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now voyager

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  1. That is indeed what is shown, although I believe it was Dominique Meyer who announced her promotion (Legris embraced her and gave her the flowers.). "First soloist" is the highest rank in the Vienna State Ballet--equivalent to "principal" or "etoile" elsewhere.
  2. I thought Mair's Swanilda in Pierre Lacotte's production of Coppelia was charming and beautifully danced.
  3. Perhaps they could reduce the cost a bit by not paying for presenters? (I omitted the series of adjectives that came to mind...)
  4. My email from Sarasota Ballet announcing the programs states that ticket holders will have 5 days to watch the program.
  5. 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."
  6. 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.
  7. 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.
  8. That is a great turn of phrase! Do you remember which critic it was?
  9. 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.
  10. 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
  11. 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.
  12. I got the same invitation using my phone, but using my laptop gave me the schedule itself.
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