#marty sohl
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yuan yuan tan photographed performing as juliet in helgi tomasson’s romeo and juliet by marty sohl
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If allowed questions for you, reply when you want. You can reply each in different posts too just tag me please. Only if you feel like it.
Favorite oc? Or are you the type who can’t decide? Any reason someone is a favorite if you have one?
Favorite ffxiv character? Any reason?
Favorite game (because nobody knows)?
Favorite character of all time (because nobody knows) and why?
How did you chose Nerise’s dragon name? What about her?
Will Marty ever officially marry? (I’m making this up just to make one more question)
Thank you.
OH BOY it's Learning About Fox Time!
1: I kind of cycle between Favorite OCs; my "favorite" is whoever I'm fixating on at the time. At the moment, it's kind of a three-way split between Nerise, Fenumin, and Darcy, but any given moment, if I'm reminded of another OC, they briefly claim my heart and run away with it.
I think Origins!Kuja, better known these days as Urha'to Nelhah, is my favorite of all time... which should come as no surprise, considering Origins is my baby, and considering... Well.
2: I assume you mean favorite NPC, in which case: Stephanivien de Haillenarte, my beloved......
I picked up MCH at a time when I was having a huge falling-out with the friend who'd played a major role in getting me into the game, and I was kind of considering unsubbing, because ARR hadn't really grabbed me and I wasn't like, deeply invested beyond the AU I was crafting for my Origins characters (alongside my roommate's WoLs). Then I ran into Steph, and oh man, he saved the game for me; it's not an exaggeration to say I would've fallen out of the game completely if he hadn't gotten me super invested in it all over again.
I actually roleplayed Steph for a couple of years, on @skysteelsun.
3: Favorite game: Final Fantasy IX, by a massive unstoppable landslide!
4: Favorite character: Garland my beloved
Why is a complicated explanation, but it kind of boils down to my huge undying love for fallen civilizations - what could be better, then, than a completely dead planet? Garland is overseeing the revival and restoration of a world that has been dead for several thousand years, and that fascinates me. And I think his treatment of the beings he has created to populate that dead world (among others) is kind of an interesting look at how he himself, also a construct, might have been treated by his own creators.
I can't say a lot without, you know, spoilers, but I find him so incredibly interesting on so many levels. He's only around for less than a disk and a half, but he makes excellent use of his screentime.
5: Nerise's wyvern's name, Sohl Amh, means "Slow Song," and while I initially chose it because I liked the sound of it... it has very much come to fit their personality. Sohl Amh is the steadier, more patient of the pair, content to wait and see what happens - compared to Nerise's quick temper and eagerness for results.
Nerise's name was also just an "I like the sound of it," to be honest. We don't know a lot about how elezen naming conventions have changed, if at all, in the past thousand years, so it was kind of a shot in the dark!
6: Oh man okay so eventually what happens is Marty gets his ass arrested for poaching (he actually takes the fall for Dom, presuming - not without reason - he'll get off lighter than a Duskwight would). And who should happen to spot him while he's being brought in than one Serpent Captain Sanson Smyth?
Who notices he looks vaguely familiar.
One thing leads to another, and Marty gets introduced to Guydelot, and they realize they probably share a dad.
Sanson's owed a favor or five by the Adders at this point, and has sufficient influence to get Marty's sentenced negotiated down to exile from the Greatwood. It is at this point that Marty realizes he's going to have to tell Tsimh everything - part of the reason he hasn't asked her to marry him yet is the whole "I'd have to tell her I'm a poacher".... thing.
So he tells her.
She is understandably upset, but honestly, more about not being told.
They work it out.
They move - in keeping with Marty's sentence - to La Noscea, and settle on a farmstead. All's well.
And then, yes, Marty finally proposes to his girl.
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[Review] The Met’s Medea – a tour de force performance from Radvanovsky
Jonathan Gray sees Sondra Radvanovsky's "exciting, insightful, chilling, and terrifying" performance in the Met's intelligent new production of Medea.
Sondra Radvanovsky in the title role of Cherubini’s Medea. Photo by Marty Sohl, Met Opera
Guest author Jonathan Gray sees the Metropolitan Opera’s new production of Medea
TitleMedeaCompanyThe Metropolitan OperaVenueMetropolitan Opera House, Lincoln CenterDate8 October 2022ReviewerJonathan Gray
A scene from Cherubini’s Medea. Photo by Marty Sohl, Met Opera
Medea strikes as much terror into the…
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EL MET AL CINEMA 2022/2023: LOHENGRIN (BECZALA, WILSON, GOERKE, NIKITIN, GROISSBÖCK; NÉZET-SÉGUIN, GIRARD)
Tamara Wilson, Günther Groissböck i Piotr Beczała a «Lohengrin» Foto: Marty Sohl / Met Opera
Per fi he trobat el moment per parlar-vos de la nova producció de Lohengrin signada pel quebequès François Girard que s’ha estrenat al MET de Nova York sota la direcció musical del titular de la casa i també canadenc Yannick Nézet–Séguin.
