Drew

2023 was my first year attending live ballet since 2019. EVERY performance was the best. But since I imagine few on Ballet Alert have heard of Airi Igarashi and still fewer have seen her dance, I will mention Igarashi's Sylph with Atlanta Ballet in Kobborg's production of La Sylphide.

Earlier story was seemingly not wrong but merely premature. It's now being widely reported: Gergiev will head both the Mariinsky and Bolshoi theaters: https://www.bbc.com/news/world-europe-67591363

I found it a wonderful and moving work when the Royal brought it to NY--and had already admired it on video. San Francisco is lucky--at least I hope audiences there respond to it as I did.

I am curious to see Rojo's version. Perhaps San Francisco will do it, though my seeing it would still be a long shot! Based on the video performance that was broadcast by the Dutch National Ballet, I'd say the Rachel Beaujean Raymonda -- traditional with just tweaks to the story -- worked very well and, as best I can judge retains the ballet's classical aura more than Rojo's 'Victorian novel' re-imagining seems to do (that's my term for it, not hers). Beaujean's is the production I would love to see ABT perform; I think it would suit them very well.

Hello--welcome back. I was just raving to a ballet going friend about Vladimir Vasiliev. But she kept referring to him as a short, powerful jumper--I briefly wondered what she was talking about (powerful jumper--sure--but so much more...and short?); we determined she was thinking of Ivan Vasiliev 🙃. Hope to read posts from you in the future.

Reports now that the news was premature -- though it HAS been discussed for years. Hard for an outsider to assess what is going on....

A relative saw it in Chicago and loved it--I'm bummed I still haven't seen his company and have only seen the Giselle for ENB on video.

Well, I almost couldn't decide where to post this--under the Bolshoi or the Mariinsky--but: https://operawire.com/valery-gergiev-to-become-general-director-of-bolshoi-theatre/?fbclid=IwAR2X99-Oa7ulNnHo0-fcggBEXhKo34HCsWI82Bm7cWIKNq8aZ5Hc4sOMkXM

Swan Lake as the only 19th-century work and no short program that might have included classical showcases or neoclassical showcases is disappointing. When I first read the company was doing Woolf Works I instantly thought they could more or less sell out Ferri making a guest appearance AND that it would be an intriguing opportunity for Trenary. Though Trenary may well have another role in Woolf Works, the news that she isn't cast in the lead is a little disappointing to me especially in view of the fact she isn't being given a shot at Tatianna. I"m disappointed (though not really surprised) Copeland isn't coming back and I agree that the longer she stays out the more it seems as if she has no plans for a genuine return--though perhaps she will still plan with the company for some kind of farewell. Can't help but be Excited for Misseldine...What a huge season for her.... My main reaction, though, is to hope the company leadership is making a priority of finding the dancers more times/places to dance. Even this upcoming summer season would have seemed more exciting with a week added of almost anything--but, say, maybe a comedy to complement all the tragedies: Don Q as others have said...or Coppelia or even Cinderella would have been a change of pace--also injecting some classicism into the season and offering reasonable casting opportunities for some of the principals who are not as favored in the Met casting as announced--as well as up-and-coming talent among the soloists and corps. Anyway, I wish ABT all the donors they need....

Perhaps in an alternate universe somewhere they are married. Austen (or, at least, Elinor) seems to have thought them the better match. But In this universe, my own feelings about Alan Rickman are considerably more torrid than any I have about Greg Wise, so ...

Thanks for posting...Since I don't follow these kinds of documents, I can't say I was or was not surprised by the numbers. The trend is depressing but I think 2023 will be more of a test of whether the performing arts can/will bounce back...I didn't return to live ballet-going until this year. And even now I'm squirrely. One problem may be that the audiences for the traditional classical arts skew older and older is likelier to be more cautious....(?)

Perhaps ABT fans of Marcelo Gomes are all aware of his World Ballet Day class for Dresden Semperoper Ballett--but in case not:

Thanks @cobweb for posting your thoughts. I've been curious about Garis's book but am so far behind on ballet-related reading I have given up on starting or even purchasing anything new. (The Harss Ratmansky bio is staring at me from my dining room table and my barely begun kindle copy of Bentley's Serenade haunts me from my computer screen--etc. etc.)

I think from what was said in response to my comments that that the dancer I had noticed in the center was Kotomi Yamada - A very pale leotard. Not a dark colored one (see quote below). I gather Kimura also impressed people! And there were certainly a lot of great dancers there. More than I could track ...

A (short) conversation is going on under the World Ballet Day "heads up" thread --I will say here, though, that I, too, was quite struck by Trenary's gracefulness even when just doing pliés...yes, "artistic flair."

