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PostPosted: Tue Jun 19, 2007 4:25 pm 
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Location: USA-Switzerland
Here's another good one--Joan Acocella (The New Yorker, July 22, 2002)

"Russia's dancers look different from ours. For one thing, their teachers spend as much time on port de bras—the carriage of the arms, shoulders, and head—as they do on steps, with the result that there is almost as much action in a Russian dancer's upper body as in the lower. Russian ballet also has a great deliberateness. When the dancers are about to go into a pirouette, they do a big, squatty preparation. When they hit a pose, they often hold it, so that you'll have time to admire it. (They don't mind taking bows in the middle of a number.) Finally, Russian dancers see acting as part of their job."

"None of these traits would be so clear to us if Balanchine, when he left the Soviet Union and came to the United States—where he basically created our national ballet style—had not set himself against them. Actually, he had no quarrel with port de bras; he taught it. But, at least in his later years, he didn't spend a lot of time on arms. He was too busy with legs, which he was training to maximum speed and virtuosity (forget Russian deliberateness) and to a kind of musical responsiveness that would be the vehicle of meaning (forget Russian acting). "Don't worry about your soul," he said. "I want to see your foot." It's not that he didn't care about the soul. He just thought that the soul was in the feet. He was a mid-century American abstractionist."

"What are the Kirov dancers to do with all this, the summary of Balanchine's work and life and loves? They do their very best and it is very good." ["Jewels"]

" "Rubies" was terrific, however. "

"Many people are concerned, these days, about the authenticity of different companies' versions of the Balanchine ballets. That's good. Let them worry. But the way to be true to Balanchine is not so much to be authentic as to be artistic. The company must like the ballet, for a personal reason (not just because it's by the famous Balanchine), and work on it according to that idea. This is what the Kirov has done with "Jewels." "

"What I admired so much about the Kirov's "Jewels," though, was how the dancers didn't just bring themselves into line with it but brought it into line with them. Performing artists cannot do what is not, somehow, natural to them."

"Likewise the Kirov dancers with Balanchine. They will learn from him, but they have their own virtues, which they are lending to him...."

http://www.newyorker.com/archive/2002/0 ... table=true

["http://www...." and the paragraph, "What are the Kirov dancers...." added later]


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PostPosted: Wed Oct 17, 2007 10:45 pm 
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The tentative casts for the April 2008 City Center performances have been posted to the Ardani Artists website. They are as follows:

WEEK 1
April 1, 2008 at 7:30PM
Act One Raymonda (Act 3)
Music: Alexander Glazunov
Choreography: Marius Petipa
Lopatkina, Kozlov

Act Two Paquita (Grand Pas)
Music: Ludwig Minkus
Choreography: Marius Petipa
Vishneva, Fadeev

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa
Somova, Sarafanov

April 2, 2008 at 7:30PM
Act One Raymonda (Act 3)
Music: Alexander Glazunov
Choreography: Marius Petipa
Novikova, Fadeev

Act Two Paquita (Grand Pas)
Music: Ludwig Minkus
Choreography: Marius Petipa
Tereshkina, Ivanchenko

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa
Lopatkina, Kozlov

April 3, 2008 at 7:30PM
Act One Raymonda (Act 3)
Music: Alexander Glazunov
Choreography: Marius Petipa
Tereshkina, Korsuntsev

Act Two Paquita (Grand Pas)
Music: Ludwig Minkus
Choreography: Marius Petipa
Somova, Korsakov

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa
Vishneva, Ivanchenko

April 4, 2008 at 8PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Osmolkina, Korsakov

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Golub, Kolb

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Lopatkina

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine
Vishneva, Kolb

April 5, 2008 at 2PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Kolegova, Korsuntsev

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Gonchar, Korsakov

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Lopatkina

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine
Kondaurova, Ivanchenko

April 5, 2008 at 8PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Osmolkina, Kolb

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Golub, Sarafanov

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Vishneva

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine
Lopatkina, Kozlov

April 6, 2008 at 3PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Kolegova, Ivanchenko

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Golub, Sarafanov

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Lopatkina

Act Three Scheherazade
Music: Nikolai Rimsky-Korsakov
Choreography: Michel Fokine
Vishneva, Kolb

