Jayne

Bart, your concerns are valid, but I wonder how many tourists make up the audience of the ballet? More specifically, how many tourists who are in town specifically to see that particular ballet, with that cast? My point is that the majority of season ticket holders for NYCB live in the great metropolitan area of NYC. Yes, tourists who will be in NYC anyway will still purchase tickets, and if they are planning a trip to NYC, they might check the dates of NYCB's performances to make sure the vacation dates include an NYCB or ABT performance or two (or the Opera, etc). But I think the goal is to expose NYCB to new audiences of children and adults, so that when they *do* plan to visit NYC, they think "oh, while we're there, let's try to go see NYCB live, since we enjoyed the cinema performance so much." Same thing with the opera. I am planning a trip to NYC in 2012, to see my best friend and her family. After seeing Don Giovanni earlier this month in the Met Cinema series, the company is fresh on my mind, and I spent several days on email and the Met website last week comparing scheduled performances against my window of time to visit NYC. I doubt I would have been so motivated to include the Met, if not for the cinema presentation.

I saw the production on time delay at 1:30pm this afternoon. I have many thoughts, and will try to boil them down in this review. Fortunately many of you have already mentioned details, so I can just second your opinions. Regarding the theater itself, of course the American theaters will have bold architecture appropriate to the New World (same for Sydney, etc). Yes, the Bolshoi is grand (after all, the word translates into "big" or "grand" in English), but so are the Palais Garnier, the Vienna State Opera House, Teatro La Scala, Czech State Opera House, among so many others. I think an important part of visiting other countries that value classical art is to visit their theaters! I arrived after David Hallberg's interview. I plan to attend a second viewing on Tuesday evening, so I hope to see it then. I enjoyed the presenter very much. Behind her, as they practiced and stretched, the cinema audience laughed at the dancers' warm up boots. It is funny to see them dancing in character and manner, while wearing imitation ugg boots and a hoodie. I sat next to an extended family speaking Russian, who sadly, did not practice good behavior and chatted throughout the show. I moved seats...and sat below a young girl who kept kicking my chair. Fortunately the ballet drew me in, so I didn't mind too much, and switched the seat next to me for peace. There were about 15 people in total. There was also an evening show today, perhaps it drew in more people. Personally I thought the sets were finely detailed and very Italianate French looking. The French imperial court has been designed so many times that I don't think it's possible to do much new anymore. But the costumes did take my breath away. The colors, detail, cut of fabrics, movement to the dance - it was all there. The designers also clearly are on trend with the British royal family - feathers on practically every head! In 20 years, the feathers may date the production to 2011. I didn't mind the wigs at all, more on that later. In the prologue and christening, the Catalabutte character was humorous but not over the top hammy. I mulled over the effete interpretation and how it is becoming less and less acceptable in the US to play gay for gags. But it's still ok in ballet. Certainly it was ok back in Petipa's time. The opening scene took some time to draw me in, it was a little sluggish, I can see why other productions cut down on this section. But I thought the use of the gates was very effective. I'm neither here nor there as to the male / female role of Carabosse. As long as it's clearly portrayed, it works for me. In this case, the role was a complete ham, but I did enjoy the minions. I want their costumes for next halloween. And the Lilac Fairy (well all the fairies) danced for ever, but then Lilac changed the curse lickety split, and the kids around me needed parents to explain it. The camera work was by in large well done, with nearly all shots framing the stage or the dancers' full bodies. The few times they went to the facial close ups I cringed. We all still enjoy the illusion, and such close shots harm that illusion. I only enjoyed the close ups of the acting - and agree the King and Queen were very effective (and subtle). The character dancing was a lot of fun, and I kept thinking "no one does this like the Russians!" I really enjoyed the Garland dance and the student dancers. Once the Rose Adagio began, the energy definitely spiked, and the audience was drawn fully in. I thought Zhakarova was elegant and light on her feet. But I didn't think she seemed like a fluttery, exuberant 16 year old. I didn't enjoy her extreme extensions, but at this point, I don't think she can change them, the muscle habits are too strong. The balances were very nice, the princes' costumes impressed me for their variety, how close they were to the body, and their detail. The final balance made me very happy because instead of dipping into a low bow, she held the balance and slowly, in control, floated out of attitude, unsupported. Another tall girl, Cynthia Gregory, would be proud! Zveta is something of a beanpole, and I think her arms are too thin. After pricking her finger, I felt the switch to sleep for the entire court was handled too quickly and not very clear. All that advance dancing by the fairies, and then they didn't do much when they were supposed to be sprinkling fairy magic sleeping dust. The 30 minute intermission dragged forever, but at least I got a Starbucks coffee from next door without stress about racing back. Just my luck, I had 2 people ahead of me, each ordering 4 extra drinks for coworkers at the mall. In Act 2, once Hallberg entered, the difference in his line, technique and grace jumped out at you. I was surprised at the audience fan reaction, it was immediate and enthusiastic. He is a perfect specimen of a danseur noble in the flesh. the POB training is very obvious. The only drawback is the lack of subtle acting ability. But I think this is why he came to Bolshoi - to learn the acting. I felt his facial expressions did not show a wide spectrum of emotions, though he is acting for the theatre, not for the cinematic camera. In interviews on youtube, his face lacks a range of expression, perhaps this will be his biggest challenge. But in height and ability, he was a wonderful match to this Aurora. I only saw a bit of hesitation on one lift, and a few graspy moments when Sveta balanced on his arm. The vision scene was beautiful, the corps in their minty green tutus with Busby Berkley hats looked wonderful. I agree Sveta's acting matched the needs of the ballet here, she does dreamy elegance quite brilliantly. I would have liked a little more mist to nail down the point that this is a "vision" sequence. I didn't mind the boat, or the portrayal of the Lilac Fairy. Honestly her character isn't nearly as defined as the others in SB, so Ms. Allash did what she could with the role, and technically was lovely. I wasn't thinking of the boat in literal terms as sailing down a French river. I saw it as a metaphorical vehicle to guide Prince Desire to the castle hidden in vines (except not so much in this production). Once the kiss awakens Aurora, I expected more of a "oh, it's *you*, and you're in the *flesh*, and you're wonderful, oh, let's dance and show the audience we're falling in love!" type of expression. We got some lovely dancing, with elegant, placid expressions from David and Sveta. Then we have the entertainment, which drags on and on. The kids in the cinema took a while to figure out who Puss was - she really needed that tail! Boots needed more dramatic boots on his feet. They loved Little Red Riding Hood, I had no problem with the wolf, my feeling was Grigorovich wanted that facial expression and portrayal. He wasn't as nasty as others, or as murderous, this was more for laughs. Cinderella's prince had a hard time getting her shoe on, the rest of the dance was a little "off". Florine and Bluebird blew my socks off, and I hope they have bright futures. I just hated the featured hat on Bluebird. It was just strange and not very 18th century to me. The remaining fairies and other entertainment went on far too long. No wonder other productions curtail this part. In the wedding pas de deux, Aurora supplants before Desire low on the ground, he takes her hand and raises her all the way up to point in attitude, then takes her for a final 720' walk in balance and the crowd went wild. Even in my cinema. That was a great technical feat. Kudos to Sveta. I expected more fishdives, but enjoyed the choreography. I know it is fashionable to rip into Yuri Grigorovich, but overall I think this was a success. Yes, it's quite long, but I suppose you can look at it like you get your money's worth with all the dancing, and there are many roles for soloists. It's not just spear carrying and posing. As with the reopening, the concertmaster's violin solos were exquisite. I noticed the orchestra wears black tie, it was not just for the reopening. I will write a secondary post after I see it again Tuesday night.

