance from Ms Barbieri and several others. Ms. Jane Prichard of the Victoria and Albert Museum lent invaluable assistance with materials from the various editions of the ballet (1946 Sadlers Wells, 1949 ROH and 1987 London Festival Ballet, among others). Design and costume staff from the Birmingham Royal Ballet played a big part in making this production happen, so I would not be surprised if (fingers crossed!) England may eventually see it on its shores. It will definitely be worth the long wait.
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Finally, may I add - how very fitting that this revival was dedicated to the first "L'Amour Supreme" Dame Margot Fonteyn, whose 100th birthday anniversary is being celebrated this year. I've no doubt that Dame Margot is smiling from Ballet Heaven!
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I am so happy to read this news. Congratulations, Carlos!
That said, I am sighing with relief that Iain Webb will remain in Sarasota. (Yippee, Skippy! Sorry!)
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Many of FLOSSâ Ashton wishes have been recently performed in the US, incl JAZZ CALENDAR (Sarasota, spring 2015) and CAPRIOL SUITE (NY Th. Ballet, 2016). In addition to APPARITIONS (March 2019), Sarasota is about to premiere its reconstruction of VARII CAPRICCI to the Walton score (late Jan 2019).Â
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https://www.sarasotaballet.org/events/2018-2019-season
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On 23/12/2018 at 12:05, Blossom said:
A programme on Petipa is now available on Arte - in French.
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https://www.arte.tv/fr/videos/076621-000-A/marius-petipa-le-maitre-francais-du-ballet-russe/
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This link, via ARTEâs YouTube channel, is not geoblocked:
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3 hours ago, Jan McNulty said:
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Hi Jeanette - here's an earlier thread with some comments about NB's Spring Tour. Â Please do let us know what you think when you see ABT performing the work:
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Thank you, Jan.
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15 hours ago, LinMM said:
I knew it!! .........also loved Jane Eyre by Northern Ballet as a dramatic ballet as a whole .....
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Thanks for this. Iâll make a point of seeing ABT in Jane Eyre next spring.
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Belated reaction to having seen the cinemacast here in the US, in midsummer, which was the same performance as on television in the UK a few days ago.
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Divine cast, especially Vadim (line, technique, emotion), with a slew of great Soloists! Wonderful energy & precision from the corps.  I can understand how everyone is so happy to finally have a new and more traditionally-designed production of SL.  Scarlettâs staging is mostly felicitous. My only critique: I was a fan of R.J. Wileyâs historical touches to the old Dowell production, such as the incorporation of child swans in the 2nd scene, so Iâm sad to have lost these...BUT those bits can now be enjoyed in Ratmanskiâs reconstruction for Zurich (soon to Miami), so no tears need be shed.
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Cathy Marston's Jane Eyre - From Northern Ballet to ABT, the New York Met and Joffrey
in Performances seen & general discussions
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Well, thereâs one principal I have in mind...but thatâs another story. Best to keep my mouth shut and move on. Back to watching D-Day commemorations on the telly....