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November 06, 2011


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Oh, Haglund, I've so been looking forward to your review! I totally agree about the repetition of choreographic ideas, especially the mechanical movements of Charms of Mannerism, which I didn't find charming at all. And I thought Nina's costume was atrocious. But I did love Bizet Variations as well as Dreams About Japan, in which Phillipe Solano was captivating in his solo and Nina really seemed to come into her own, dancing, to my mind, as if it were the most natural thing in the world, as she can only do. And she won my heart in the last piece with her glorious long legs and her totally natural disco dancing. I was moved by her gratitude towards the audience for the massive applause and the standing ovations.

Hi Angelica!

I wonder if the first version of the Dying Swan with its emphasis on resistance was meant to appeal to the Georgian members of the audience while the second version was more for the Russian members of the audience.

In any event, Nina's draping of the Georgian flag around her shoulders at the end was a nice touch.

Now that is an interesting idea about the two versions of the Dying Swan!

I think I was too close up, sitting in Row B Orchestra, to appreciate the magic that a bit more distance might have provided. And, although I may be the only person on the planet who feels this way, I do think that the swan arms have become a mannerism, a cliche, a signature collusion with the audience--I'll do those fantastic arms and you'll applaud like crazy! When she's doing them with her back to the audience, I imagine her laughing with her dancers in the wings. Angel Corella used to prepare for multiple pirouettes with a twinkle in his eye, as if to signal to the audience "Here we goooooooo." I feel similarly about Nina and the swan arms.

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