WEEK 2
April 8, 2008 at 7:30PM
Act One Le Corsaire (Le Jardin anime and Pas de Deux)
Music: Adolphe Adam
Choreography: Marius Petipa
Vishneva, Korsakov, Korsuntsev

Act Two Diana and Acteon (Pas de Deux)
Music: Cesare Pugni
Choreography: Agrippina Vaganova
Tereshkina, Lobukhin

Pause

Don Quixote (Grand Pas de Deux)
Music: Ludwig Minkus
Choreography: Alexander Gorsky
Somova, Sarafanov

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa
Lopatkina, Kozlov

April 9, 2008 at 7:30PM
Act One Le Corsaire (Le Jardin anime and Pas de Deux)
Music: Adolphe Adam
Choreography: Marius Petipa
Lopatkina, Kolb, Kozlov

Act Two Diana and Acteon (Pas de Deux)
Music: Cesare Pugni
Choreography: Agrippina Vaganova
Osmolkina, Lobukhin

Pause

Don Quixote (Grand Pas de Deux)
Music: Ludwig Minkus
Choreography: Alexander Gorsky
Tereshkina, Korsakov

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa
Novikova, Fadeev

April 10, 2008 at 7:30PM
Act One Le Corsaire (Le Jardin anime and Pas de Deux)
Music: Adolphe Adam
Choreography: Marius Petipa
Tereshkina, Sarafanov, Ivanchenko

Act Two Diana and Acteon (Pas de Deux)
Music: Cesare Pugni
Choreography: Agrippina Vaganova
Novikova, Lobukhin

Pause

Don Quixote (Grand Pas de Deux)
Music: Ludwig Minkus
Choreography: Alexander Gorsky
Vishneva, Fadeev

Act Three La Bayadere (The Kingdom of Shadows)
Music: Ludwig Minkus
Choreography: Marius Petipa
Somova, Korsuntsev

April 11, 2008 at 8PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Bolshakova, Ivanchenko

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Golub, Kolb

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Lopatkina

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander
Somova, Sarafanov, Fadeev

April 12, 2008 at 2PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Vasnetsova, Korsuntsev

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Gonchar, Sarafanov

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Vishneva

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander
Novikova, Schklyarov, Korsakov

April 12, 2008 at 8PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Osmolkina, Kolb

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Golub, Korsakov

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Lopatkina

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander
Tereshkina, Sarafanov, Fadeev

April 13, 2008 at 3PM
Act One Chopiniana
Music: Frederic Chopin
Choreography: Michel Fokine
Kolegova, Ivanchenko

Act Two Le Spectre de la Rose
Music: Carl Maria von Weber
Choreography: Michel Fokine
Gonchar, Kolb

Pause

The Dying Swan
Music: Camille Saint-Saens
Choreography: Michel Fokine
Vishneva

Act Three Etudes
Music: Karl Czerny
Choreography: Harald Lander
Somova, Sarafanov, Schklyarov

WEEK 3
April 15, 2008 at 7:30PM
Act One Steptext
Music: J.S. Bach
Choreography: William Forsythe
Vishneva, Kolb, Lobukhin, Sergeev

Act Two Approximate Sonata
Music: Thom Willems
Choreography: William Forsythe
Scheschina, Ivanov, Riu, Popov Selina, Pimonov, Kondaurova, Zyuzin

Pause

The Vertiginous Thrill of Exactitude
Music: Franz Schubert
Choreography: William Forsythe
Tereshkina, Gonchar, Osmolkina,
Sarafanov, Fadeev

Act Three In the Middle, Somewhat Elevated
Music: Thom Willems
Choreography: William Forsythe
Golub, Kondaurova, Novikova, Scheschina,
Selina, Dubrovina, Lobukhin, Sergeev, Pimonov

April 16, 2008 at 7:30PM
Act One Steptext
Music: J.S. Bach
Choreography: William Forsythe
Kondaurova, Pimonov, Lobukhin, Sergeev

Act Two Approximate Sonata
Music: Thom Willems
Choreography: William Forsythe
Scheschina, Ivanov, Riu, Popov Sergei,
Selina, Pimonov, Kondaurova, Zyuzin

