Holy crap, I cannot believe these photos were taken four years ago, right after I’d just started this blog, actually.
Like a proper newly obsessed samba fanatic, I’d dragged my friends to a Sushi Samba restaurant in the Flatiron District to watch the final game, between Brazil and … I don’t even remember 🙂 I think we had a lot of caipirinhas… But we also tasted for the first time Feijoada, Brazil’s national dish. It was like comfort food to me, having grown up on Mexican, and I couldn’t get enough of it.
Alyssa and Kathy were very excited about the farofa, which we sprinkled over it. It looked like parmesan cheese but tasted like very buttery, finely-ground cous-cous. Delicious.
These shoes were, and probably ridiculously, remain, the only item of clothing I own that is either green or yellow (Brazil’s colors). I seem to wear all black and red… and it’s funny how in some ways you don’t change.
Anyway … how does four years go so fast?… That was really a blast though. This year, I think I’m going to try to get friends together and do the same — whoever wins, celebrate that country with … what else – food!
Will be hard to take a break from watching my Yankees, but that’s the way it’s going to have to be unless I want to watch them on my home TV which really just doesn’t appeal…
So, if you missed THE performance of the season last week at ABT (that’s Natalia Osipova’s American debut as Kitri in Don Quixote, with legendary Jose Carreno as her partner), here are some vids I found of her dancing the role at the Bolshoi.
There are actually a couple of videos posted on YouTube that are of the exact performance I’m talking about at ABT, but I know ABT didn’t approve them so I feel weird embedding them here. Click on this link (but fast forward to around the 2:57 mark, when it really starts) and this one to view them – and hurry up before someone orders them taken down! I really hope ABT makes a film of this ballet sometime – with this same cast, but with Marcelo Gomes as Espada and Veronika Part as Mercedes. Although, I have to say … Jared Matthews (who I didn’t like in the role when I saw him live) looks pretty good in those videos. I think I just got spoiled by seeing Marcelo first.
I know it’s not the weekend yet – and I still have another post or two I need to get up before it happens – but I haven’t had time really to devour this article like I’ve wanted to and so wanted to link to it so you all can read it without waiting for me to become unbusy with never-ending book stuff. It’s from the New Criterion and is by Laura Jacobs. It’s about Diaghlev and all the excellent collaborations he engendered at his Ballets Russes – between Balanchine and all the brilliant artists who worked with BR – and it examines what might be different about today’s collaborations. I think it’s particularly compelling in light of all the new ballets being premiered this season at New York City Ballet, many of which just don’t seem to have the same substance as those Balanchine ballets despite the fact that there are some really brilliant visual artists and composers working with the choreographers. And I don’t think I’m the only one with those feelings.
Anyway, read the article and let me know what you think. I’m still trying to articulate my thoughts on the new Melissa Barak ballet that premiered last week. And, tonight is the second to last of the premieres – this one by Mauro Bigonzetti. We’ll see how that one fares…
My novel is now available at the newish online bookstore Indie Reader. So if you want to support independently published books and independent bookstores, please think of buying there — not just my book but others they’ve got there as well. It’s a curated bookstore; the books they sell have been selected by their staff. So they’re all likely pretty decent 🙂
On Sunday afternoon, principal ballerina Yvonne Borree gave her farewell performance at New York City Ballet. I always find farewell performances so sad, especially for the ballerinas, for some reason. And Yvonne just doesn’t seem old enough to retire! At all.
Anyway, it was a really lovely program and she looked beautiful. She danced the third, “Andante,” movement in Balanchine’s Brahms-Schoenberg Quartet. She was partnered by Benjamin Millepied, a very good partner for her, as she looks very comfortable dancing with him, and when they first took the stage, the audience really went wild with applause — and really wouldn’t let up! That’s uncommon for NYCB fans – even with a farewell performance; they usually save their applause until the very end. And the applause wasn’t just clapping; people were really whooting and screaming and calling out “Yvonne, Yvonne!” I think I am not the only one who will miss her. At the end of each section, she got more applause and at the end of Brahms, she and Millepied got three curtain calls. She deserved it. And he did too — I think Natalie Portman is giving him some acting lessons because he’s really doing much better, not just dancing (he’s always been a good dancer) but really projecting as well.
Then came Wheeldon’s new Estancia, which grew on me. I think the dancers found the humor in it — or maybe they did before and I was paying too much attention to the choreography to notice, but it seemed they really vamped it up, with Tyler Angle failing hilariously miserably at taming Andrew Veyette’s “horse,” letting Veyette get away after Tiler Peck roped him all up nicely, then Tyler being felled and rolling around the floor, nearly sweeping Tiler off her feet (in a bad way). It was really cute. And the dancing is really marvelous.
Then, the performance ended with Yvonne doing a pas de deux with Jared Angle — another good partner for her (for everyone really) – Balanchine’s Duo Concertant, which I love.
I love how the couple interacts with the onstage violinist and pianist, with the music, and with each other, and yet it is at times a very abstract ballet with lots of angular shapes. And the end is gorgeous but bittersweet, as the stage darkens and the spotlight begins to highlight only her, her head, then various parts of her body, ending with her arm, in the air, reaching upward and outward. It almost made me cry.