ABT has been around for 75(ish) years and the company has always imported principals. Nothing is going to change.

I think they're going for a 17th century royal french court look - and wigs would be de rigeur in that era of the court.

This man has an opinion on everything related to the Bolshoi. He deserves his own thread to discuss his continual criticisms. Today's opinion: Regarding David Hallberg casting as Prince Desire for opening night of Sleeping Beauty June 23 opinion: Regarding Bolshoi dance floor, changing room, equipment Regarding the Bolshoi Renovation Have I missed anything?

Everything that's been written here about the true meaning, the prodigal son references, etc - I had the same thoughts yesterday and today as more articles come out. The arts media eats this stuff up! But at the end of the day, the contracts are in place, and everyone will move on. And some people will move up! O&V will get to dance a wider rep at the Mikh, with roles against 'type' (although it's difficult for me to fathom the size of O's calves preclude her from Swan Lake. But I don't have a Russian mindset of what Odette / Odille are 'supposed' to look like. At Bolshoi, there will be funds available to promote a female and male soloist to principal, and then to promote a second soloist to first soloist, etc. I think there are some hopeful hearts among the lower ranks tonight. Regarding Mr Kekhman, consider that he may be a modern version of Lincoln Kirstein. Mr. Kirstein was a Bostonian, jewish (therefore not a societal brahmin), socially awkward in NY and Boston, and deeply passionate about the arts. He brought a choreographer from a completely different culture, with new ideas of movement, and set up a company rivalry with American Ballet Theater's classical rep. Dancers came to this company, sometimes leaving better pay and acclaim in more traditional ballet companies and cities. Mr. Kirstein was never fully accepted by the company or NY society, and he tried to dominate the company despite his complete lack of professional ballet experience. I think Mr Kekhman is a bold thinker and while the Mikh theater may look garish, the real proof is in the dancing.

