The Bavarian State Opera Ballet will be livestreaming a performance of its brand new Paquita, as reconstructed and refurbished by Alexei Ratmansky, on Sunday 1/11 at noon Eastern time (6pm Central European Time). Here is the link which, historically speaking, has not always worked perfectly in the U.S. for other of the presentations at Bayerische Staatsoper:
http://streaming.staatsoper.de/
If the link doesn't work, go to the link below and scroll down halfway to the instructions and technical requirements for the livestream. You can even perform a little "pre-test" prior to the live transmission just to make certain you are A-okay:
https://www.staatsoper.de/en/staatsopertv.html
Casting info is here: https://www.staatsoper.de/en/productioninfo/paquita.html
8 responses to “Program reminder: Paquita livestream on Sunday”
I enjoyed this immensely although of course there wasn’t much dancing for the men – even considering it was a Petipa ballet.
I was struck how the ultra-modesty of the port de bras and the legs was at times similar to the current preserved Bournonville style although the clarity and crispness of the feet were not comparable. When this was premiered by Petipa in 1847, the Frenchman Bournonville was the choreographer at the RDB and making ballets that addressed the under-utilization of men in European ballets.
A lovely production, if a little slow in places, and it revealed some very likeable dancers in a company about which we don’t hear much in the U.S. Can’t really say that I would choose it over Pierre Lacotte’s version, though.
I especially liked those supported arabesques where the woman gazed back over her shoulder into the man’s eyes.
I enjoyed this immensely although of course there wasn’t much dancing for the men – even considering it was a Petipa ballet.
I was struck how the ultra-modesty of the port de bras and the legs was at times similar to the current preserved Bournonville style although the clarity and crispness of the feet were not comparable. When this was premiered by Petipa in 1847, the Frenchman Bournonville was the choreographer at the RDB and making ballets that addressed the under-utilization of men in European ballets.
A lovely production, if a little slow in places, and it revealed some very likeable dancers in a company about which we don’t hear much in the U.S. Can’t really say that I would choose it over Pierre Lacotte’s version, though.
I especially liked those supported arabesques where the woman gazed back over her shoulder into the man’s eyes.
I liked the set, costumes and the historic details like dancing en travestie and mime. However, as you said, not much dancing from the men which was one of the things that looked “unusual”. I also have to agree with you on the slow parts.
Furthermore, despite there being likeable and fine dancers, there was no one (for me) that was so captivating in their performance that it carried the piece. This might be partly due to the fact that Paquita isn’t one of my favourites plot-wise though.
In some parts, like the pas de trois towards the beginning, it also felt like despite the steps being really interesting, the dancers had difficulty in keeping up with the required speed. They managed somehow, but effort was palpable, as it looked rushed and not like someone dancing really quickly, yet with ease.
I liked the set, costumes and the historic details like dancing en travestie and mime. However, as you said, not much dancing from the men which was one of the things that looked “unusual”. I also have to agree with you on the slow parts.
Furthermore, despite there being likeable and fine dancers, there was no one (for me) that was so captivating in their performance that it carried the piece. This might be partly due to the fact that Paquita isn’t one of my favourites plot-wise though.
In some parts, like the pas de trois towards the beginning, it also felt like despite the steps being really interesting, the dancers had difficulty in keeping up with the required speed. They managed somehow, but effort was palpable, as it looked rushed and not like someone dancing really quickly, yet with ease.
Hi Kallima. Yes, the costumes were quite fine. I forgot to mention that I thought that the children did exceptionally well.
With regard to some of the slow parts -– given that this was historically reconstructed from Stepanov’s notes, there is always the chance that his notes were not complete. I think we almost have to assume that they were not. The enormity of the task of writing down by hand an entire ballet is almost too much to imagine.
Kallima, have you had the chance to go to Munich to see this company on stage? They perform Cranko’s R&J and Neumeier’s Lady of the Camellias, and I’m wondering how they do with those.
Hi Kallima. Yes, the costumes were quite fine. I forgot to mention that I thought that the children did exceptionally well.
With regard to some of the slow parts -– given that this was historically reconstructed from Stepanov’s notes, there is always the chance that his notes were not complete. I think we almost have to assume that they were not. The enormity of the task of writing down by hand an entire ballet is almost too much to imagine.
Kallima, have you had the chance to go to Munich to see this company on stage? They perform Cranko’s R&J and Neumeier’s Lady of the Camellias, and I’m wondering how they do with those.
True, the children indeed deserve being mentioned as well.
No, I haven’t seen them live on stage yet. It’s a bit of a travel there. But I could imagine something like Neumeier suits them. Unfortunately, the trailer clips available on the website don’t show Cranko and Neumeier, and Manon turns out to be the opera, despite being linked to the ballet company’s section.
True, the children indeed deserve being mentioned as well.
No, I haven’t seen them live on stage yet. It’s a bit of a travel there. But I could imagine something like Neumeier suits them. Unfortunately, the trailer clips available on the website don’t show Cranko and Neumeier, and Manon turns out to be the opera, despite being linked to the ballet company’s section.