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Thread: NY Ballet fans

  1. #221
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    Just bought tickets for orchestra standing room tickets by phone for tonight. Despite what the website says, it's $30 (not $22) plus $10 extra servicing/phone charges.

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    I have been lurking for awhile in this thread, but I thought I would finally venture to comment! (Usually I save my ballet-postings for elsewhere.)

    Quote Originally Posted by kwanfan1818 View Post
    I saw "Anna Karenina" tonight in NYC. Vishneva was excellent in a ballet that is not so excellent.
    Completely agree with you, kwanfan1818!

    I'm hoping that tonight's LHH is a little more lighthearted and fun like "The Bright Stream," but no matter what, I am excited to see Tereshkina and Shkylarov!

    There was talk about meeting at intermission...?
    I would love to meet some fellow ballet/skating fans...if not tonight (kind of late notice), I will be going to all the other performances too (yep, my bank account is not too happy with me right now ).

  3. #223

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    I saw Diana Vishneva's Anna yesterday as well. I loved Vishneva's interpretation of such a dramatic role. Well, it also helps that to me, Vishneva physically looks like what I always imagined Anna to look like--mature, beautiful with dark hair and pale skin.

    The ballet itself--it felt rushed at places and dark and gloomy all the time...

  4. #224

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    Quote Originally Posted by kwanfan1818 View Post
    I like Shchedrin's score, except for some horrible vocal music in the scene where she is shunned by society, but it is too bombastic for the ballet. It's right up Eifman's alley.

    It's early Ratmansky, and was more ambitious than his craftsmanship and technique at the time, but it has many of the hallmarks of what makes him a great choreographer. Some of the narrative was and it was a slog in some sections.
    Thanks kwanfan!
    "Marge, if you're going to get mad at me every time I do something stupid, then I guess I'm just going to have to stop doing stupid things!" - Homer Simpson in the Mr. Plow episode

  5. #225

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    Quote Originally Posted by Marge_Simpson View Post
    Come to see LHH tonight and we can meet at intermission. Or beforehand for a cupcake.
    If only I could...still at work...ugh
    "Marge, if you're going to get mad at me every time I do something stupid, then I guess I'm just going to have to stop doing stupid things!" - Homer Simpson in the Mr. Plow episode

  6. #226
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    Quote Originally Posted by altai_rose View Post
    I saw Diana Vishneva's Anna yesterday as well. I loved Vishneva's interpretation of such a dramatic role. Well, it also helps that to me, Vishneva physically looks like what I always imagined Anna to look like--mature, beautiful with dark hair and pale skin.

    The ballet itself--it felt rushed at places and dark and gloomy all the time...
    Vishneva really was stunning, wasn't she? Gorgeous! And her dramatic authority was impressive too. If only she had more to work with! In Act II I felt like she was desperately trying to make the ballet work, giving 120% to every move. Brava!

    Well, I just got back from "The Little Humpbacked Horse," and it was a totally different experience! Lots of fun, though not quite as fun as "The Bright Stream," and I loved, loved, loved the dancers. I was always partial to the Russian dancers and tonight's performance just confirmed that bias. Can we steal Vladimir Shkylarov?? He was so cute and charming!!! Viktoria Tereshkina was fantastic as the Tsar Maiden, and Kondaurova was stunning as the Princess of the sea! And Yuri Smekalov was the "Gentleman of the Bedchamber," a villain of sorts, and he was delicious in the role. It fits him much better than Vronsky, I think.

    I'm totally looking forward to seeing Shkylarov again tomorrow and also Yevgenia Obraztsova (I love her!). I'm really curious how she will play the Tsar Maiden, and how they will look together!

  7. #227
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    Quote Originally Posted by altai_rose View Post

    dark and gloomy all the time...
    That's Russian lit for ya (and it's interpretations). They don't feel alive unless they are suffering.
    "Nature is a damp, inconvenient sort of place where birds and animals wander about uncooked."

    from Speedy Death

  8. #228
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    Quote Originally Posted by IceAlisa View Post
    That's Russian lit for ya (and it's interpretations). They don't feel alive unless they are suffering.
    Except tonight in "Little Humpbacked Horse"

    LHH was fantastic, so rich and inventive. If LHH isn't as good as "Bright Stream", I need to fly somewhere to see it, because LHH made me do a very big happy dance tonight.

    The dancing was incredible, and not just from the principals: there were a number of character roles that were done with impossible amounts of energy, and the corps was razor-sharp.

    I don't think there's another company on the planet apart from maybe the Bolshoi that could perform this ballet with the energy, character, and depth of the Mariinsky.