And of course the applause went on and on, and all of her partners (besides Nikolaj Hubbe unfortunately) came out onstage to give her a bouquet. Damian Woetzel and Peter Boal got the most whoots.
I’ve only been coming to New York City Ballet regularly for about the past three or four years and I feel I didn’t get to see enough of her. My favorite performances of hers are the delicate, ethereal sleepwalker in Balanchine’s La Sonnambula, which I think she danced with Sebastien Marcovici, and in that ballroom-esque ballet with the art deco mirror of Peter Martins that I love but no one shares my feelings about … 🙁 Can’t think of what it’s called right now but she was always Nilas Martins’s partner. I loved it. And now, my other favorite of hers is Duo Concertant, which I’d never seen her dance before.
Apparently, she’ll still be around. According to Oberon, she’ll stay at NYCB’s School of American Ballet and teach.
Oh well. We may have to organize a field trip to Europe next year. Maybe he’ll be dancing Mats Ek’s Giselle again?
In the meantime, here is this bottled water commercial. I think I posted it last year because it looks familiar but blog reader and Facebook friend Jonathan has sent it to me (and it is very good!) so I am posting it again. If I remember correctly, I think last year Haglund and I were trying to figure out where to buy the water in the U.S. I wonder if Haglund ever found it?…
And I will have to be satisfied with my IPPY man… Hehe, seriously, IPPY winners who attended the award ceremony two weeks ago were just sent their photos. They had an attractive female and male presenter to pose for your award photo with you — if you’re a female winner, they gave you the guy; if you’re male, they gave you the girl. I didn’t notice it at the time but doesn’t this guy kind of look like Roberto! Okay, I can dream!
Anyway, SLSG favorite Marcelo Gomes will be replacing him in Swan Lake — Odette / Odile is Veronika Part, so that will be a must-not-miss. And his Romeo replacements are Marcelo (whose Juliet will be Paloma Herrera) and Cory Stearns (dancing with Irina Dvorovenko). Check schedule here.
Wow, this year’s Blackpool Dance Festival has already come and gone. Funny how priorities change; I used to look so forward to this every year. But this year I was so caught up in book stuff, and BookExpo America, that it didn’t even register the competition was underway until I received my registration packet for next year’s in the mail (the organizer always sends them out so that your packet is waiting for you when you get home – which is nice; it makes it not so sad that your vacation is over with the reminder that next year is just around the corner…)
Anyway, according to Dance Beat, it seems the big news is that the U.S. has Standard champs for the first time ever — in the form of Arunas Bizokas and Katusha Demidova (pictured above, photo from Dance Beat).
Poland’s Michael Malitowski and Joanna Leunis won the Latin championship again, but our Yulia Zagoruychenko and Riccardo Cocchi placed first in one dance – Jive.
The U.S. won again, for the second year in a row, in the team competition. And after that event, our second Latin couple – Eugene Katsevman and Maria Manusova, of whom I’ve long been a big fan, announced their retirement from competition. Sad, but I’m sure they’ll still be around to perform for years to come. I wonder who will take their place in next year’s team comp for the U.S. I’m so ridiculously out of it I don’t even know who our second best Latin couple is now…
Photo of Eugene and Maria, by moi, from this post.
The Frederick Wiseman documentaryLa Danse, about the Paris Opera Ballet, which I loved (particularly the parts with Laetitia Pujol), is going to air in several segments on PBS beginning on June 16th. Excellent!
Just got another review of my novel by lit blogger Mystee, at A Moment With Mystee. I’m particularly happy because this isn’t the usual type of book Mystee reads, and she still liked it.
She concludes with: “This book leaves us wide open for a series. Will there be another Sophie book? Even if there isn’t this one is definitely worth picking up.”
Wow, thank you Mystee! I don’t know yet if there will be a sequel. I guess it depends on how this one fares in the long run. I’m working on something else at the moment, but had originally intended for there to be another Sophie book (with the second more focused on dance; I wrote the first one before I’d become a dance fanatic), so I’m absolutely thrilled there is interest!
Also, I’m going to be doing a Q&A with Mystee later in the week. How gracious of her 🙂 — will be my first author interview! So, I will definitely be linking to that when it’s up. Read the rest of her review here.
Oh update! Mystee just published a guest post I wrote for her about the novel, my reasons for writing it, etc. It’s the first opportunity I’ve had to publicly chat about it, so if you’re interested please read! And thank you again to Mystee, who basically rocks!
Okay you guys should be able to comment again! I deactivated the Disqus commenting system for the time being. I may or may not install the new plugin – still deciding on that. I’d switched to Disqus in the first place because my WordPress comment queue would get so much spam. But the Disqus one eventually begin getting spammed like nuts as well, although not as badly as WordPress… So we’ll see.
