Why aren’t all floors sprung?
I’m already missing this performance and it’s not over yet…
Why isn’t there a Ready-to-Wear version of this tutu?
The scent of a musty, dusty, old theater can be kind of magical…
(Via Tumblr: Pactressia)
It’s a very Swan Lake-ish night…
Where’s a good doorframe to stretch my leg against?
(Via Tumblr: Maschaxd)
The weekend is for…rehearsal!
Love this performance by Sara Mearns! ❤
“In “Walpurgisnacht,” Ms. Mearns gives the single greatest ballerina performance of our era —hurling out fantastically bold, amazingly precise, rivetingly complex dance coloratura with musical blaze and rich colors. I say “hurling out” — this is exultant, space-filling dancing, with a strong element of swagger — but I don’t underestimate the twinkling wit of Ms. Mearns’s delivery, the driving impulsiveness of her self-contradictory turns to right and left, the subtleties of her unexpected pauses.”
– Sara Mearns, in Her Prime at City Ballet, Inspires Debate and Awe, Alastair Macaulay, The New York Times, June 25, 2015
Do you believe in fairy godmothers? 🙂
American Ballet Theatre‘s Devon Teuscher in Frederick Ashton’s Cinderella…
Interesting observation about the Wilis…
“Skeaping’s production is not necessarily less scary than others, but it conveys terror through beauty: the implacability of the Wilis is all the creepier when they are so soft and sylph-like.”
– Hanna Weibye, Giselle, English National Ballet, London Coliseum, January 12, 2017
Paris Opera Ballet (another beauty-is-creepier version)
Balanchine’s Waltz of the Flowers is my favorite version of this dance I’ve seen thus far. In my 2015 artsBHAM review of Alabama Ballet‘s production I wrote:
“The “Waltz of the Flowers” is the choreographic highlight of the ballet — a continual folding and unfolding, circling and whirling, drawing together and drifting apart. […] In Dewdrop, Balanchine may well have created the most choreographically memorable character in the ballet with her springing, gliding, at-home-in-the-air movements.”
Beyond the masterful choreography, the color of the costumes and the warmth or coolness or exuberance or reserve or anything in between that their palette evokes unavoidably plays a role in the overall impact of the dance.
Here are videos of different wardrobe interpretations of the Waltz of the Flowers from six productions of Balanchine’s Nutcracker. (Not among these videos are Alabama Ballet since their costumes are based on the Karinska designs used by New York City Ballet and Royal Danish Ballet because I couldn’t find a clip of their Waltz of Flowers, but here’s a photo.)
What do these hues suggest to you? What do they help highlight in the music and choreography? Which do you like best? Or least? Are there colors that you think would work better? Let me know your thoughts in the comments…