Josette

The promotions are effective on July 1, 2017, by which time three present principal dancers will not on the payroll. I am thrilled for each of the three promoted artists. Steven Morse was in the first cast of Dancers in a Gathering two seasons ago where he held his own in a group of principals, so it is terrific to see him promoted. Jennifer Stahl has been dancing with increased assurance and presence whenever I've seen her this season, including in Violin Concerto last Saturday; and in the Snow pas de deux in December, I was struck with her classical technique. And Esteban Hernandez was truly wonderful in The Prodigal Son last Saturday night, which I commented on elsewhere on Ballet Alert. There are some others I would love to see promoted as well (e.g., Diego Cruz, Myles Thatcher). Congratulations to Jennifer, Steven, and Esteban! Their promotions help to get over the soon-to-be departures of Vanessa Zahorian, Lorena Feijoo, and Davit Karapetyan.

Esteban should be promoted to soloist. I saw him as the prodigal son on Saturday evening and he inhabited the role fully so that it is ridiculous that he is not promoted. He had danced it the previous Sunday and became a very-last-minute replacement on Saturday evening for Angelo Greco, principal dancer. I tend to think of him as a charming, exuberant dancer with an endearing smile, but, as the prodigal son, he showed emotional depth, dancing with power and speed from the moment he came on stage to the final, heart-rendering crawl to the Father.

I also saw Thursday's show and, with the sugar-shock having worn off from the premiere, have to say that I loved Cornejo and could not take my eyes off of him. His performance had substance. From the moment he entered the stage and ran over to embrace the white pony, I was hooked. Thank you, Herman Cornejo! The trio of Hammoudi, Forster, and Schevchenko was very strong and they worked effectively with and off of each other. It was delightful to see them in these comic roles going full throttle. I find the the first act pas de deux plus pas de six (sept) too long and repetitious. The whipped-cream corps closing to act 1 is probably effective from farther back from where I was sitting. Tonight is another cast.

I pretty much agree with your thorough commentary, ksk04. Where were you sitting? I was in the front row and was wondering how everything comes across where faces are not so distinguishable. I'm back tonight and Friday to see the other casts and then to see the Hallberg/Abrera/Lane/Simkin cast's second show on Sunday. nysusan, it is worth seeing once.

Yes, it includes intermission.

Whipped Cream is Mark Ryden's concoction all the way. I will write more later, but it clocks in at under two hours and is visually delectable and imaginative. The choreography is classical and sometimes repetitious - three of these steps, six of those steps. It was wonderful to have David Hallberg back on stage; Stella Abrera and Sarah Lane were their feminine, adorable selves; Daniil Simkin's role as the boy was the only character who was allowed some variance in acting and he was excellent; Blaine Hoven and Joseph Gorak danced their solos brilliantly. No complaints at all about the production values and the dancers' commitment and performances. It was just too frothy and cutesy for me, which has nothing to do with the expert execution by the dancers and Ryden's remarkable creativity - but the work had zero emotional weight. I had seen Woolf Works danced by the Royal Ballet in a ballet-in-cinema presentation two nights earlier and the contrasts between the two ballet universes could not have been more extreme. The Orange County audience ate it up, found it delightful, oohed and aahed over the remarkable sets and costumes, and gave a standing ovation.

I just got an email from SFB announcing Max Cauthorn's promotion to soloist at SFB! He recently beautifully performed Victor Frankenstein in Liam Scarlett's three-act Frankenstein. Congratulations to Max!

Even better, he can dance Albrecht two nights in a row and the following day's matinee.

Bolle has an impressive, rock-solid classical technique aside from his personal charisma. I saw him dance Apollo a year or so ago with LA Philharmonic and Hee Seo (floundering in her solo), Devon Teuscher, and Stella Abrera (came off best of the ladies). The tempi were slow and oddly phrased for the sake of effect as conducted by Dudamel and pulled on the choreography, especially Apollo's opening solo and the one before the pas de deux. My legs were aching in sympathy as I watched. I don't know how Bolle got through it, but he did and he was amazing.

Bolle's performances at ABT are sponsored by William J. Gillespie, whose name adorns the ABT dance academy affiliated with Segerstrom Center for the Performing Arts in Orange County. I have also seen Bolle dance twice with the LA Philharmonic over the past four years as well and no other featured male dancer aside from Bolle has had that honor. So we are likely getting La Scala to get Bolle. Does Bolle ever dance with any of the La Scala female principals? Anyone know?