Looking at American companies, how many principals dance more than 3x / month at their own companies in lead roles?

Please, could someone please explain the "Bolshoi emploi system"? Also, can anyone shed light on the journalist's comment "Dmitri Chernyakov's premiere of 'Ruslan and Lyudmila' had an uneven reception, was met with sometimes unacceptable aggression, and even caused a scandal inside the theater during the day of the premiere."

This is really sad to read today. I assumed Mr Villella wanted to depart on a high, after Paris, and find a new role as a stager or other responsibility, not quite so time consuming. MCB does tend to lose a lot of dancers, and I wonder if the financial instability mentioned in the article is part of the reason?

The rest of the chaff has been eliminated, so Nancy's slow progress really stood out. I think one of the biggest issues for her physically was lack of speed in movements for her last 3-4 dances. I think the top 2 (JR and Ricki are as strong as other seasons' contenders, and certainly stronger than a few who have won), but spot 3 is a toss up between Hope and Rob. I expected Hope to go far, as most female athletes from sports requiring fast twitch muscle fibers tend to move well in dance. I never expected Rob to make it this far. But I expect Rob to make it to to the final 3 based on his sisters' extensive social networks, which Hope does not have. However, it may just depend on how they dance....and how Maks handles the pressure...will his temper explode and prevent Hope from progressing? Here is an article from some experts on this style of dancing from NY Daily News: http://www.nydailynews.com/entertainment/television/dancing-stars-week-8-york-dance-experts-judge-contestants-article-1.974298

Option 6. She could shop at consignment shops for designer clothing. The only designer items I own all come from consignment shops.