    The last two performances are tomorrow (Wednesday) at 2pm and Saturday at 2pm.

    Quote Originally Posted by Batsuchan View Post
    Can we steal Vladimir Shkylarov?? He was so cute and charming!!!
    And he started off shirtless
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

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    Quote Originally Posted by IceAlisa View Post
    That's Russian lit for ya (and it's interpretations). They don't feel alive unless they are suffering.
    Yeah, I agree. And I love it!

    But for this ballet, I wished they had wrapped up Kitty and Levin's story and presented it as a foil to Anna/Vronsky.

  10. #230
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    Quote Originally Posted by altai_rose View Post
    Yeah, I agree. And I love it!

    But for this ballet, I wished they had wrapped up Kitty and Levin's story and presented it as a foil to Anna/Vronsky.
    The score allowed zero possibility for that

    Shchedrin's score for "Humpbacked Little Horse" covered a wide range of mood. There was even a part at the end that could have been from a classic Broadway musical. (Then I went back and read that the score was written for an early 60's production that was supposed to be for his wife, Maya Plisetskaya, so that made sense.)
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

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    Thank you all for comments on Shedrin's scores and interpretation! Most interesting. I am curious to see " Karenina" as I grew up watching Plisetskaya on TV doing parts of it, and I like what I know of the score, but I do not know the whole thing. Unfortunately Mariinsky does not bring "Little Humpback Horse" to Covent Garden. I am soooo excited that maybe I could go see something; almost as excited as for a great skating competition, LOL
    Is La Bayadere anything I should be excited about? I've never seen it live, and if the music is second-rate, that rather kills it for me. But perhaps I am wrong?
    Last great ballet I saw was "Mayerling" at Covent Garden in 2007, with Cojocaru and Kobborg, and it was very memorable.
    improving my ballad- like lines

  12. #232
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    Quote Originally Posted by dinakt View Post
    Is La Bayadere anything I should be excited about? I've never seen it live, and if the music is second-rate, that rather kills it for me. But perhaps I am wrong?
    The Kingdom of the Shades scene, when done well, is absolutely breathtaking.

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    Mariinsky tix @ the Rubenstein Atrium


  14. #234
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    I found "The Humpbacked Little Horse" enchanting, and it is also the best thing I've seen in about forever. The two female leads couldn't have been any different. Just about every critic has characterized Viktoria Tereshkina's Tsar Maiden as "tomboyish", and Yevgenia Obratzsova's was much softer. My friend who saw both performances ith me described the difference perfectly: it was like watching Big Sister on Tuesday (Tereshkina) and Little Sister on Wednesday (Obraztsova). The second female lead danced both the Young Mare and Princess of the Sea, and both Ekaterina Kondaurova (Tues) and Anastasia Petuskhova (Wed) -- also a corps member -- were stunning. Somova is scheduled for Saturday's matinee with Petushkova.

    I'm still floating from those performances, and Vladimir Shklyarov's Ivan the Fool, Vasily Tkachenko's Humpbacked Horse -- he's in the corps -- Andrei Ivanov's Tsar, and both Yuri Smekalov's and Vasily Tkachenko's Islom Baimuradov's Gentleman of the Bedchamber were amazing.

    I've been reading reviews that just loved Lopatkina's Anna Karenina. She's been getting raves in the role. Maybe that will filter down to the ticket-buying public: both of Vishneva's shows are/were sold out or close to it, and Saturday night, Lopatkina does the Plisetskaya's role in "Carmen Suite".
    Last edited by kwanfan1818; 07-15-2011 at 05:37 AM.
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    Here's a link to a photo of Obraztsova with David Makhateli in the Lavrovsky "Romeo and Juliet" at a London gala:

    https://www.facebook.com/photo.php?f...type=1&theater

    The photographer, Marc Haegeman, is a brilliant critic and photographer who has many great photos on his site, "For Ballet Lovers Only", and on the FBLO Facebook page.

    Did anyone see Lopatkina's and/or Kondaurova's Anna Karenina, or the "Carmen"/"Symphony in C" double bill?
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

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    Quote Originally Posted by dinakt View Post
    Is La Bayadere anything I should be excited about? I've never seen it live, and if the music is second-rate, that rather kills it for me. But perhaps I am wrong?
    I saw La Bayadere with Dvorovenko, Beloserkovsky and Murphy. It was a highlight of my life-just gorgeous. Yes-the music isn't Tchaikovsky, but the Shades act has an exquisite theme that I have put into my will to be played at my funeral. Really.