Nézet–Séguin seguint la tradició musical del seu antecessor…
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#Alexa Jarvis#Andrea Coleman#Andrew Spriggs#Anne Nonnemacher#Anthony Clark Evans#Brian Mulligan#Catherine MiEun Choi-Steckmeyer#Chorus and Orchester Metropolitan Opera House#Christine Goerke#Errin Duane Brooks#Evgeny Nikitin#François Girard#Günther Groissböck#Lohengrin#Piotr Beczala#Richard Wagner#Stefan Egerstrom#Tamara Wilson#Thomas Capobianco#Yannick Nézet-Séguin
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Christine Shevchenko and Calvin Royal III in Alexei Ratmansky’s Songs of Bukovina, American Ballet Theatre, October 2017. © Marty Sohl.
Shevchenko and Royal drift in and out of the ensemble; their relationship to each other and to the others is unclear. Their duet is fast, sharp, full of backward-moving hops set to drone-like music. Shevchenko’s solo begins quietly and then builds to a circle of staccato jumps in which her legs twist and bend in the air, as if she were dancing on hot coals.
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Dima forever
Photo: Marty Sohl
#this photo breaks my heart#i m crying#i was in the audience for that trovatore#i will always remember this day#dima forever#dmitri hvorostovsky#il trovatore#giuseppe verdi#opera#opera tag#operablr#art#metropolitan opera
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Marcelo Álvarez and Sondra Radvanovsky in Tosca (Met 2011)
Photos: Marty Sohl/Metropolitan Opera (source)
#I'm really enjoying listening to their recording#a little bit too much probably#tosca#marcelo alvarez#sondra radvanovsky#opera#met opera
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Alessandra Ferri and Ethan Stiefel in the 2002 American Ballet Theater's production of "The Dream." (Marty Sohl/Marty Sohl).
#shakespeare#william shakespeare#shakespeare and dance#dance#ballet#abt#american ballet theater#the dream#midsummer#a midsummer night's dream#pointe#oberon#titania#tutu
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Kate Lindsey as Nero in Handel’s Agrippina, Met 2020 • Photo by Marty Sohl
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A Review of Balanchine’s “Valse Fantasie” (performed by the American Ballet Theatre)
Preface: A few years ago I wrote a performance review piece after watching American Ballet Theatre’s Valse Fantaisie . I never published it on here but I stumbled upon it today and thought that I should share. After all, it may let us all imagine ourselves at the ballet or theatre...maybe even the opera. Something that may not happen again in a very long time. So...hope you enjoy.
On October 24th, I had the privilege of watching George Balanchine’s Valse Fantaisie performed by American Ballet Theatre. Valse Fantaisie, which translates to “Fantasy Waltz”, is a mystical performance of six dancers moving to a rhythmic and joyful piece of music by Mikhail Glinka. Balanchine’s neoclassical elements are quite visible in the choreography - With no story-line to fall on, the performance relied primarily on the visual and auditory allurement of the audience. From the stunning costumes, to the lively music, and the shapes and geometry that were created on stage, Balanchine (through ABT of course) was able to successfully hook his audience. Balanchine himself has stated that “A ballet may contain a story, but the visual spectacle, not the story, is the essential element. The music of great musicians, it can be enjoyed and understood without any verbal introduction and the choreographer and the dancer must remember that they reach the audience through the eye and the audience, in its turn, must train itself to see what is performed upon the stage.” [2]
The music, made up of quick and delicate melodies in B minor, goes by the ballet’s same name and was composed by Mikhail Glinka who is Russia’s first national composer and considered to be the country’s Mozart. [1] A live orchestra made the music come alive and its echo effect (string instruments playing first and then flutes echoing the same melody after) created a hypnotizing sensation which made the performance extremely bewitching for the audience. The costumes were of course a vital cause of this enchanting atmosphere as well. They were mystical and fairy like: The five female dancers wore blue-green tutus whilst the male dancer wore a white bodysuit with blue embellishments.