ok, fished out my notes. I attended the Saturday 05.November 2:00pm performance. We arrived just as the lights were going to black, so I missed any pre-event announcements of changes. So my notes are based on the official program. BTW I am writing this while listening to Rach 3 (a personal favorite) on the classical station in Seattle, and Peter Boal gives occasional appeals for donations (it's a public radio station, same system as NPR). Divertimento from "Le Baiser" (my computer isn't allowing accents for some reason, so I won't attempt to type out fairy in French today) Technically I can see how this is very strong for the dancers. From an audience perspective, my mind kept wandering, trying to imagine how it would look with all the set trimmings, full storyline, etc. A lot of fidgeting kids around me, and mentally I was fidgeting. I really wanted to like this, and I didn't hate it. But I wouldn't pay a ticket to see it a second time. Kaori Nakamura and Jonathan Porretta were their usual technical whizkid selves. The corps looked fresh, in a good way. intermission seemed to come very soon into the program, but I was grateful, because I really needed that Starbucks coffee. The theater was unexpectedly cold. "Afternoon of a Faun", music by Claude Debussy I was glad I read up on this online, as it really enriched my understanding of the performance. This ballet has so much emphasis on strength and control. Jerome Tisserand is unexpectedly virile and masculine in ways I've never seen him display on stage in the past. Kylee Kitchens isn't a carbon copy of Tanequil LeClercq. She doesn't have the same gamine quality, but instead has a tensile strength and intelligence to her movements. There were a couple of balance shakes where Ms. Kitchens balances on Mr. Tisserand's outstretched arm (as if it were the barre). Otherwise very well done. A short pause, and then we move on... Romeo & Juliette Balcony pas de deux / Prokofiev Kaori Nakamura showed us why she should have been cast in the first go of Maillot's R&J in 2008. Lucien Postlewaite was her ardent lover. I just love how the PNB orchestra performs this piece. Honestly a lesser orchestra would ruin the feeling. At the end, there was a large exhale of breath from the audience, before the bravos began. I'm hoping it does work out that the work returns in the 2012/2013 season, because Nakamura is already 41, and we will probably only get one more chance to see her do the full ballet next season. Another short pause, I'm craving more coffee, and every one is squinting at their programs in the half-light.... "Swan Lake" Black Swan pas de deux Oddly the orchestra seemed underpowered for this section, or maybe they were just not punching it up as we're used to from European orchestras. Swan Lake must get pretty old for the orchestra after a while. I, however, was pleased as punch to see PNB's designated tall girl get the Odile nod. Lindsi Dec performed with Batkhurel Bold, and both hit every Petipa move, without any visible issues. Without the stage or additional supernumeraries, Odile's dress glitters so much that you really cannot take your eyes off of her. Then we go to intermission and I ran downstairs to check out the giftshop. As expected, they had the book "Where Snowflakes Dance and Swear", but marked up to $39.99 (it's $35 on amazon). I pondered why Swan Lake didn't please me as much as it normally does. I decided pulling it out of context was part of the problem. It's rather like watching the Academy Awards ceremony, and seeing excerpts from movies, but the melodrama can be awkward without the full arc of the story. Secondarily, I felt Ms. Dec and Mr. Bold lacked some of the finer details of the Black Swan ppd. The flirting wasn't finely defined, nor was Prince Siegfried's confusion and attraction finely acted. Other companies, such as RB, Bolshoi, ABT, etc perform Swan Lake every single year, multiple times per year. Their principals have the opportunity to refine and explore these roles, and put on stage acting performances with far more experience and time in rehearsal. PNB performs SL maybe once every 3-5 years, for one rep of 7 performances. So one ballerina might perform the role twice every 3-5 years. Not enough time to create the performance possible at ABT. Moving on: The Sleeping Beauty / Aurora's Wedding / Choreo by Ronald Hynd after Petipa Sarah Ricard Orza (misspelled surname in the program) was Aurora and Karel Cruz was Prince Florimund. This was my first time seeing Ms. Orza perform the role and she was admirably regal. This sort or princely role is right up the ally for Karel Cruz's Cuban and Venezuelan training. But what really impressed me was the Gold & Silver ppt of Elizabeth Murphy, Kyle Davis and Eric Hipolito Jr! I really hope we get to see Ms Murphy in more featured roles. Bluebird was Jerome Tisserand and Princess Florine was Amanda Clark. Their ppd was pretty and Tisserand does some amazing beats. They got lots of applause. I've mentioned it before, but time has not improved my impression of the "Vegasesque" gold lame on Bluebird's costume upperback, or on the Mazurka dancers' skirts. Yes, this is the Sun King's court, but let's not beat up the audience's eyes with obviousness. Unlike other productions with Disneyesque sets, I quite like this version. And I really do like the Gold & Silver ppt costuming. Her skirt is a lovely lemon souffle dessert. Unfortunately my partner couldn't stay for the post performance Q&A, and since he was my ride, I had to leave with him. Usually I try to catch a 2nd weekend performance on my own in a cheap seat. But this time I feel uninspired to pay the money. I'd rather go see a ballet in cinema in Bellingham.

I have to agree with Sandy, I saw the Saturday 2pm matinee and it felt like drinking diet cola - the emotional connection was missing. I will post more as I fish my notes out of my bag.

I didn't think Nancy/Tristan's jive was as gawd awful as the judges made it out to be. Maks / Hope showed in practice that their relationship is contentous, and when Maks stormed off, it was very clear that Hope responded better to a gentler form of teaching / demonstrating from the other male professionals. It made me think back to the comment earlier in this thread, that she would have done better with a different partner. Will be interesting to see if Maks' histrionics block a contract for Season 14.....or seal the deal? DWTS loves the drama! David plateaued in skills, and Kym did her best, but I will always have a soft place in my heart for his Raiders of the Lost Arc routine. Odd that the ratings for the results show were so low in the 18-49 demo, considering that Justin Bieber was the performer. I (who am still a part of that demo, at least for another 10 years), decided to watch a Frontline documentary on Meth, since I do not have Bieber Fever. Of the remaining "stars", I am most entertained by Rob / Cheryl's dancing and rooting for them to make the finals.

well, which warhorse would you prefer?

http://latimesblogs....ity-ballet.html Just posted 3 hours ago in the LAT. Looks like they are trying to sew up the financial side ASAP and add an AD in the next year or so.

