Live streaming of NYCB in Paris

[jsmu]

I think one reason for this is that Martins has successfully developed and promoted talent - Mearns, Bouder, T. Peck, Vedette, Huxley, the Fairchilds etc. He sometimes throws apprentices or new corps members into a principal role, which makes for a certain kind of excitement. While we can each complain that our that personal favorite is being ignored or under utilized, there are plenty of dancers being given opportunities. Meanwhile our favorites are out there dancing, even if they are not doing the exact roles we'd like to see them in. Personally I don't get Pereira and think Daniel Ulbricht vastly underused, but overall I think Martins tries to give dancers opportunities and does a good job of bringing up talent.

Precisely my point: many of our favorites are NOT out there dancing, and not out there dancing principal roles. (How many principal roles has Laracey been given , particularly until the past year or two???) Laracey, as I said earlier, is only the most glaring example; there are many, many others. It is not a matter of *a* favorite but a matter of many excellent dancers being passed over and neglected (to put the nicest possible spin on it.) It doesn't take a rocket scientist to recognize or promote talent like Bouder, T. Peck, Mearns, Veyette, or R. Fairchild--any company would be thrilled to have those dancers and feature them all prominently. Bouder's jump alone is in the Osipova category, for example. Ulbricht is another compelling example of wasted talent. When Martins does give dancers opportunities it is usually a dancer like Pereira or Lowery who is vastly inferior to nine-tenths of the corps. The rash of Sugar Plum debuts last December was an *anomaly*, not a normal thing.

[cinnamonswirl]

I'm curious if there's any AD who doesn't get criticized by observers for under-casting certain talented dancers and over-casting other "lesser" ones.

[vipa]

I'm curious if there's any AD who doesn't get criticized by observers for under-casting certain talented dancers and over-casting other "lesser" ones.

I'm sure no AD escapes criticism for two reasons. 1 - there are always more talented dancers than roles to go around. 2 - ballet watchers have their favorites who they want to see in certain roles. NYCB has a rep that allows for more dancers to be featured so overall Martins is probably criticized less than McKenzie. Also there is a different tradition. Martins threw Mearns into the lead in Swan Lake when she was a 19 year old corps member. Seems obvious now but not so much then. Balanchine left a - throw them in - tradition. I believe we tend to remember the successes more than the failures (I won't mention the ones I recall).

[jsmu]

I'm curious if there's any AD who doesn't get criticized by observers for under-casting certain talented dancers and over-casting other "lesser" ones.

I'm sure there is not. It's not an easy job and it's a job guaranteed to make enemies no matter how you do it. However, some ADs are far less toxic than others.

[bingham]

I'm sure no AD escapes criticism for two reasons. 1 - there are always more talented dancers than roles to go around. 2 - ballet watchers have their favorites who they want to see in certain roles. NYCB has a rep that allows for more dancers to be featured so overall Martins is probably criticized less than McKenzie. Also there is a different tradition. Martins threw Mearns into the lead in Swan Lake when she was a 19 year old corps member. Seems obvious now but not so much then. Balanchine left a - throw them in - tradition. I believe we tend to remember the successes more than the failures (I won't mention the ones I recall)

It seems no one remembers the big failures( except the dancer or the AD) but everyone remembers the triumphal debuts.

[abatt]

I think the rep of NYCB makes it much easier to give lead roles to corps and soloists than the full length ballets that are the bread and butter of ABT. In that respect, Martins' job regarding casting choices is much easier than McKenzie's. The lead roles at NYCB tend to be shorter in duration, so there is less of an investment in time and money in teaching a new role to a NYCB soloist or corps dancer. It is a vast undertaking and expenditure of time and resources, however, to teach the lead role in a full length ballet to someone new. Also, if the new person at NYCB gives a poor performance, so what. There are usually two more ballets at least on the program, and it will not impact the audience's overall enjoyment of the performace or willingness to buy tickets in the future. The negative consequences when ABT puts someone inadequate in a full length role are much more profound and risky. I think these factors all play a role in why it takes McKenzie so many years to assign new lead roles to certain dancers at the soloist level.

[vipa]

I think the rep of NYCB makes it much easier to give lead roles to corps and soloists than the full length ballets that are the bread and butter of ABT. In that respect, Martins' job regarding casting choices is much easier than McKenzie's. The lead roles at NYCB tend to be shorter in duration, so there is less of an investment in time and money in teaching a new role to a NYCB soloist or corps dancer. It is a vast undertaking and expenditure of time and resources, however, to teach the lead role in a full length ballet to someone new. Also, if the new person at NYCB gives a poor performance, so what. There are usually two more ballets at least on the program, and it will not impact the audience's overall enjoyment of the performace or willingness to buy tickets in the future. The negative consequences when ABT puts someone inadequate in a full length role are much more profound and risky. I think these factors all play a role in why it takes McKenzie so many years to assign new lead roles to certain dancers at the soloist level.

Well said abatt. And it doesn't help that ABT doesn't tour as much as it did back in the day.

[sandik]

I think the rep of NYCB makes it much easier to give lead roles to corps and soloists than the full length ballets that are the bread and butter of ABT. In that respect, Martins' job regarding casting choices is much easier than McKenzie's. .... I think these factors all play a role in why it takes McKenzie so many years to assign new lead roles to certain dancers at the soloist level.

Absolutely -- a lovely pocket description of the difference between the two groups as far as programming is concerned.

[Jacqueline]

Merci, Mussel!

Being able to see this program soothes my daughter and me a great deal. We had flown to NY from California and Texas respectively to see the January 23rd performance of Walpurgisnacht, Sonatine, Mozartiana and Symphony in C that got snowed out thanks to Jonas. We were already at the theater checking our coats when the cancellation was announced. That would have been a dream program for us. I'll think again before I plan any future January trips to NYC! We got marooned in NY and thus got to see the next day's performance (Barber, Fancy Free and Who Cares) but we've still never let go of missing Walpurgisnacht (especially with Sara Mearns cast) and Symphony in C. (And Mozartiana.)

[DanielBenton]

Can someone tell me who the soloists are starting @ 5:52 of La Valse?

[mussel]

Several member messaged me that some of the links to the live stream are no longer working.  So here is another link to the complete performance: https://yadi.sk/mail/?hash=1XhUjj9aW580KpJ9rm8zlnU142W7A0PbSFT5SepWjgQ%3D

[KarenAG]

Thank you, Mussel!  I love this program.