Balanchine’s neoclassical elements are clearly evident in his choreography. The piece is stripped of detail and elaborate staging: “As a choreographer, Balanchine has generally tended to de-emphasize plot in his ballets, preferring to let ‘dance be the star of the show’”.[2] There is no story line and the focus is completely on the music, the dancers, and their effortless technique. Gia Kourlas from the New York Times states that the the way in which the dancers move is what contributes to the airy feel: “Balanchine’s windswept, rapturous “Valse Fantaisie,” one man, James Whiteside, and five women, with Hee Seo in the lead, twist and turn to Glinka’s music as if their bodies were controlled by the air. It’s over before you know it: After four women exit, the leads leap into opposite wings”.
Male lead, James Whiteside, displayed extreme athleticism and precision. Before joining American Ballet Theatre in 2012, Whiteside danced with Boston Ballet under instruction of director Raymond Lukens.[4] Female lead, Hee Seo, was trained in South Korea before joining American Ballet Theatre in 2004.[5] The corps consisted of Lauren Post, Melanie Hamrick, Paulina Waski, and Brittany De Grofft. Balanchine purposely chose four female corps de ballet members to dance without male partners in order to create his ideal choreographic structure on stage: “Balanchine offers a highly distilled treatment of one of his perennial themes… a solitary male has not one but several women to choose from. Another choreographer might have paired off the other women with partners, but Balanchine catches us off balance here. The man dances with a ballerina but he also dances in a frame of four other women. They are a miniature corps and an amplification of an ideal female. At the end, there is no lasting encounter. Everything vanishes - the soloists are swept off stage and the two principals leap out in opposite directions.”[6]
There were a variety of different choreographic structures present throughout the nine minute long piece. Valse Fantaisie, being that it is a waltz performance, involved steps done in triple time such as pas de valses, ballancés, and a few series of pas de bourrées. Although the choreography was neoclassical, there were still many similar elements to the classical Cecchetti technique that I trained in. Because there were four female dancers part of the corps de ballet, and two lead dancers (one male and one female), there were a lot of circular pathways constructed by the corps which existed to highlight the two principal dancers. There were also many frequent exits and entrances: Sometimes, only the corps would be present on stage (usually performing a pas de quatre) and whenever the music would crescendo, the two principles dancers would appear and the corps dancers would exit leaving the principal dancers to perform a romantic pas de deux. And when all the dancers were present on stage, it usually involved the corps standing in a circle performing balancés around the principal dancers who were executing something more technically complex. For example, at one point in the performance, the corps executed balancés in a circular pathway around the lead dancers. While the corps were performing these balancés, the lead dancers did piqué arabesques across the floor. Sometimes, the corps would also dance behind the principal dancers and mimic the very same movements.
Although the ballet seems to have received mostly positive responses so far, there have been critiques made in terms of the casting. Kourlas for example, believes that Whiteside and Seo did not fully meet the demands of the piece: “Valse Fantaisie is a tale of speed and drive; Mr. Whiteside handled Ms. Seo admirably, but was given to stiffness in his solos, and Ms. Seo, in blue, started strong and faded in momentum”. [3] Perhaps, this is because American Ballet Theatre rarely does works by Balanchine and so the dancers may not be as accustomed to the Balanchine method. It is also, just the very beginning of the season. Overall, I think the performance was outstanding: The costumes, the music, the choreography all perfectly synced together and created a very fantastical feel.
To watch a 1973 version of the dance, click here.
1 "New York City Ballet - Home." NYCB. N.p., n.d. Web. 5 Nov. 2015. from http://www.nycballet.com/ballets/p/pas-de-trois-(glinka).aspx
2 George Balanchine - ABT. (n.d.). Retrieved October 28, 2015, from http://www.abt.org/education/archive/choreographers/balanchine_g.html
3 Kourlas, G. (2015, October 25). Review: Choreography Is the Star at American Ballet Theater. Retrieved October 28, 2015, from http://www.nytimes.com/2015/10/26/arts/dance/review-choreography-is-the-star-at-american-bal let-theater.html?_r=0
4 "AMERICAN BALLET THEATRE: JAMES WHITESIDE." AMERICAN BALLET THEATRE: JAMES WHITESIDE. N.p., n.d. Web. 10 Nov. 2015. http://www.abt.org/dancers/dancer_display.asp?Dancer_ID=300
5 "AMERICAN BALLET THEATRE: Hee Seo." AMERICAN BALLET THEATRE: Hee Seo. N.p., n.d. Web. 10 Nov. 2015. http://www.abt.org/dancers/detail.asp?Dancer_ID=155
6 Kisselgoff, Anna. "BALLET: 'VALSE-FANTAISIE'" The New York Times. The New York Times, 30 Apr. 1985. Web. 8 Nov. 2015. http://www.nytimes.com/1985/05/01/arts/ballet-valse-fantaisie.html
Photos: Courtesy of Marty Sohl
#balanchine#ballet#american ballet theatre#performance#theatre#dance#dancer#performance review#ballerina#new york
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sulpicio mariano photographed by marty sohl
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Oc questions? For when you want them.