Anyway, for now the commenting system is just the regular WordPress one. Since it’s been a year and a half since I’ve used the WordPress system, and since I have it set to prevent comments from automatically posting from people whose comments haven’t previously been approved (to try to catch spam before it posts), if you’ve only been commenting for the past year and a half, your comment may not post right away – I may need to approve it first. But if it’s not spam I will!
Sorry for the inconvenience, you guys, and thank you as always for reading my blog 🙂
Last night was a very special night at ABT; the company put on a special show in honor of Alicia Alonso, the former ABT ballerina from Cuba who’s credited with bringing ballet to Latin America and bringing Latin American stars to the world, who turned 90 years old this year.
The evening began with a short film including interviews with Alonso reflecting on her career and clips of her dancing. The most amazing such clip was at the end of her dancing, I think La Sylphide, and she was doing tiny but incredibly, insanely fast-footed passees back and forth and back and forth; she was going so fast she looked like a hummingbird. The audience went wild.
Then Kevin McKenzie came out, gave a brief intro, and said, “This evening’s for you,” while motioning up to the parterre. Ms. Alonso slowly rose – she was in the center of the parterre, and everyone rose with her, giving her a long standing ovation. She looked really beautiful in a long blue sparkly gown with her signature full, flowing headscarf (this one blue and sparkling, to match her gown). Amazing how she seemed to acknowledge everyone in the room as she looked all around with a serene smile on her face. Especially since she has supposedly been nearly blind for the past 20 years and likely couldn’t see any of us. Anna Deavere Smith has defined Presence as having the ability to make it seem to each and every audience member like you’re singling him/her out from the crowd, looking right at them, dancing right for them. So clearly Ms. Alonso has that!
Then, the show began. It was Don Quixote, with a different couple playing the lead in each Act, most of them the company’s principal dancers from Latin America. First Act couple was Marcelo Gomes and Paloma Herrera (from Brazil and Argentina respectively), second was Herman Cornejo (Argentina) and Xiomara Reyes (Cuba), and third was Jose Carreno (Cuba) dancing with the beyond wondrous Natalia Osipova (from Russia, the only dancer playing one of the leads who’s not from Latin America).
It was very fitting that Carreno danced the third Act since he’s the only dancer still in the company who Alonso directly trained (though her daughter, Laura, who continues to run the school, which travels all over Latin America, has had a hand in training the rest).
Carreno is 42 now and I’m always so scared every time I see him this season that this is the last performance of whatever I’m seeing that I’ll watch him dance. I hope this isn’t the last Don Quixote because he’s so perfect for Basilio. More on his and Natalia’s full-length Don Quixote (on Tuesday night) to come, but suffice it to say for now, he is the absolute king of turns, the way he holds onto those last few pirouettes in a series of multiple turns. Sometimes he’ll just stand on one leg at the end and hold the balance forever. And she wins the award for most insane dance genius. I can’t even begin to go into everything she does that makes the crowd go nuts (the sky-high jumps that make it seem she must have springs in her shoes!, the fouettes with the bizillions of multiple pirouettes thrown in, the passees – and high passees at that – that she does at the speed of frigging light), and she’s the perfect playful, flirty Kitri to boot. Before seeing her dance this role I was going to complain that no one has the charisma and ability of Gelsey Kirkland (whom I’ve only seen on video) but I can’t say that anymore.
Herman Cornejo is of course king of jumps, and his jetes in the second act were absolutely breathtaking (people were talking about them all intermission). And Marcelo is the king of drama – I’ve said before and will say again that he could have a career in Hollywood after his dance career ends — he’s always wholly in the character (ditto for Veronika Part, who stole the stage as Mercedes, the street dancer, and was absolutely beautiful as the Queen of the Dryads), and he’s larger than life with flawless technique to boot.
Other non-main-character standouts were Daniil Simkin as the gypsy (he arched so far back in his jumps he made himself into a perfect ball, and his ability to do several of those barrel turns with one and half rotations all in a row always draws the “OOOOOOOOOHHHH”s from the crowd), and Misty Copeland was full of athletic prowess, as usual. She also cracked me up when she and Marcelo were onstage together at the beginning flirting naughtily right in front of Kitri. She is another very actorly type. I also thought Luciana Paris did well as the female part of the gypsy couple. Even in light of Daniil’s audience wowing theatrics, she held her own with some beautiful full back arches and lovely styling with her arms and hands.
The evening came to a perfect end as, at the end of the last Natalia / Jose curtain call, the curtains closed, then opened to reveal the whole stage, and Jose walking Alicia Alonso out from the wings. Judging by the number of heads turning around to the parterre, where she’d been sitting, I think the audience was hopeful that she’d come out onstage but worried she might not, so everyone stayed waiting, and was very happy when she did. Ovation lasted for quite a while; I don’t think anyone wanted to leave, but the company was having a party for her afterward (which I didn’t go to but a friend did – I’m waiting for the report) so had to kind of limit the length of curtain calls. Very very special evening!
Here’s a video of Jose dancing DQ with Gillian Murphy – the ones of him dancing with Paloma have disabled embedding, and horribly, the video from Born to Be Wild with Alicia talking about him has been taken off of YouTube 🙁
