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now voyager

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  1. now voyager
    That would be a logical reaction, but I've seen wonderful Olgas who were also great Tatianas: Birgit Keil, for example (though, to be honest, I loved Birgit in almost everything she did, so that may not be the most objective assessment). Sometimes younger dancers make great Olgas and as they mature and their artistry grows, become great Tatianas--Nunez for me falls into this category. Osipova years ago did a terrific Olga one time at ABT, and although she is not what I would summon as my ideal Tatiana, she is such a compelling dance actress that I think her Tatiana is great.
  2. now voyager
    I'd hope that she would in any case, but I can think of instances where (company premieres, where most if not all candidates would not have danced Olga previously, aside) new Tatianas had never danced Olga.
  3. now voyager
    First and foremost, more Ashton (and I DON'T mean Marguerite & Armand!): Daphnis, Enigma (I can just imagine Hayward's Dorabella and Muntagirov's Troyte...), Symphonic, Scenes de Ballet and a new and more tasteful production of Cinderella. I, too, would like more Balanchine. With the current wealth of female talent, I'd love to see the RB do Divertimento No 15, but would also be thrilled to see them do the sublime Concerto Barocco. And I'd like to see Les Biches return.
  4. now voyager
    1. The Mariinsky's two March performances (Tereshkina/Shklyarov and Novikova/Askerov) of Sergei Vikharev's masterful Sleeping Beauty reconstruction, which I thought I'd never see again--a gorgeous production that captures the glory and grandeur of Petipa in this, his 200th anniversary. 2. In a lesser production, the by-no-means lesser, and definitely exquisite, Aurora of Alina Cojocaru. 3. Hugo Marchand's and Vladimir Shklyarov's Onegins: very different but each masterful, and oh so moving, in his own way. 4. Bits and pieces culled from various galas: Guillaume Cote & Friedemann Vogel in Songs of a Wayfarer(Houston); Leonid Sarafanov in Tarantella (Tokyo); Elisa Badenes & Daniel Camargo in the Taming of the Shrew pas (Tokyo); Maria Alexandrova and Vladislav Lantratov in the Margot pas de deux from Nureyev (Tokyo). 5. Tiler Peck and Joaquin De Luz in Tschai pas (which, alas, we'll probably never see again). 6. (I hope I'm not REALLY limited to 5) Mathieu Ganio's Armand in La Dame aux Camellias. 7. The Awakening of Flora with Olessya Novikova and Philipp Stepin--Petipa's fabulous Faberge jewel box, in this, his 200th anniversary.
  5. now voyager
    My favorites: 1. Berlin's Burlaka/Medvedev production (which I just saw again)--it's gorgeous, it has as much of the original choreography as we will ever get, and the Snow scene is exquisite. 2. NYCB's Balanchine--it was the first (and for about 15 years, the only) Nutcracker I saw. I don't love it as much as I did when I was a child, but it can still enchant, and for me it's the only version where the choreography matches the scope, power and beauty of the Waltz of the Flowers. 3. Ballet Arizona's Andersen--aside from the Balanchine, for me it's the best of the US versions: free of gimmicks, it does the job simply and beautifully.
  6. now voyager
    I saw the first performance of this program in Sarasota. As I very much love all 3 pieces (though I prefer Diamonds as the crowning finale of Jewels rather than as a stand-alone work), I was happy to see them all, and particularly Enigma, although I am not sure that Diamonds is a natural partner with the 2 Ashton works. (And the “Victorian Winters” label used by Sarasota strikes me as a misnomer—Enigma seems to me autumnal, not wintry, and I see nothing Victorian about Diamonds even if I were to buy into “white + glitter = winter,” which I really don’t.) if I had my druthers, I’d make it an all—Ashton evening with Symphonic Variations or Scenes de Ballet as a third piece.
  7. now voyager
    I believe the scenery and costumes ARE reconstructions of the original production, and to the (limited) extent that the original choreography has not been lost, that, too, has been reconstructed.
  8. now voyager
    If I recall correctly (I’m not at home and can’t check my programs) the costumes for the Ratmansky Beauty production were inspired by, but not replicas of, the Diaghilev Bakst production, and were in no way a reconstruction of the original costumes (for Petipa’s production). for those, you should try to see the Vikharev production, recently restored to the Mariinsky’s rep.
  9. now voyager
    Given the description, I think it will be quite different from the Ratmansky! I wish I could see it in any case, but I am committed elsewhere.,.
  10. now voyager
    Thanks, alison. It's definitely the matinee and the ROH website (FWIW) lists it at 2:30.
  11. now voyager
    Yes, so sorry, and now I can’t edit! Mods, by any chance?
  12. now voyager
    I'm selling one Stalls Circle Standing ticket--D44--to the Patineurs Triple Bill matinee on 20 December at 2:30 PM. The price is 6 GBP. Please post here AND send a PM if interested.
  13. now voyager
    The late-stage TBCs are certainly discourteous. The continued posting (whatever the cause) of casting information that, even if accurate at one time, has since become erroneous (and we had at least one instance of that with Symphony in C and I strongly suspect have another with Patineurs) is not only disrespectful, but dishonest. In response to my inquiry, the ROH informed me that “updated” casting information will be posted this afternoon.
  14. now voyager
    Thank you so much, Bluebird, for this; your comparison gives me a very clear idea of where the Australian version differs from Mariinsky one I have seen. Your analysis also makes me want to SEE the Australian version, particularly for the clock ticking sequence you describe. (As for the Seasons music going to the planets and stars, I kept thinking when I read this of Nerina's "buds bursting" answer to Ashton's question about what she thought of upon hearing the music for Spring--I hear that, too, and am not sure I want that music deseasonized, but again, I would be very curious to see Ratmansky's conception.)
  15. now voyager
    Has anyone seen both this production and the one Ratmansky did for the Mariinsky? How do they differ?
  16. now voyager
    I think that production is the most beautiful Nutcracker production I’ve ever seen, and I am looking forward to revisiting it later this month.
  17. now voyager
    If anyone hears anything definite about the 20 December matinee, whether Hay is out, and if so his replacement ( I would guess Sambebut who knows), please post. Waiting for the ROH website to get it right feels like waiting for Godot...
  18. now voyager
    If it did, I thank you! Because I found out in time, I was able to pick up a ticket and rearrange my travel so that now I will be able to see both casts for Bizet.
  19. now voyager
    First we had that Lucy Sinclair arrogant nonsense and now this. Ticketholders were inconvenienced (for how long? was it 2 years?) so that we could have an overpriced cafe and ridiculous codes for doors which confuse nearly everyone--a far more congested foyer all 4 times last week that I was there than previously, with people no longer knowing which way to go. Yes, the redone Linbury looks good from the photos, and some of the daytime programs look worthwhile. The website is a disaster and I still can't figure out whether by arriving in London a day earlier than planned next week I can see a different cast. What a pathetic story for a storied institution with a glorious past.
  20. now voyager
    With 8 days to go before that performance, I still don't see casting for Symphony in C on 22 November. Am I missing something? If anyone does know the casting, can you please advise?
  21. now voyager
    Absolutely thrilled to see Bourdon (at last!) and Barbeau, two of my 3 favorite ballerinas in the company, promoted!
  22. now voyager
    Yes, they are dancing (alternating performances of Tarantella and Tschai pas) in the Balanchine celebration at NY City Center.
  23. now voyager
    I am quite fond of ROTFLMAO... (which also appears in the variant ROTFLMFAO)
  24. now voyager
    I have to say that I find this unbelievably offensive!
  25. now voyager
    Indeed, for Fille Mal Gardee this past summer, casting was released quite far in advance.
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