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now voyager

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  1. I'm afraid I never saw the Schaufuss production (though I did see him dance Gennaro in the RDB's former production), so can' t compare. Andersen's second act uses the traditional storyline, which I gather that Schaufuss may have "tweaked."
  2. I attended the premiere of this production 5 years ago and then returned to Phoenix for its return last fall. I think it's a very good production, truer to Bournonville than the RDB's current production that was streamed earlier during the pandemic, and in particular I find Ib Andersen's second act far more satisfying and far better suited to the ballet.
  3. I prefer MacMillan’s 2d movement, which I think is not only very beautiful, but also better suits the way I hear the music, while the other movements are for me a much closer call.
  4. That is a great turn of phrase! Do you remember which critic it was?
  5. Sheila, Froustey is another favorite we have in common! I, too, loved her performances in Paris (did you by any chance see her DonQ with Alu?), but thought her move to SFB a wise one, as it looked like her career in Paris was stalled.. I thought her Juliet was beautifully etched and danced, and also enjoyed Gennadi Nedvigin's Mercutio and Joe Walsh's Benvolio.
  6. While I appreciate the chance to learn something about companies, dancers and productions I've never, or only rarely, seen, and on occasion to revisit, in sharper detail than my memory nowadays permits, my experience in actually having attended the same performance that is now being streamed, there is no way for me that watching a video can ever come near experiencing a live performance--it's not just the loss of the third dimension, or the fact that no matter how skillful the camera & editing work, there are inevitably choices made that would not be mine, but the tangible excitement of a live performance--those moments when one holds one's breath, or mentally (or physically) gasps in response to something amazing onstage, or is just deeply and profoundly moved. Dance captured and shown on a screen (no matter the size) simply can't do that for me.
  7. I loathe the truncated version, but it WAS all Balanchine’s doing, when he revived the ballet for Baryshnikov. As for interpretations and style, for many years Jacques d’Amboise and Eddie Villella were the house’s most frequent Apollo’s, and they brought a rawness to the role missing in Martins’ ready-made Greek godliness.
  8. I got the same invitation using my phone, but using my laptop gave me the schedule itself.
  9. SheilaC (and Ballet 448), I saw both their Giselles with the Kirov in Paris, too! But the performances I saw were in January 1988, and I think those are the performances to which you refer (among other things, Guillem would have been about 13 in 1979). It was my first time seeing Maximova's Giselle, and I found both those performances extraordinary. I need to add a special word for Tatiana Terekhova's Myrtha, the best I have ever seen.
  10. Some prominent omissions, indeed! San Francisco Ballet has already announced the addition of Nikisha Fogo (Vienna's loss is definitely SFB's gain!), and I see that James Stephens is going to Royal Danish Ballet. Any news of what Natascha Mair and Jakob Feyferlik will be doing? (I could but won't speculate...)
  11. Did any participants of the Forum see Vladimir Vasiliev dancing on stage? Many, many times (though not as many as I'd have wished), and each time was unforgettable.
  12. This program was danced in the Paris Opera Ballet’s last (2018-2019) season. I believe this was the performance that had a live cinecast in France in November 2018.
  13. Likewise! I was fortunate enough to be at this performance (I thought at the time that my "Bravos" were quite loud, but could not hear them on the recording, perhaps because I was near the front of the stalls), and was thrilled to be able to revisit it. A huge "DANKE" to Stuttgart for making it available, and to Angela for pointing it out.
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