I was wondering about Kotomi Yamada being the person I was thinking of--and liked her even before the turns--thank you both @naomikage and @matilda. Like @matildaI also noticed Crispino--at the risk being vulgar, may I say, too, found him very easy on the eyes--and De La Nuez. (Roxander I knew to look for and easily recognized though I've never seen him live.)

Thank you. SIerra Armnstrong was one of the others whose photo I found after admiring her dancing in the class....At one point she was very much in site of the camera--the dancer I liked in the neutral-colored leotard not as often....

Not sure if this is the place to discuss World Ballet Day--but after watching the ABT class, which I assume was pre-recorded since they are on tour, I went online to identify several dancers and the first one I went in search of was the woman in a drab--maybe grey or olive colored--sleeveless leotard (at least once they were in the center)--who was also, toward the end of class, briefly featured by the camera when wrapping up fouettés. She gave a big smile afterward when some dancers applauded. Let me swiftly say she caught my attention well before the fouettés for her clean, centered dancing. I would be happy to see more of her. Studying photos on ABT's site I initially concluded it was Lea Flétoux, but after studying Instagram am less confident. If anyone knows, then I'd be pleased to find out....

I've always been a little puzzled/sad Feld's ballets don't get revived by ABT--Both At Midnight and Intermezzo I remember with great fondness. I did rather assume that once he had his own company he then didn't want ABT doing them, but I had hoped that could be revisited later after his company was no more. (Though I saw them a couple of times, I don't remember too much and am even less familiar with his more recent work for Ballet Tech, but I assume there is more of interest than I happen to remember. ) Probably Feld's works wouldn't play that well at the huge Met, but perhaps at the NY State Theater [I tried to write K-o-c-h but my keyboard kept bursting into flames] or maybe for ABT II which performs in smaller venues? I assume this all also depends on Feld giving permission not just ABT being interested. So who knows what the story is....

Thanks for mentioning. Goh was an important choreographic talent too -- at one point Baryshnikov arranged to work with him.

This is exciting news. I don't know anything about the kind of programming Ferru has done for Spoleto, but hope she will be a great force for ballet in Vienna!

This gets my vote. Coppelia is less of a showcase for a rising male star than Don Q, but given Roxander's relative lack of experience it might be a good choice for his first full-length lead. I also think ABT can likely field a slew of charming Swanildas. I'd love to see Hurlin give it a go. And if Copeland returns and takes on classical roles, then Swanilda would probably be one of my top choices for her. Don't know about overall box office for Coppelia though. DQ may be a bigger draw. (In the meanwhile I'm casting Misseldine as prayer in my mind and casting other roles too, but since I think Coppelia is very unlikely, I will drop the fantasy.)

I often read his reviews over the years. May he rest in peace --

Saw three performances this weekend. To get it out of the way, I'll start with one big negative. At what production meeting was it determined that two of the only ballets in the repertory where the sets and costumes are as important as the choreography should be as dimly lit as possible? Even in the land of the dead--I mean, of course, much of Orpheus--one can have, as Milton puts it, "darkness visible." As for Prodigal Son, having seen the ballet across generations and with three different companies I do not believe I have ever seen it so very shadowy. That said, it was thrilling to be back at New York City Ballet and I thought the company looked pretty wonderful. Unlike many here I don't know corps-de-ballet dancers or even more than a few soloists by name, but I regularly saw members of the ensemble in corps and demi-soloist roles who caught my eye. (One in Symphony in C I was able to identify--Ashley Hod. Very much enjoyed her dancing). That's an important part of what makes a company great--they all look terrific even when not being directly featured. Still, some performances, and some ballets, are in another category. "Great" just doesn't seem to say enough. The first ballet I saw this weekend was the absolute highlight of my weekend ballet-going: the Nadon, LaFreniere, Bolden Concerto Barocco. Completely agree with all the praise for that performance already posted above. I was at the Nadon/Bolden debut performance and though, in one or two spots, I imagine they may polish things up, it was just a stunning performance from all three principals, and I loved every second of it. This was my first time seeing Lafreniere--that's an enthusiastic WOW from me! As for Nadon, whom I was also seeing for the first time....if I lived in NY and had the resources, then I would not miss a single one of her performances. EVER. I also felt very privileged to see two ballerinas who have long been among my favorites in two ballets each -- Peck in Symphony in C and Theme and Variations. And Mearns as the Siren in Prodigal Son and in Serenade. All technically and emotionally rich performances. I have always loved Peck but I have never seen her look so complete a ballerina. Another long-time favorite, Ashley Laracey single-handedly made Orpheus feel genuinely moving to me. I had reservations about a few of the other performances I saw (I mean beyond my above mentioned irritation with some of the lighting), but many others were terrific and I'm happy with what I saw. As others have noted the all Balanchine programs seem to have been big sellers. Fourth ring was open at every performance I attended and, as far as my eyes could see, the rest of the house was full.

Well I hope no-one throws a bottle at you! (And that you have a great time too.)