I’m asking because I care. Sorry too many questions maybe.
Is Sanaii around which height? Short or tall for her race?
What about Nerise and Marty?
Fenumin ever changes hairstyle?
Favorite fact about Erna?
Why did Sanaii Viera dad left his community?
Can Sanaii and Nerise swim?
If Sanaii and Nerise and Marty met how would they react and what would they think of the other?
Is Sanaii expressive with tail and ears?
Does Nerise makes peace with loosing everything she knew? What about dragon company with his different ways of perceiving time?
Marty and Tsihm have any other goals in life or plan on setting down where they are doing what they are doing?
Tsihm ever wishes she had formal teaching as botanist?
Marty ever regrets his crimes? Or thinks about them? Not in a way that would judge those he left behind, just his own actions and why they are considered wrong.
Tsihm ever talks to her family and friends again?
Any chance either would ever return to the Shroud?
Nerise opinions about Francel when she met him and later during Firmament? To make you struggle dragon company opinions?
Nerise explained the fact she had a dragon around for Haurchefant how?
Do you have any White Mage? Play healer?
Sanaii, Nerise and Marty deepest regrets?
I tried choosing the most recent ocs I remembered even if Sanaii is being ffxiv rebuilt.
Hopefully this is okay <3
<3 <3 <3
OC heights: Sanaii's sort of middling! Around the 55 marker on the height slider, I think. And while she's still young, I don't expect she'll get much taller, though she kind of hopes she will. Nerise and Marty are both max height. (Most of my OCs are max height, in fact.)
Fenumin's hairstyle: The only person who sees Fenumin with his hair down is his fuckbuddy, Mi'Enasalin. Other than that, he always wears it pulled into a bun, no exceptions.
Favorite Erna Fact: She's a surprisingly good cook! This really shouldn't be a surprise, with her father being a culinarian, but she's such a scatterbrain that most people are startled anyway. She's very good at making decent meals out of limited ingredients, and she keeps her party well-fed. (Silent Fox jokes that it's the only reason she keeps Erna around.)
Why Zephyr left: Lots of reasons, really, but it kind of boils down to just not wanting to be alone. Zephyr didn't like the isolation male viera were expected to endure - he did want a family, and didn't like the idea of rarely seeing them. He also wanted to see the world, to be a part of the world, rather than letting it slip past him. He's never regretted leaving.
Can the girls swim: Nerise actually had to learn to swim after her jump through time. She never had much cause to learn before, and only knew enough to keep herself afloat. She learns in La Noscea - she refuses to face Leviathan without knowing how to swim if she falls in the water!
Swimming is one of the many skills Sanaii learns from her fathers; she's not sure if she knew how before her memory loss.
If they met: Marty would be great with both of them - much like his brother, Marty's very chill and laid-back. Nerise is a little less good with people, but as long as they're not rude to her right out of the gate, she's likely to be friendly enough, though I feel like she'd be absolutely baffled by Sanaii running around on her own - Nerise was getting into trouble at a young age, too, but she had a wyvern to watch her back! And Sanaii would... mostly be startled by the presence of Sohl Amh, honestly.
Is Sanaii expressive: Yes. She's more expressive with her ears and tail than she is with her face, most of the time.
Do Nerise and Sohl Amh make peace with their losses: Sort of. Nerise handles it by trying not to think about it, and trying not to blame herself for what happened to Ratatoskr - Ratatoskr died some hundred years or so after Nerise was pulled from her own time, after all; there's likely nothing she could have done, but the lingering "What If I could have changed things" stays with her. That and wishing she'd been brave enough to confess her feelings to Milla, and wondering what ever became of her in the end.
Sohl Amh finds themself in the very strange position of being both older and younger than many dragons alive now. Even given that their own sense of time is far longer than Nerise's, the changes in the world are jarring. These are changes that should have only come to pass after a lengthy rest - but instead it feels as though they simply blinked and the world abruptly altered itself behind their eyelids.
