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Dueling Carmens II — 9 Comments

  1. First off, hope you’re feeling better, Neo.

    Secondly, thank you for isolating all these clips for comparison.

    When Vishneva danced at City Center in “Beauty In Motion” back in 2008, it became so painful to watch we almost walked out for the same reasons you outlined in this post.

    This is how the NYTimes review captured it:

    “Act III, Dwight Roden’s “Three Point Turn,” is wall-to-wall neo-academic, pseudo-erotic cliché for three couples (Ms. Vishneva with Desmond Richardson, Maria Shevyakova with Mr. Lobukhin, and Ekaterina Ivannikova with Mr. Sergeev). Everything onstage – the high extensions, the pirouettes, the lunges, the lifts – is big, showy, fakey, with no contrasts in scale.

    “Everyone onstage dances like hell, and when we get to hell, it will be full of ballets like this. Its loud rock score, by David Rozenblatt, sounds like a refrigerator copulating with a hot tin roof.”

  2. I was curious if you agreed with me that Svetlana Zakharova was by far the most seductive. Unless you are attracted to danger, in which case you have to go with Plisetskaya. But I enjoy waking up in the morning. But Vishneva seems entirely too pleased with herself. Which is a turn off.

  3. The thing I expect about art is that it should interest me.

    …Tollers are named for their ability to entice or lure waterfowl within gunshot range, called “tolling”.[5] The hunter stays hidden in a blind and sends the dog out to romp and play near the water, usually by tossing a ball or stick to be retrieved. The dog’s appearance is similar to that of a fox. Its unusual activity and white markings pique the curiosity of ducks and geese, who swim over to investigate.[6]

    When the birds are close, the hunter calls the dog back to the blind, then rises, putting the birds to flight, allowing him a shot. The Toller then retrieves any downed birds. They are particularly suited for retrieving in cold water climates because of their water-repellent double coat.[6]…

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