This is pure treasure, that's for sure.
Here are the last eight minutes of an ABT performance of Clark Tippet's Bruch Violin Concerto with Ashley Tuttle, Ethan Stiefel, Angel Corella, Yan Chen, Keith Roberts, Paloma Herrera, Robert Hill, and Julie Kent. Try to spot Gillian Murphy in the very back of the corps de ballet, but don't look for red hair.
We need to see this ballet again soon – on a big stage.
10 responses to “More of Tippet’s Bruch Violin Concerto”
Must mention that last night violinist Joshua Bell gave a stupendous performance of Bruch’s Violin Concerto No. 1 at Avery Fisher Hall as part of this summer’s Mostly Mozart Festival. About midway through the final movement, the audience collectively leaned far forward in their seats to listen and then erupted in a roar at the conclusion. Even the MMF orchestra members went crazy applauding Bell. The program repeats tonight. The sound from seats in the top ring ($35) at AFH might be the best in the house.
Must mention that last night violinist Joshua Bell gave a stupendous performance of Bruch’s Violin Concerto No. 1 at Avery Fisher Hall as part of this summer’s Mostly Mozart Festival. About midway through the final movement, the audience collectively leaned far forward in their seats to listen and then erupted in a roar at the conclusion. Even the MMF orchestra members went crazy applauding Bell. The program repeats tonight. The sound from seats in the top ring ($35) at AFH might be the best in the house.
Whatever became of Ashley Tuttle? I may have seen her only once, but I remember her as a lovely ballerina.
Whatever became of Ashley Tuttle? I may have seen her only once, but I remember her as a lovely ballerina.
She was lovely and would be approaching her 24th or 25th anniversary with ABT but for the inelegance of McKenzie’s shove out the door. As you can see from the clip of Bruch, she was, in fact, a lot more than just lovely and could blaze through allegro without adding a lot of goopy mannerisms.
She was lovely and would be approaching her 24th or 25th anniversary with ABT but for the inelegance of McKenzie’s shove out the door. As you can see from the clip of Bruch, she was, in fact, a lot more than just lovely and could blaze through allegro without adding a lot of goopy mannerisms.
Thanks so much, Haglund, for the poignant update. How sad. Actually, it drives me nuts when people say that Julie has lost some of her technique, same for Diana. Julie was gorgeous in Bright Stream, especially when paired with Isabella. And Diana was magnificent in Giselle with Gomes. I wish people would focus more on a dancer’s unique strengths and not on a pirouette or two less. And the people who cannot appreciate Veronika because she doesn’t do 64 fouettes but a mere 32. These people are artists, not acrobats, although some in the audience seem to think they’re one and the same.
Thanks so much, Haglund, for the poignant update. How sad. Actually, it drives me nuts when people say that Julie has lost some of her technique, same for Diana. Julie was gorgeous in Bright Stream, especially when paired with Isabella. And Diana was magnificent in Giselle with Gomes. I wish people would focus more on a dancer’s unique strengths and not on a pirouette or two less. And the people who cannot appreciate Veronika because she doesn’t do 64 fouettes but a mere 32. These people are artists, not acrobats, although some in the audience seem to think they’re one and the same.
It’s easy to focus on Julie’s still-remarkable artistry, but she does tend to simplify choreography more and more these days. IMO, she no longer has a 100% commitment to staying in top shape and unfortunately it shows in roles like La Bayadere, Le Corsaire, Act I of Giselle, and in Swan Lake. Somehow, Nina stayed near top form in her 40s, and Alessandra managed fabulously by being selective in her repertory. Both Nina and Alessandra had small children to contend with as well.
Next spring’s ‘Onegin’ with Julie and Diana as Tatiana should be Stunning! But as we know already, Gomes is going to steal this one, too. Totally. He’s gonna wipe us out. Prepare thyself.
It’s easy to focus on Julie’s still-remarkable artistry, but she does tend to simplify choreography more and more these days. IMO, she no longer has a 100% commitment to staying in top shape and unfortunately it shows in roles like La Bayadere, Le Corsaire, Act I of Giselle, and in Swan Lake. Somehow, Nina stayed near top form in her 40s, and Alessandra managed fabulously by being selective in her repertory. Both Nina and Alessandra had small children to contend with as well.
Next spring’s ‘Onegin’ with Julie and Diana as Tatiana should be Stunning! But as we know already, Gomes is going to steal this one, too. Totally. He’s gonna wipe us out. Prepare thyself.