My impression is that La Scala Ballet relies a lot on guests, but another BalletAlert member probably knows more than I do on this topic. I remember when La Scala brought Sylvie Guillem's Giselle and she danced all performances but a matinee, and they also brought a mixed bill including Roland Petit's Carmen, which should have featured Ferri, but due to her pregnancy, they had a miscast Viviana Durante in the role. Zakharova guests often with La Scala There is good reason why Angelo Greco and Carlo di Lanno left. I am also looking forward to seeing Nicoletta Manni and Claudio Covielo. I need to check who Bolle's sponsor is at ABT.

I am thrilled to get to finally see Marianela Nunez live, twice.

In the LA Times of March 12, 2017, it reports that La Scala is bringing Giselle to Segerstrom Hall in Orange County this July. Casting is as follows: July 28: Misty Copeland, Roberto Bolle July 29 matinee: Nicoletta Manni, Claudio Covielo July 29 evening: Marianela Nunez, Roberto Bolle July 30: Nunez, Bolle MARIANELA NUNEZ! What is somewhat frustrating is that Tyler Peck and Robert Fairchild are bringing a group of dancers to Los Angeles Music Center on the same weekend including as yet unnamed dancers from New York City Ballet, ABT, Royal Ballet, Paris Opera Ballet, and Miami City Ballet, performing works by Balanchine, MacMillan, and Wheeldon. (All information from today's LA Times Calendar section. The Segerstrom website has not been updated.) i assume that Bigonzetti's departure as director of La Scala is the reason we are getting Giselle instead of the previously announced Bigonzetti Cinderella, which was supposed to feature Polina Semionova and Bolle. Perhaps Semionova wants some time with her newborn baby and to get into shape.

Davit Karapetyan has been off stage for about nine months. He had been scheduled to perform in The Nutcracker but did not.

He is not listed on the NBoC roster when I last checked.

Just checked casting and Davit Karapetyan is dancing Diamonds tonight with Yuan Yuan Tan! Hallelujah!

I also hope for Karapetyan's return this season. I have tickets to two performances of the program including Within the Golden Hour, my favorite Wheeldon ballet, and the Myles Thatcher new work, which should feature Vanessa. I am seeing two performances so that I will be sure to have another Vanessa performance before the end of the season. I would fly up to see Cinderella if I knew Vanessa and Davit were dancing the leads.

pherank; Clarence introduced me after a show (the night that Davit proposed to Vanessa) to Lorena Feijoo and Vitor Luiz, who were both utterly charming. I run into the dancers fairly often in the afternoon before performances.

What a wonderful description, pherank. Thank you! BTW, I have also met Clarence. He is very friendly and loves to talk about the dancers, most of whom know him by name.

Esteban Hernandez is dancing the title role in The Prodigal Son in the Saturday matinee!

Yes, he will definitely be on stage at Segerstrom Hall. Have my tickets in hand for two shows. ksk04: Yes, he was most certainly a memorable and compelling Tybalt in Ratmansky's Romeo and Juliet on opening night a few years ago at the Music Center (for me, he stole the show), and then became an ardent Romeo for a weekend matinee with Chelsy Meiss, and performed Tybalt later that evening.

I'm a season subscriber and also purchased extra tickets, so I don't have an answer to your question, ksk04. My subscription series falls on Friday the 17th, which is one of the affected shows.

I just received an email from Segerstrom Hall, where Whipped Cream will be performed next week, stating that Misty Copeland is injured and Skylar Brandt will take over the role of Princess Praline on March 17 and the March 19 matinee.

It sounds like this co-commission will finally bring to Los Angeles's dense population a much-needed Nutcracker by a professional ballet company. ABT performs Ratmansky's Nutcracker in Orange County, which is about 40 miles away from downtown Los Angeles, and which is too far for anyone but a die-hard balletomane to want to drive, particularly in the evening. I suspect there will be little overlap in the two productions' dates as well. Whenever The Los Angeles Music Center has brought in a Nutcracker - in the last 10 years I am only aware of the Mariinsky and the Joffrey at the Music Center- it has been sold out. Joffrey even added a performance because it sold out. It is crazy that Los Angeles Music Center does not have a yearly, money-making Nutcracker. This is great news for Los Angeles to have Balanchine's Nutcracker in town. Interesting also is that Los Angeles Opera's next season includes doing a co-production with the Joffrey of Gluck's Orphee et Euridice, with John Neumeier as director and choreographer. I have not seen Balanchine's Nutcracker live, so I am looking forward to seeing several performances. I can't wait to see the Christmas tree grow. That is my favorite part in the SFB Helgi Tomasson version. Magical.

Drew: agree.