Image quote from Pointe Magazine
Suddenly ABT has decided that it doesn't matter what Odette's wings look like. It only matters who her sponsor is. The accomplished ballerinas who should be the next Odettes – the ones who have the long lines, the narrow, endless, expressive arms, the long swan necks, the beautiful, soulful faces, the Prix de Lausanne winning technique, and the Genée Gold Medal winning technique are being sidelined in favor of one with habitually messy hands and arms. No wonder our classics can't get any world respect.
McKenzie may be impressed, but Mckayla isn't. Not impressed at all.
http://mckaylaisnotimpressed.tumblr.com/
24 responses to “Why is ABT pushing this as classical?”
Whose wing is that?
Whose wing is that?
Isabella Boylston’s.
Isabella Boylston’s.
I’m guessing she’s going to be dancing in the Open Dress Rehearsal, for which I’m glad because I would not buy a ticket to see her dance this role. I like my preferences to be evidence-based.
I’m guessing she’s going to be dancing in the Open Dress Rehearsal, for which I’m glad because I would not buy a ticket to see her dance this role. I like my preferences to be evidence-based.
I’ve wondered to what extent her promotion to lead roles in Swan Lake and Don Quixote (for the Met season this spring) reflected the need to find appropriately petite partners for Simkin. He will partner Lane in Sleeping Beauty, but perhaps it was thought that mastering all three roles in one season was too much for any soloist, whether Lane or Boylston. (I’m not saying that’s right or wrong – just one theory about what’s driving these assignments. And, of course, his promotion to Principal is not without its own controversy!)
I’ve wondered to what extent her promotion to lead roles in Swan Lake and Don Quixote (for the Met season this spring) reflected the need to find appropriately petite partners for Simkin. He will partner Lane in Sleeping Beauty, but perhaps it was thought that mastering all three roles in one season was too much for any soloist, whether Lane or Boylston. (I’m not saying that’s right or wrong – just one theory about what’s driving these assignments. And, of course, his promotion to Principal is not without its own controversy!)
Hi J. It seems logical except for the fact that Simkin’s first few Don Qs were opposite Yuriko Kajiya who was phenomenal and absolutely charming. Here is a link to a clip of one of her early Kitris.
http://www.youtube.com/watch?NR=1&v=pArkyXAEZ_M&feature=endscreen
Yuriko dances rings around Isabella and is far more educated and mature as an artist. The Kajiya/Simkin match in Don Q at the Met was spot on. I wanted to hit the replay button as soon as the curtain came down. She’s small enough to be his Odette and is a much better physical match.
And yes, you are so right that his promotion is controversial.
Hi J. It seems logical except for the fact that Simkin’s first few Don Qs were opposite Yuriko Kajiya who was phenomenal and absolutely charming. Here is a link to a clip of one of her early Kitris.
http://www.youtube.com/watch?NR=1&v=pArkyXAEZ_M&feature=endscreen
Yuriko dances rings around Isabella and is far more educated and mature as an artist. The Kajiya/Simkin match in Don Q at the Met was spot on. I wanted to hit the replay button as soon as the curtain came down. She’s small enough to be his Odette and is a much better physical match.
And yes, you are so right that his promotion is controversial.
I wonder if Simkin had anything to do with switching partners to Boylston. Kajiya doesn’t have much for the spring Met season (although complete casting has not yet been announced): Ratmansky’s Premiere 2 and one performance of Corsaire. I haven’t seen her Don Q in the theater, but her fouettes seem a little insecure in the brief clip (which might be a fluke, of course).
I wonder if Simkin had anything to do with switching partners to Boylston. Kajiya doesn’t have much for the spring Met season (although complete casting has not yet been announced): Ratmansky’s Premiere 2 and one performance of Corsaire. I haven’t seen her Don Q in the theater, but her fouettes seem a little insecure in the brief clip (which might be a fluke, of course).
Interesting as i LOVE the way yuriko does her fouettes- i think the slow ones are beautiful & perhaps she travels a bit on the ones changing direction but whatever… those are hard as hell!
Also her musicality in the variation is wonderful. Love her.
Interesting as i LOVE the way yuriko does her fouettes- i think the slow ones are beautiful & perhaps she travels a bit on the ones changing direction but whatever… those are hard as hell!
Also her musicality in the variation is wonderful. Love her.
I love her fouettes, too. Very stylish. The final ones where she changes her spot going around in a circle are so difficult. Agree, Robin, on her musical phrasing. It’s always been among the best in the company, IMO.
I love her fouettes, too. Very stylish. The final ones where she changes her spot going around in a circle are so difficult. Agree, Robin, on her musical phrasing. It’s always been among the best in the company, IMO.
Kajiya’s fouettes are beautiful. Is there any other ballerina who holds the leg in second position as long as she does (in the first 16), before bringing it in for the turn? I love the way she does that.
Kajiya’s fouettes are beautiful. Is there any other ballerina who holds the leg in second position as long as she does (in the first 16), before bringing it in for the turn? I love the way she does that.
Boylston fell very hard, flat on her ruffled fouetté last year as Gamzatti. Totally out of control. Left the stage. Corps did a great job of covering. One would have thought a lesson would be learned.
Falling is not too big a deal as such. To me, one of the signs of a great dancer is how well she/he gets out of trouble. Gomes. Kent. Ananiashvili. Lopatkina. Bouder. Kirkland. No stranger to the trouble spot, any of them. But, oh, how they get out of it.
Boylston fell very hard, flat on her ruffled fouetté last year as Gamzatti. Totally out of control. Left the stage. Corps did a great job of covering. One would have thought a lesson would be learned.
Falling is not too big a deal as such. To me, one of the signs of a great dancer is how well she/he gets out of trouble. Gomes. Kent. Ananiashvili. Lopatkina. Bouder. Kirkland. No stranger to the trouble spot, any of them. But, oh, how they get out of it.
True, dc. I hate when a dancer makes a mistake or falls and then spends time making faces in order to make sure the audience knows that she/he is disgusted or disappointed with the performance. Just get on with it without being apologetic.
That Bayadere at the Kennedy Center to which you referred was an example of McKenzie swinging for the fences by casting Boylston, Seo, and Muntagirov — all inexperienced and all big question marks–in debuts in the same performance. People should have asked for their money back.
True, dc. I hate when a dancer makes a mistake or falls and then spends time making faces in order to make sure the audience knows that she/he is disgusted or disappointed with the performance. Just get on with it without being apologetic.
That Bayadere at the Kennedy Center to which you referred was an example of McKenzie swinging for the fences by casting Boylston, Seo, and Muntagirov — all inexperienced and all big question marks–in debuts in the same performance. People should have asked for their money back.
Thank you for clarifying whose arm that was.
I loved how Ms. Kajiya did the fouettes in that DonQ video. I must confess, though, that I was a little distracted by her arms…
Thank you for clarifying whose arm that was.
I loved how Ms. Kajiya did the fouettes in that DonQ video. I must confess, though, that I was a little distracted by her arms…