Pause

The Vertiginous Thrill of Exactitude
Music: Franz Schubert
Choreography: William Forsythe
Tereshkina, Gonchar, Osmolkina,
Sarafanov, Schklyarov

Act Three In the Middle, Somewhat Elevated
Music: Thom Willems
Choreography: William Forsythe
Golub, Kondaurova, Novikova, Scheschina,
Selina, Dubrovina, Lobukhin, Sergeev, Pimonov

April 17, 2008 at 7:30PM
Act One Steptext
Music: J.S. Bach
Choreography: William Forsythe
Kondaurova, Pimonov, Lobukhin, Sergeev

Act Two Approximate Sonata
Music: Thom Willems
Choreography: William Forsythe
Scheschina, Ivanov, Riu, Popov Sergei,
Petushkova, Nedviga, Dubrovina, Timofeev

Pause

The Vertiginous Thrill of Exactitude
Music: Franz Schubert
Choreography: William Forsythe
Tereshkina, Gonchar, Osmolkina,
Schklyarov, Fadeev

Act Three In the Middle, Somewhat Elevated
Music: Thom Willems
Choreography: William Forsythe
Golub, Kondaurova, Novikova, Scheschina,
Selina, Dubrovina, Lobukhin, Sergeev, Pimonov

April 18, 2008 at 8PM
Act One Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Somova, Korsuntsev

Act Two Rubies from Jewels
Music: Igor Stravinsky
Choreography: George Balanchine
Vishneva, Fadeev, Kondaurova

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Lopatkina, Kozlov

April 19, 2008 at 2PM
Act One Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Osmolkina, Ivanchenko

Act Two Rubies from Jewels
Music: Igor Stravinsky
Choreography: George Balanchine
Tereshkina, Korsakov, Gonchar

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Somova, Kolb

April 19, 2008 at 8PM Act One Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Kondaurova, Korsuntsev

Act Two Rubies from Jewels
Music: Igor Stravinsky
Choreography: George Balanchine
Golub, Sarafanov, Gonchar

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Tereshkina, Schklyarov

April 20, 2008 at 3PM
Act One Serenade
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Tereshkina, Ivanchenko

Act Two Rubies from Jewels
Music: Igor Stravinsky
Choreography: George Balanchine
Novikova, Schklyarov, Kondaurova

Act Three Ballet Imperial
Music: Pyotr Tchaikovsky
Choreography: George Balanchine
Vishneva, Fadeev

*************************

If this sticks without major changes I'll be very happy.


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 Post subject:
PostPosted: Thu Oct 18, 2007 2:40 am 
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Posts: 1746
Location: St. Petersburg, Russia
Buddy, thanks for all of your posts and the article links. And Waelsung, thank you for posting the latest casting. For the sake of ticketholders I too hope any changes will be minimal.

I find the choice of Golub in Spectre to be rather odd. She tends to use the same expression in all of her roles, and emotionally this role doesn't seem to fit her range. I'll be curious what people think of that. It's too bad Ayupova or Tarasova couldn't be cast as they have been here.

No surprise, however, that Somova is being given principal roles...

+++

EricMontreal22 - I only now saw your post from months ago (eegads!) The company has only performed Act III of Raymonda alone one time in the past 3 1/2 years in St. Petersburg and that was at Lopatkina's Gala evening in 2005. With only the one showing and then, the full length two years later, it's hard to say if they differed. I can say that any differences were minimal. The challenging lifts were the same in both versions. Someone with video reference may be able to comment at greater length. I agree -- that's one ballet where the plot is a mess! But it's worth seeing the full length even with the disjointedness. I still think they should have brought that on tour. Maybe in the future?


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 Post subject: Spectre de la Rose
PostPosted: Thu Oct 18, 2007 4:40 am 
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Posts: 1640
Location: London UK
Quote:
I find the choice of Golub in Spectre to be rather odd. She tends to use the same expression in all of her roles, and emotionally this role doesn't seem to fit her range. I'll be curious what people think of that. It's too bad Ayupova or Tarasova couldn't be cast as they have been here.


