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elfantgirl
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Farewell, Craig. I was a real fan. I hope he moves on to more opportunities. I can't help but agree that that ABT is losing top talent in its prime due to its own actions. But welcome back to Luis!
Here's hoping that Sarah knocks it out of the park! I bet she will. I'm hearing that last night's Odile only managed 19 fouettes. I'm sure Sarah will do better technically and to my preferences, artistically as well.
@zoot Good point. There should be an award invented for Marcelo - "Finest Partner of Our Generation"- and at the gala event performance every ballerina he's pulled an outstanding performance out of should perform in Les Sylphides as a sylph to his Poet. Hundreds of them crowding the aisles, like at the cast-reunion perfomance of "One" when A Chorus Line set the record for longest Broadway run. I'd buy a ticket to that!
I'm disappointed in the lack of new-opportunity casting too. For those who have seen Hee Seo's SL, I'm sure she is a lovely lyrical Odette but is she able to pull off a strong Odile? I enjoy her dancing but the few times I saw her in technically-demanding roles she wasn't at ease. Has she worked up to the level of mastery to create a strong Odile?
I like Misty's dancing, always have. I at first thought that she was being good for ballet with all her publicity. Then she was promoted to principal, I thought before she was ready, but again good for promoting the art. I've since changed my mind. I now think she is far too opportunist and with all her other projects going on, will not ever put in the focus to develop her technique to justify her position or acclaim. I read this NYT "puff piece" and was thoroughly dismayed - and that was before learning the author had her own personal reasons to push Misty. Feh.
Chiming in to support the comments posted. I haven't seen enough Peck to have an opinion, but feel Wheeldon and Ratmansky are extraordinarily talented and would prefer to see their works over almost anything by Martins. However, their ballets can't compare to a strong Balanchine on a mixed bill. Agree also on churning out new works. Balanchine was so prolific that maybe today's choreographers feel he set the standard they should match, or maybe the economics of today's commissioned ballets mean too many works are being produced without enough time for development and refinement. I think a choreographer might be better remembered by a couple of masterworks of supreme effort than a dozens of lesser works (Peter Martins).
Is it just me, or has has Stella actually become more lovely over the last few years? I haven't seen her dance in a bit due to my being overseas, and she looks exquisitely light in this clip. Second question, would someone please tell me why Sarah Lane is not a principal yet? I admit I'm out of the loop these days, but it doesn't make sense even based only on internet clips of her current dancing.
Couldn't agree more. Devon Teuscher has beautiful control and clarity. She is going to be an extraordinary swan queen.
Simone Messmer has extraordinary quality of movement, fluidity and musicality. I thought for sure she would be made principal at ABT. I'm sorry they (and NYC) lost her, but happy she is dancing the leading roles I think she deserves.
I'm actually sorry to hear that Millepied didn't rise to the occasion. I'd always thought personally that he was overhyped, especially as a choreographer, but with his appointment at POB I thought maybe I had misjudged him and he had more substance than everything I'd seen and heard so far. Genna, I believe Lefevre autocorrected to Leftover in your post. :-)
Having seen both ABT and NYCB on a brief visit to NY, I completely agree that NYCB is having a peak time in talent. There wasn't a single featured dancer who didn't sparkle. And let's say it again, they groom and coach their in-company talent. I have no interest in seeing yet another super-pliable Russian at ABT, lovely as they may be. There's only so many roles in a season and the many guest artists take opportunities away from the best talent ABT has to offer.
I do know how publicity machines take on a life of their own - artists can lose control of their own story - but one of Misty's advantages as African American dancer is that she is not so dark-skinned she distracts visually onstage from white dancers. She is quite light. The darkening face make-up (that missed her neck) to make her appear more "black" is too much. She certainly has control over what makeup goes on her face. Misty needs to say no to that kind of stunt.
I too am happy for both of them - and excited for Forster as well. I don't mind Misty's publicity and exposure at all. It's great for her and great for ballet, and I do have the confidence that she will continue to grow as a principal. She may never be their finest classicist but she is a helluva dancer. I feel both of these dancers will outshine Isabella as principals in the years to come (I'm not a Boylston fan, especially of her upper line and shoulders, and her tendency to mug to the audience.) I hope Sarah Lane stays on and fights the good fight. I want to see her make it. And yes, I also wish they hadn't brought in Kochetkova.
How I wish I could have seen Xiomara's last Giselle! I've always loved her, never flashy dancer but always a delight. Of all the Giselles, her and Herman's (I saw their second together, evening, performance) was the most moving and emotional I've ever seen. Also, I would pay ticket money to see Osipova in many big classic roles (and I was pleasantly surprised by her efforts in the cinemacast Royal Ballet Swan Lake) but Giselle is probably the last I'd choose. Not that she'll be poor in any way, but I prefer the artistry of other top-level dancers much more in that role.