Marty and Tsimh's plans: Neither of them had any particularly grand plans in mind before Marty's exile to La Noscea, and they haven't developed any since; they're content to settle down as farmers. They do get married once they're settled in, and start discussing the possibility of having or adopting kids.
Tsimh and botany: She does kind of wish she'd been properly trained as a botanist! It's not a deep regret, but it's there. She's happy enough to be taught by the other farmers in the area now, though. She feels like she's learning a lot.
Marty's regrets: Not really! He regrets not telling Tsimh, and on some level he regrets taking risks with the elementals and the like - but no, he doesn't really regret the life he lived, or the crimes he committed to live it. He understands why poaching is a crime, and he understands the dangers inherent in poaching in the Shroud, but it kept him alive and fed for most of his life.
Tsimh's friends and family: She writes letters to her family and friends... though her parents strongly disapprove of her relationship with Marty, and frequently beg her to come back home in their letters. When she tells them she's married him, they stop writing back to her for several moons.
Do they ever return to the Shroud: Not for a long time - Marty never does, content to meet his Redbelly friends in La Noscea, but Tsimh does eventually make short trips back home. She always comes back frustrated with her family. She's fairly sure they'd keep her in the Shroud by force if they could.
Nerise and Francel: Like most of the Ishgardians she meets, she's not impressed by Francel at first. She's in a very strange position, being what Ishgard considers a heretic herself, attempting to defend him against accusations of heresy - but defend him she does, to the best of her ability, with her limited understanding of how modern-day Ishgard works. On the advice of Alphinaud, Sohl Amh wisely stays well away from the proceedings in Coerthas, only turning up to aid Nerise in the fight against the false Inquisitor and his wyvern, departing before blades can be turned on them, instead.
She's far warmer toward Francel later, of course - and he remembers and thanks Sohl Amh for their contributions to saving his life, as well.
Nerise and Haurchefant: As mentioned above, Sohl Amh stays away during most of the Coerthas arc. Haurchefant learns about Sohl Amh after the trial, when Nerise explains to him exactly why a dragon swooped in to their rescue - but she claims they're not from Dravania, and thus not part of Nidhogg's horde. This is the same story used to later explain how Sohl Amh comes to be admitted into Ishgard, though they wisely stay out of sight there as much as possible; not everyone believes the tale, and no one is pleased to have a dragon sheltering within Ishgard's walls, companion to the Champion of Eorzea or no.
Healers: Yep! Silent Fox (SCH), Halan Soilanteaux (WHM), Stephan Fletcher (WHM), Dirthamen Renan (AST), and Faine Thievenaix (WHM) are all healer mains.
Regrets:
Sanaii: Not sure yet. She regrets losing her memory, but that isn't really her fault.
Nerise: Not telling Milla how she felt before Hydaelyn yanked her through time.
Marty: Not telling Tsimh the truth about his poaching sooner; not trusting that she wouldn't leave him for it.
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Connor Holloway | Patrick Frenette | American Ballet Theatre | Photo by Marty Sohl Photography
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MET 2021/22: BORIS GODUNOV
MET 2021/22: BORIS GODUNOV
Copyright: Marty Sohl/The Metropolitan Opera
Amb quasi un mes de retard avui us parlaré del Boris Godunov que es va representar el dia 9 mes d’octubre al MET de Nova York i que va significar la primera de las òperes de la temporada 2021/2022 que es retransmetien als cinemes.
Degut a les restriccions de la pandèmia el MET va decidir escurçar la durada del espectacle original escenificant la versió…
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#Ain Anger#Aleksey Bogdanov#Boris Godunov#Bradley Garvin#Brenton Ryan#Chorus and Orchester Metropolitan Opera House#David Butt Philip#Erika Baikoff#Eve Gigliotti#Kevin Burdette#Mark Schowalter#Maxim Paster#Megan Marino#Miles Mykkanen#Modest Mussorgski#René Pape#RIchard Bernstein#Ryan Speedo Green#Sebastian Weigle#Stephen Wadsworth#Tichina Vaughn
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Isabella Boylston and Marcelo Gomes in Benjamin Millepied’s Daphnis and Chloe, American Ballet Theatre, October 2016. © Marty Sohl.
The company looks great in it, though. Boylston and Gomes had a glowing, natural connection. The ballet’s sunny style suits Boylston; Gomes is his usual gallant and generous self. The final pas de deux was as melting and sensuous as one could hope for.
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Christine Shevchenko and Calvin Royal in “Songs of Bukovina.”
Photos: Marty Sohl.
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