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  2. Although the principal casting for the KennCen run of BAYADERE has yet to be announced, we get a good idea of likely casts by noting the dancers assigned to the August London tour and the two White Nights performances back home. The lists below indicate casting in the following order: Nikiya/Solor/Gamzatti. In St Petersburg/White Nights: July 13 - Chebykina/Askerov/Osmolkina July 14 - Skorik/Kim/Batoeva In London/ROH tour: Aug 10 - Skorik/Kim/Batoeva Aug 11 - Tereshkina/Schklyarov/Osmolkina Aug 12 mat - Chebykina/Askerov/Evseyeva Aug 12 eve - Kondaurova/Ermakov/A. Matvienko I'm very excited about the prospect of seeing Kim Kimin's Solor live...but it appears that his regular Nikiya is Skorik. Tereshkina with Schklyarov & Osmolkina would be heavenly...if Schklyarov would be free of his duties as a Principal w/ Bavarian Ballet-Munich during the fall.
  3. Today
  4. RIP Gregg Allman - your music influenced a generation. One of my personal favorite Gregg Allman vocals - Been Gone Too Long:
  5. A little late to the party, but nonetheless... I love Emeralds best as well, though I have moments in the other sections that I'm always looking for. This cast of Emeralds really did it for me, especially Stix-Brunell. I was so impressed with the way she filled the stage with her presence. I've liked Macrae very much in other things, but this particular performance felt too clean to me -- the moments that are supposed to be aggressive or pugnacious felt too winsome, like he was winking at us. And Lamb, while very skilled technically, was very controlled, which felt wrong. I do like Nunez' version of Diamonds here -- she was regal without being imperial. But I was really disappointed in the camera work -- they cut back and forth between cameras far too often, as if they didn't trust the dance itself to keep our attention.
  6. Thanks so much for bringing this forward -- I really appreciate the detail here!
  7. I haven't used any ABT benefits since the 2015 season, so my experience is a little dated. At the company class I attended, we saw the whole class through grand allegro, but sounds like things have changed since then. nana, I would contact the Membership office and see what the remaining dates are for this for this season. There are some events in the fall also, but that might depend on your donation level. Two words of caution - the first time I donated it was with my subscription and somehow that didn't count for the dress rehearsal benefits directly. I contacted the Membership office and they did graciously fix everything. Also, the development folks are very aggressive on the phone. So if you donate one year, and not the next, they will follow up with you, even at these lower levels.
  8. Sorry to hear about Boylston's injury. Wishing her a speedy recovery. She's the third principal getting injured and it's only week 3. I hope everyone can get through the rest of the season injury free.
  9. Hope she will get better soon.
  10. agreed. but it wasn't terribly late, and the applause was enthusiastic and the house not empty. It seemed surprising when there weren't any given the circumstances
  11. I always thought that the decision to have a curtain bow was made by either the stage manager or a company representative based on the amount of applause. Of course the audience wouldn't be privy to factors like a dancer's condition or if there was a chance that the stagehands might have to be paid overtime per their union rules. I remember performances from the dance boom years when the curtain calls could go on for ages.
  12. There was no curtain bow for Shevchenko's second Don quixote either. I also wondered why then. I saw the performance today and I enjoyed it. I liked Isabella Boylston's acting because it was very natural and out of her (compared to Murphy's...). She was lovely and joyful lady in the first act and mad scene was also convincing. Her giselle signature posture in act 2 was beautiful. Jumps were not the best, but I was mostly happy with her giselle. I thought that maybe if Giselle is made as a movie, Isabella Boylston would be a good candidate for the role. She was theatrical and her movement was always along with the stories and natural. James Whiteside showed nice entrechat six, but I didn't feel much from his Albrecht.
  13. I wondered if she was injured? She didn't come get the conductor, he did. Which was also highly unusual.
  14. Just saw Giselle with James and Bella aka The Cindies (as they refer to themselves). This is my second Giselle for the week, I watched Saturday with Gillian/David. Something odd happened tonight, Bella and James did not do a curtain bow tonight. Does any body know the reason behind this? I have been to more than 100 ABT performances felicia and I have never not have a curtain bow after the show.