I didn't find much to like in the music, sets or musical connections to the choreo in XOVER. The sound was ear splitting (and I say this as someone who has already lost about 20% of her hearing), but the techs seemed to get the message and the sound was a much more comfortable level for the remaining two pieces. The crowd was not full in the theater, but was enthusiastic and knowledgable. I liked Quartet very much and BIPED was amazing. In all 3, I looked for "Cunningham-isms" that the NYT described so well in their videography: http://video.nytimes.com/video/2009/07/27/arts/1247463664370/the-legacy-of-merce-cunningham.html

I liked Delgado's smile and the general joy in the company. The speed, and precision of the beats had plenty of clarity. I saw nothing extraneous in the dancers' weight. All muscle. We've gotten so used to the anorectic look that a healthy woman looks "heavy" in comparison. Quite sad. The costumes in Western Symphony were delicious. I'll take acid over boring any day of the week. Watching The Golden Section, I kept thinking "Solid Gold Dancers". Which means I'm old enough to remember the originals. Which means I'm just old. Personally I would have chosen a different middle section piece to show off MCB's skills. I will say that The Golden Section gave the men an opportunity to really eat up space. I didn't mind the introductory cheerleading by Andy Garcia (an underrated actor) or the Miami "filler" that followed (although I switched channels to watch some Skate Canada rebroadcasting).

As much as PNB would hate to lose him, I think Boal might be the best person to take over NYCB when Martins retires. He has the good will of the dancers, the students remember him from his teaching years, and he has positive work experience managing artistry at PNB.

Sometimes a Nobel is given to someone for work done in earlier years when lucid and productive, but in the present day, the same person could suffer from dementia or a mental illness that has become worse over time. I have compassion because my own grandfather was deeply manic depressive. He was a wonderful man in so many ways, and loved us dearly - and we loved him. He had a brilliant mind, and he also had episodes that would try the patience of Job. Madness and genius are often twins in the brain.

I was cleaning house with the TV on to see the dance L/P and heard the tail end of a description of the Lithuanian couple. The female partner is American Isabella Tobias, who trained and danced with SAB and NYCB 2003-2007 and then returned to the figure skating world. I wrote the name down and did a little google research. Looks like she danced in Swan Lake, Coppelia, Midsummer Night's Dream, Nutcracker and Stroman's "Double Feature". Small world!

they need more fairies. 11 is not nearly enough. (she types, tongue firmly in cheek)

I also thought Kostner had the win, but Cizny had a 4 point lead from the S/P and Kostner couldn't overcome it in the long. I haven't gone through the points breakdown by element, but suspect Cizny's high quality spins brought in big points. The Cizny S/P is really lovely, and while I like Kostner's S/P, I don't *love* it (yet). I think Kostner has amazing musical qualities that are only sometimes appreciated by the new judging system. Cizny won by 0.13 points, a teeny tiny amount. Kostner was 1st and Cizny 2nd in the L/P. But the sport has always been about both the short and the long programs. If Kostner had just mildly better spins, or one better quality jump landing - she would have 0.14 more points. That said, it is always best to peak in March - not October. 6 months is a long season, and I wish both success and many medals. The Savchenko/Szolkowy L/P is interesting, and is clearly new and developing. I think it will look great in March - but I also think the Russians will peak in March. There is a lot of parity in pairs in this quadrennial and I look forward to some amazing performances.

well that promo was pretty dang hot! Will be interesting to see how the ice dancing men do, most of them have prior barre training as part of their figure skating careers. I think what will be most interesting is not the fish-out-of-water nature of "Battle of the Blades" on CBC (macho hockey players and their delicate figure skating cousins), but the potential for amazing new superb pairings and performances. Both skaters and ballet dancers are known for amazing work ethics and ability to perform in pain. I am a little worried about Maxim Shabalin's knee. It was completely thrashed by the 2010 Olympic Games in Vancouver. Bone on bone knee scraping, limping away from the ice, just made you wince to learn about it. I hope he's had surgery and a lot of rehab! Roman Kostomarov is incredibly magnetic to watch. Maxim Stavisky got into legal trouble in Bulgaria for a fatal car crash - he was driving after drinking alcohol. Hopefully this show is some rehab of a different sort (his reputation). I think the Russian station is available on my cable, but I would have to pay extra for it. Will check into it, though.

Watch this Skate America 2011 Long Program for Carolina Kostner and spot the Jiri Kilian / Petite Mort references: http://www.youtube.com/watch?v=R_INP2kon0o When I watch Meryl Davis skate, I can't help imagine that if she could easily have been one of Mr. B's "Alibaster Princesses" if she'd been born 60 years earlier. Oh and I adore the fascinator! http://www.youtube.com/watch?v=dGWWBoeOfvw