    In other words, it might not be "great" to everyone as some ballets are, but it has greatness in it. I love moments from the first act around the campfire through the engagement party scene-spectacle and spectacular choreography. And the Kingdom of the Shades is one of ballet's greatest acievements, IMHO. When danced by very high calibre dancers, it can be extremely memorable.

    If you just consider it a fun 19th century soap opera, it works on that level too.

  17. #237
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    Since it's off season in NYC, I hope people don't mind a slight detour.

    There is a student from Montana, Julian Mackay, who dances at the Bolshoi Ballet school.

    He's up for a Expat Youth Scholarship in the age 12-15 category, and he needs the scholarship: his younger brother is at the school, too.

    Expat Youth Scholarship is having a voting contest on Facebook. If anyone is interested, to vote, you first have to like "Expat Youth Scholarship", and then "Like" his video, "From Bison to Bolshoi". Some people then got a confirm button -- I didn't -- but the organizers posted that all of the "Likes" (alone) would be counted.

    https://www.facebook.com/expatyouth?...90322544333196

    Julian's is the second video down. There's even a shot with him and Natalia Osipova in it.

    More on Mackay

    http://www.bozemandailychronicle.com...cc4c03286.html
    http://www.nytimes.com/2010/06/01/ar...01bolshoi.html
    Last edited by kwanfan1818; 08-04-2011 at 08:04 PM.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  18. #238

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    Heads up for Boris Eifman fans: Eifman Ballet will be back at City Center in 2012! Info here:

    http://www.nycitycenter.org/tickets/...nceNumber=6254

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    I found an interview with Jose Carreno, but it's in Spanish, which I don't speak. Can anyone translate, or give me the gist?
    He makes me That smile!

    http://www.youtube.com/watch?v=qIQ6rMOBcJc&NR=1

  20. #240

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    I went to see NYCB on Friday eve. Everyone is grumbling about their increased ticket prices, but I actually got a subscription this season. Usually my company of choice is ABT, but it's good to broaden your horizons, right?

    NYCB was having a "See the Music" presentation, so things started off with a talk from the conductor, Faycal Karoui. He was very witty and has a most charming French accent.

    The first piece was Apollo. I've seen ABT do this many times, but it was the first time I've see it done by NYCB. I adore Apollo, but I'm spoiled for having seen David Hallberg and Jose Carreno dance this role. Robert Fairchild was perfectly adequate, but, for me, he just doesn't have any charisma. I've never seen Marcelo Gomes do this, but I would love to - I think he would burn up the stage. Apollo needs to be magnetic and command your attention. Fairchild didn't. But Tiler Peck was a lovely Polyhmnia.

    Next up was the Four Temperaments. Which I've seen many times, but have mixed feelings about. I love the choreography, I love the theme, but the music makes me feel like taking a nap. Gonzalo Garcia kept me awake with his Melancholic - he was riveting. (he is also pretty handsome. ) I had to work hard not to nod off during Ask LaCour's Phlegmatic. What a blah blond pup. (He is related to Peter Martins in some way, isn't he? Nilas may be history, but I sense more nepotism here!)

    The final piece was Union Jack, which I hadn't seen in a very long time. Mostly it irks me. It's so....martial. Ballanchine created it to honor the British heritage of the US....for OUR centennial. Did the US ask him to come up with something to pander to the UK in 1976? We are not part of the Commonwealth, and on July 4th we celebrate our independence from the UK. Hmph.
    That being said, I do like the first section with the tattoos. What can I say? I am part Irish, maybe bagpipes are in my blood. Joaquin DeLuz and Charles Askegard were the leaders of their regiments and did the jig thingy together. This was a mistake, IMO, because Askegard is so tall he made DeLuz look like a midget in comparison, and also because DeLuz put his dancing to shame. Ha!
    Wendy Whelan looked pretty snappy in the MacDonald of Sleat section, which surprised me as I never thought this was her sort of thing. And isn't she about 50 years old by now?
    Amar Ramasar and Jenifer Ringer were excellent as the Pearly king and queen, but this is the point in the ballet where I start thinking, "how much longer is this thing going to last?" How many American know what costermongers are, anyway? And having live animals on stage is always a mistake, IMO. The donkey was very obstinant and did not want to leave the stage, I thought the poor kid leading him was going to resort to kicking it in the backside.
    Maria Kowroski was charming as the leader of the Wrens, but the rest of the Wrens were a mess.
    I applauded wildly when the curtain came down. Because I was relieved it was over.
    This piece must have set a record for dancers losing parts of their costumes onstage, I counted 2 hair ornaments and one sporran. I wish one of the dancers would kick loose parts offstage when this happens, it's very distracting, wondering if someone is going to trip.

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