  15. Oh, good information! But if I sign up now, can I see dress rehearsal this season? Or, should I wait until next season?
  16. I went twice to the company class onstage. Each time they made us leave just when they were getting to my favorite part of the class, the petit allegro and grand allegro. The barre was all very nice, as was the adagio, but we never got to see the dancers sail through the air. If they would let us stay for the entire class, I would go again.
  17. Yes, ABT Fan's answer is the only way I know. California taught me about this benefit a few years ago and I really enjoyed it. Unfortunately you don't have your dates way in advance, like at PNB, so if you have to make airfare and hotel arrangements, it's a bit tricky. A surprising benefit is that you may see multiple casts of principal pairs rehearse at the same rehearsal. Once I saw three couples run the Don Q wedding pas de deux. It introduced me to some new dancers, and also on a trip I don't usually have time to catch three Don Qs and see multiple casts. The seats were in the rear of the orchestra, so short people like me could see fine, might just need opera glasses or binocs to see the finer details. One year I also saw the company class onstage. I loved that benefit. We sat in the front of the orchestra, and you get a chance to see pretty much all the dancers.
  18. Yesterday
  19. You have to be a donor, I'm pretty sure that's the only way. A $90/year Friend donor gets you two dress rehearsal tickets:
  20. Gregg Allman, mainstay of the legendary Allman Brothers Band, has died at the age of 69. (He would have been 70 in December.) He certainly led an eventful life -- 7 wives, drug addictions, health problems and numerous ups-and-downs in his career. But the best of his music -- The Allman Brothers Band albums At Fillmore East (1971), Eat a Peach (1972) and Brothers and Sisters (1973) as well as his 1987 comeback hit, "I'm No Angel" -- will continue to endure and resonate. Listening to "sweet" "Melissa" as I type this . . .
  21. Hi ABT Folks, We got a query today, I'm sure at least some of you know, and I'd appreciate it if you would post the way(s) here.
  22. Oh, I'm sorry to see Carmena go! He looked particularly good in Russian Seasons during this year's Here / Now festival: like a dancer at his peak, not on his way out. If it's time to leave, so be it -- but he certainly looked like he had many more seasons to go.
  23. What a wonderful performance! I loved the clean and unaffected style of her dancing - quite different from watching Ashley Boulder in the same role. Such a joyful performance!
  24. I remember what an exciting impression Carmens made on me when he first joined the company, and I continued to enjoy his performances over the years though seeing him much less once I departed New York. Hope he has a great future--whether as a chef or anything else....
  25. I just wanted to add one more Brava/Bravo for Lane/Simkin’s Giselle. I agree with all comments on here. I never cry at Giselle, however I found myself crying twice at the performance. Not because of the drama, but because Sarah was so breathtakingly gorgeous. Having watched her for years, I felt like an old friend was finally able to show us just how well deserving she was of the role! It was a NY debut that she should have been given years ago. I expected a very good performance, but I didn't expect anything quite so beautiful. They both acted and danced the roles with absolute perfection. Their Giselle was one of the best I’ve ever seen, and that is saying a lot, as I've seen Osipova, Ananishvili, Guillem, Ferri, Vishneva and more dance Giselle quite magnificently. Lane and Simkin were met with a standing ovation which was well deserved. Like others on here, I would love to see them paired together in R&J. Here’s hoping that Sarah finally gets that long overdue promotion to principal!
  26. Thanks for posting the video from Who Cares? That was terrific!
  27. I have some regrets about some works I'd like to see with La Imler • Ratmansky's Namouna • an all-star gala of Concerto Barocco pairing Imler and Sara Mearns (and/or the Delgado sisters) •The Bright Stream with Imler and Maria Chapman • Imler in the final solo of Vienna Waltzes (she is not the most obvious choice for physique but I think her acting chops and mastery of Balanchine style would give it the required pathos) Looking forward to the encore but I wish we could see even more dancing from both Bold and La Imler.
  28. A review of American Ballet Theatre in "Giselle" by Marina Harss for DanceTabs.
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