Three years ago I saw Irina Zhelonkina as the Young Girl and it was one of the best interpretations of the role I've ever seen, I wonder why she isn't cast? Actually from what I've seen of Golub I don't think she would be that bad in the part, it could have been a lot worse you know.

Quote:
No surprise, however, that Somova is being given principal roles...


I notice she gets the first night Bayadere:big mistake, the NY critics will crucify her. What a farce to start with Lopatkina, go on to Vishneva and finish with Somova - almost a death wish.


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 Post subject: Re: Spectre de la Rose
PostPosted: Thu Oct 18, 2007 8:41 am 
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Posts: 374
Cassandra wrote:
What a farce to start with Lopatkina, go on to Vishneva and finish with Somova - almost a death wish.


Totally agree with you, Cassandra. At least we'll be able to leave after 2nd intermission and get an early jump on the post-performance dinner tables at the Russian Tea Room. Yet, I leave myself open to be pleasantly surprised by a transformation by AS, as I mentioned in an earlier post. Before she hits NYC in April, we will have seen that hopefully-miraculous transformtionon the stage of the Kennedy Center in January, when the complete 'Bayadere' will be presented & AS will surely be one of the Nikiyas.


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 Post subject:
PostPosted: Thu Oct 18, 2007 10:49 am 
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Posts: 72
Location: Ann Arbor, Michigan
A little off the subject but I couldn't help noticing that Pavlenko isn't listed for any of the NY performances.
I just checked the Mariinsky site for ballet performances in Oct. and Nov. 07, and while there are some TBA casts, her name doesn't appear in any of the announced casts.
I haven't checked earlier tour schedules.

Any explanations? Just curious.


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 Post subject:
PostPosted: Fri Oct 19, 2007 9:34 am 
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Jpc, Pavlenko is off the stage for a year or so, for personal reasons of a very positive nature. :wink:


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PostPosted: Sat Oct 20, 2007 7:14 am 
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Location: St. Petersburg, Russia
Cassandra, I have seen Golub in some very poor performances here, especially her version of Ratmansky's "Cinderella". She utilizes inappropriate dramatic expression that is quite ineffective and she reuses it in almost every role. At least in her performances here. The exception is probably "Rubies". While one cannot fault her technically, her dramatic range is limited and she is incapable of the sort of nuance required for a role such as Spectre (my opinion).

I agree with you on Zhelonkina -- not sure why she isn't cast (for Spectre on this tour) as she's back in the theatre now and has been for over a year (post maternity leave).

NataliaN :-) -- I sense a hint of -- would sarcasm be the appropriate term? -- in regards to Miss Alina. In a more direct way I will simply say no miracle could be forthcoming and I, for one, won't hold my breath ! :-)


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PostPosted: Sun Oct 21, 2007 5:22 pm 
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Posts: 374
Good observation, Catherine! 8) Seriously, though, there's nothing that I would love more than to be proven wrong in my long-term assessment of Ms Alina. I do care for the future of the Mariinsky...but I refuse to applaud like a robot for the Mariinsky's "ballerina-flavor of the day" when it's not merited.


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 Post subject:
PostPosted: Wed Oct 24, 2007 11:08 am 
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Location: St. Petersburg, Russia
:-) Your sentiments are shared. For this reason I have specifically chosen never to review her performances.

The only way to be proven wrong, however, is if she were to totally transform her personality and physicality and I've never seen a dancer do that.


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 Post subject:
PostPosted: Sat Mar 15, 2008 9:23 pm 
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I have one ticket to the April 5th Kirov Ballet performance that to my great chagrin I won't be able to use. It's an excellent Orchestra seat right in the middle of row K. The face value is $110, but I will entertain all reasonable offers (would really hate to see this ticket go to waste). Payment can be made by PayPal and I can mail you the ticket with delivery confirmation. Or we can meet at City Center on April 1, 2 or 4. I would also consider exchanging this ticket for a good Orchestra seat to either Apr. 12 or Apr. 19 evening performances.


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 Post subject:
PostPosted: Tue Apr 01, 2008 11:04 pm 
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Posts: 1493
Location: USA-Switzerland
Something In The Way She Moves

Attracts Me Like No Other Lover

Something In The Way She Woos Me

I Don't Want To Leave Her Now

You Know I Believe And How


(The Beatles)



A Breathtakingly Beautiful Evening !


