Jayne

I had the same reaction to that quote. Ballet in particular has traditional ideas of the roles of women, and perhaps even how they express themselves in class and rehearsal time. Also, when you're exhausted, sometimes your emotions get the better of you. It happens to professional athletes all the time. Women are labeled "divas" for doing it, but men are just considered "hotheads". One label has a far more negative perception than the other.

I know Tereshkina has guested at ABT in La Bayadere. It's a shame she couldn't be rapped for Sylvia as Semionova's replacement. I understand she is fantastic in that role. Or Sarah Lamb, who as a duelie wouldn't have visa issues. Or bring back Paloma Herrera.

Oh yay, congrats to the growing family!

There is a big rush for all Cubans to defect to the US, because the US Congress is making serious signals that it will vote to end the "wet foot / dry foot" policy in the coming year.

Don Q is a great crowd pleaser, the music isn't exactly the high water mark of classical ballet, but the dancing certainly is!

Kaysta, I adore Symphony in 3 Movements, it's just so Exciting with a capital "E"! I actually think it's one of Mr B's most accessible leotard-astringent ballets (well, compared to 4T's, Agon, etc). But perhaps my cup of tea isn't yours. Anyway, I'm so glad you liked Rubies, which really is a modern form of choreography for ballet. With the right cast, it is effortless, charming and a real jolt of caffeine after Emeralds' wistful perfume.

Hmmmm.....well I still recommending adding a short Balanchine ballet to the mix. Makes it seem more like a full meal deal (to quote Ronald McDonald). Momentum PG would be my pick.

She may have friends there,is or she may be interested in guesting. Europe has a lot of galas, and maybe this is good networking to earn some euros down the road for a weekend gig? I have a hard time imagining her full time at Dutch National because they stray so far from the Petipa / Ivanov classics. But who knows?

I saw him interviewed on Charlie Rose a few years back, and what really impressed me was his support for musicianship. He was a big fan of Alicia Keys, for both her musicianship as a singer *and* as a piano player. He was really interested in all of the arts, as long as they were done in an authentic manner (which explains his interest in Copeland in traditional ballet choreo). He was an extraordinarily intelligent man, and was probably pidgeonholed by his early accomplishments in the pop genre. I know influenza has taken down others in their prime, but this is such a shock because he spoke in the interview of leading a very healthy lifestyle (nutritious food choices, exercise, etc). But influenza can be fatal and I'm just so sorry it took such a talented man away in his prime.

This....seems like a short program. Especially after reading how expensive tickets are to NBoC. The Concert is about 30-35 minutes max. I haven't seen Genus, but this program needs a 3rd ballet. Maybe insert a short Balanchine? Something B&W leatard to go with them spare theme of the evening? Momentum Pro Gusualdo (8 minutes)? Duo Concertant (17m)? Symphony in 3 Movements (22m)?

Well I'll go on record saying I love the Rose Adagio *and* the Odile fouettes - all 32 of them! I'd rather see single fouettes done well, than all the doubles, triples and swan arms ending with a stumble. 32 well done singles are exciting enough. I prefer a well executed Rose Adagio with the Fonteyn touches. If a dancer can't do them all, she shouldn't do the role. I feel the same way about T&V, if the dancer can't do all the steps in the principal role, and do them beautifully then she shouldn't be cast. And if no one in the company can do the steps beautifully, they shouldn't dance T&V. Some ballets are meant to have fireworks, or have evolved to have fireworks over time. SB, SL and DQ all have fireworks because principals are expected to have those skills!

Well this ballet was made as the Vietnam war was nearing its final year of U.S. involvement, so maybe yes?

https://youtu.be/hS-1N4Z3O3M Go to 7:27 and watch the description of the mime scene, which will give you an idea of what the Soviets cut out.

I think it helps in the sense that the vlog helps her sell more Prima bars (and others seem to be paying for extra shoes for her - apparently the Kremlin Ballet doesn't provide adequate shoes???). I think if she were to return to the US, she might be a soloist at a smaller-to-mid company - such as MET Columbus, Milwaukee, Charlotte, Colorado, etc. And she would then get better pay, improved health insurance, and workers compensation and employment rights. Her pay would be higher if she was still in Russia pre-2014. The combination of sanctions and OPEC issues has depressed the Ruble to lows not seen since the mid 1990's. I won't go into the politics, but any economy that is heavily dependent on state owned petro and gas companies is going to be affected by the wide swings in pricing of the commodities markets for energy exports. I'm not sure she has the economics savvy to understand that. Can she wait it out for a reverse swing? Maybe, if she sells enough Prima bars and develops enough generosity among her vlog fans. But it will be a long term struggle. I mean, there is a *reason* so many Russian dancers leave Russia to earn better incomes in the West.

Pittsburgh Ballet also performs the Malliot version. Other companies include Northern Ballet (England) and Korean National Ballet. Not sure if there are more.

I was hoping for Angelica Generosa as Swanhilde, but I'll have to trade days for the Leta performance. Sigh, just wish PNB's audience was big enough for 9 performances of story ballets, so all the deserving dancers could get more chances!

well he hired 2 Balanchine era dancers as dance masters. So I don't think all the Balanchine will go away. Change is hard, sometimes it is good, sometimes it doesn't work. But staying the same-old same-old doesn't work either.

wow, that video was great! Should be some happy SFB audiences.

It seems silly to put it underwater, when scenes showing everything "above" ground in the Everglades or at a shoreline of a Florida Key would have been just as lovely. Bottom still could have become an amphibious creature instead of a donkey.

yes, she really is the gold standard (or pink standard?)

Costumes look great, hope MCB hits a home run with this production. Honestly for a totally Balanchine Baby company, I'm shocked they haven't put on MSND before this year! Let's hope they put on Coppelia soon!

Well it's a good thing her fouettes didn't travel, because there is no room to travel! On the other hand, with such a small stage, she has a real opportunity to connect with the audience with her acting skills, and here I felt she was as blank of a dancer as any serious faced leotard Balanchine ballet. At least she can do the fouettes.

I suspect a lot of folks unhappy at La Scala's choice in AD would be happier with this program.

I'm excited about the Peck, feeling "meh" about Cerrudo as I felt his other work at PNB was totally forgettable. But hopefully I will be proven wrong on the second sentiment!

Gosh I tried to read the thread to get a handle on the ticket policies, and I still can't make heads of tales of it. To give you some perspective, Seattle Opera leaves a note on my seat before each performance, once the box office manager even came up to me and introduced himself, thanked me for subscribing and gave me a voucher for a free wine or dessert at the lobby counter. I've always been pleased when exchanging tickets with both Seattle Opera and PNB. Given how well the PAB Don Q was reviewed, maybe it's less time / hassle / expense to take the train to Philly to see PAB than bother with ABT? At least you'll have well rehearsed dancers who are exciting to watch?