Yes, Yana Selina was there to lead in the Shades.

Yes, Alina Somova is moving into Statuesque Swan Goddess status. And yes, Ekaterina Kondaurova has already arrived.


When Yana Selina appeared from behind the dark curtain (no ramp, didn't matter a bit) spot lit, glowing like a star, followed by the others there was no chance of escaping this spell. She was magnificent in the refinement and elegant flow of her every move. They were the rest of the galaxy that swept away any doubt that we were watching something incredibly marvelous in the world of human expression.

Alina Somova was Nikiya, as a Shade. She can produce a statuesque elegance in motion that continues to make her more and more special.

Leonid Sarafanov, needed more runway space on the smaller than normal stage. Still the lady sitting next to me said that it gave the performances a more intimate feel. I agree. Leonid Sarafanov during some of his jumps seemed uncertain as to whether he would come down or not. His spins were incredibly well controlled tonight as were his aerial rotations, which also had an uncertainty as to whether they might remain suspended in space somewhere.

Diana Vishneva and Ulyana Lopatkina as usual inhabited their own distinct universes of ballet wonderment.

And on and on it goes. The list of Kirov-Mariinsky supergoddesses that appeared tonight was spectacuar. Lets see, there was Viktoria Tereshkina, Ekaterina Osmolkina, Olesia Novikova, Nadezhda Gonchar, Svetlana Ivanova, And make room for Yulia Bolshakova, Daria Vasnetsova and who knows who else. If any of them were less than a heart stirring delight then I missed it.

There was Leonid Sarafanov who had a spectacular evening. Then there was also Leonid Sarafanov and Andrian Fadeev, Grigory Popov, Danila Korsuntsev and Leonid Sarafanov. Then there was Leonid Sarafanov. And of course there was also Leonid Sarafanov who had a spectacular evening !

The sets and costumes were magnificent. Raymonda was velvet splendor. Paquita was jewel-like radiance. La Bayadere glowed like the heavens.


New York City----Count Your Blessings !!!!


[typo correction(s) made]


Last edited by Buddy on Wed Apr 02, 2008 10:08 am, edited 1 time in total.

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PostPosted: Wed Apr 02, 2008 8:51 am 
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Buddy, I agree with everything that you wrote with one huge exception -- Alina Somova is, IMO, incredibly vulgar in her execution -- yet arrogant in her demeanor -- who does not deserve to be anywhere near a stage. Not even the 'Podunk Ballet'...let alone the wondrous Kirov-Mariinsky. Her mere presence kept many of us in center-orchestra from standing up at the end, even though Sarafanov, the three solo shades, and the corps de ballet deserved a standing-o.


Last edited by NataliaN on Tue Apr 08, 2008 1:53 pm, edited 1 time in total.

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 Post subject: Kirov reviews
PostPosted: Wed Apr 02, 2008 9:30 am 
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Buddy/ Natalia N, could you please be a pair of angels and post some links to the reviews of the Kirov as they appear? I'm dying to hear what the NY critics will be saying this time around.

Many thanks


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PostPosted: Wed Apr 02, 2008 9:54 am 
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Natalia, with all due respect, I simply don't agree with you. I find a strong element of extreme, and I will use the term again, "sculptural" beauty in many of her performances that I have seen.

I'm sure that divided opinion is partly a matter of focus or on which aspect of her dancing at a given moment or in general you are paying the most attention to. I will also say that the internet has some videos that really don't show her at her best and this has established an image in some folks' minds. Also her sometimes use of 'large' extensions is a cause for discussion. Much of the audience was wowed by her leg straight up positionings. I find it quite impressive myself at times.

I do have to say once again that I found her Nikiya performance last night to be extremely beautiful, not perfect (although even the imperfections can have a certain charm because of the effort), but still Very Beautiful. I think if she continues in this direction she will become an even more consistant and lovely dancer and it will become much more apparent.

Thanks for you comments and I'm very glad that we agree on the rest.

For Me It Was Really An Exceptionally Beautiful Evening !


P.S. Cassandra, I really don't know how to track down the news articles except to look for them at the other obvious sites on the internet, but I will do the best I can.


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