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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former dancer and definitely a fan!
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  1. ^^ all of this makes me hope that ABT will do Manon for many more upcoming seasons. I’ve been hoping to see this ballet for years and I’m thrilled to hear that the company has very strong casting for the roles to actually support performing this production. Overall, so positive to hear all the debuts went well and that any shortcomings are relative small and will improve with time. If anything, this week of Manon proves that ABT can still bring “theatre” to the stage.
  2. Agreed! ABT needs to figure out how to shore up a male principal roster for the Met season ASAP, what I would like to see in 2019 is opportunities for the male soloists in principal roles + a few scattered one offs for corps men. KM needs to build the morale and ability off his existing roster. Clearly no one was ready for a promotion this year on the men's side; however, that absolutely CANNOT be the case again next season. However, until the work is showcased on stage, we'll never know who's ready. Bolle's retirement is always going to be a possibility until he/ABT says when. IMO, I think it'll only happen when he doesn't want to dance for the NYC audience anymore. While his frequency with ABT is less, he dances internationally more than any other male principal. From what I gather, he's been cutting back on roles, but physically, he can still do everything he's committed to dancing. What I think is more interesting, is that I have no insight to him as a person -- i.e. I have no idea what his favorite role or ballet is, nor have I any inclination who he'd like to dance with for his retirement. He's never been "the guy" at ABT, and the company would be far worse off without him as he's a strong male dancer/partner who helps fill out the casting yearly and does so in a way that elevates the company and the dancers he performs with -- I'm interested to know to what extent ABT will go to give him a proper farewell when the time comes. Re: Murphy & Abrera, they both can still dance. And you can tell they've both played it safe with regards to their bodies and schedules in recent years. I think they are both realistic about what roles they should be dancing, and I appreciate them pushing through challenges smartly when appropriate. If you were to ask me, I don't think either of them will drag it out like Kent, but both of them aiming for at least a 25th anniversary with the company is likely.
  3. If I recall correctly, when grishko posted their photo of her in mid-May on their page and they captioned it with information indicating she was still with the company as I had noticed her absence/silence on social media too. And at the time, I clicked over to her instagram, and ABT was definitely still included in her profile...so the removal is relatively recent even if she "left" at the beginning of the year.
  4. Out of curiosity, in the company’s history, what’s the fastest ABT has promoted a dancer from the corps? Or has anyone ever leapfrogged from corps to principal? I agree that none of the current male soloists are truly “ready” for a promotion to principal based on body of work...but there are still ONLY 4 male principals after the close of the Met season. There’s either going to be a slow, agonizing wait due to the logjam or is there any chance for any of the corps men who have been showcased and delivering in their featured role opportunities to filling the gaps in the principal roster? — I ask because I know it’s happened in other companies, but I can’t recall it ever happening at ABT.
  5. Yup. There are 7 male soloists, which would make any corps to soloist promotions illogical for the men. Whereas, the female soloist roster could use a bump. That being said, KM could be waiting to see how he can fill his male principal roster. He likely needs 2 male principals...one to cover Cirio’s departure and anoother to help with Hallberg/Simkin’s split commitments. I think based on who he can bring in, a current male soloist may be promoted in the fall based on potential opportunity (most likely would be Hoven and/or Forster) to make room for well deserving corps members like Gabe. I hope he stays...I think a promotion *should* be coming in the next year. Might just not be this week...
  6. This give me hope! Boylston seems to have continually put in the work since being promoted to work on their shortcomings. The qualities I really like in each of them respectively weren't enough for me to really want to see them, but based on the reports about Boylston's development and refinement as an artist/true ballerina makes me think that she is a principal I can really enjoy. Similarly can be sad of Seo as she's continued to polish her technique and performance quality
  7. I don't refute you on that first point at all...doesn't mean I can't wish there would have been a way for him to stay And I 100% agree about Stearns and Whiteside. They themselves aren't the ones who will get me to show up. However, they do more than their share in workload as well as ability to partner and dance alongside various principal women. I couldn't imagine the company without them. And as long as they keep doing what they are doing, the audience will keep showing up.
  8. SAME. I need a moment to process Cirio leaving, but huge respect to him. I did find it odd that his promotion didn't seem to reflect in the roles he was dancing with ABT... Don't get me started on Bacca...UGH, that one HURTS. (and need I mention Matthew Golding?) What has Gorak's workload been this Met season? If I'm not mistaken, wasn't he dealing with some injuries the past few seasons...and I feel like the board/world has been pretty quiet on him since. It's going to be interesting to see how ABT balances out their principal and soloist rosters and workload moving forward. The male/female composition in both is really offset to one side (principals: 8 women, 3 "full-time" men + another 3ish, soloists: 3 women, 7 men). I don't doubt that the male soloists have ability, but it's not like they've really had the opportunity to step up (minus Hammoudi, but that's going to be a pretty bland bunch of principal men)...I personally would love to see Blaine Hoven get a chance?? -- how has his season been going???
  9. #trueartist. The fact that Roman can do the role year in and year out without making it more of a cartoon than it already is takes true skill and mastery.
  10. A little off topic, but out of curiosity, for you and those board members who are able to regularly attend the Met season, do you think some of the criticism you had of Isabella and Hee as principals since their promotion was a by product of the rate in which both had to learn the lead roles (i.e. if I recall correctly both debuted in several ballets each season early on), and as a result we were constantly seeing a "work in progress"? I know that Isabella is a strong technician, and I always felt like she had the potential to develop into a true principal star. I'm very glad to hear that it's starting to show and she's beginning to shine. For those who've seen this season thus far, are her hands/wrists still an issue? What about Hee, she's a very emotional performer, but is her technique catching up? As for ABT needing to get the "next group" of principals ready sooner rather than later, I agree! I think the common names as mentioned on this board should be on their way in the next few years. Many of them, have been doing a great job in soloist roles recently, and Bell certainly stepped up this season and didn't let an opportunity slide by (even if based on what I read in the NYT article, he wasn't even sure what to expect of himself due to his growth spurts -- can't believe that tiny little boy from First Position is not 6'3"!) From what I can tell, casting has seemed less "conservative" last year and this year. I'm not sure that KM has "changed" but it certain indicates that the lack of movement and promotions during the "golden days" (that we dearly miss, but such is the passage of time) + "guest artist era" (which we won't speak about) was heavily about needing to fill the seats + not having enough parts for all the dancers. Obviously, in the 2010s, specifically the last 5 years, the lost development time of new principals/unpolished performance was the result of those decisions, but I'm hopeful that ABT is moving in the right direction. I think the Teuscher/Bell debut is evidence that with enough time and coaching, the dancers management are selecting are the right ones, but they shouldn't be put on stage until they are ready!
  11. YES YES YES. Went as far as to comment on ABT's social media when they posted the promo clip of the two of them together to say that that casting needed to happen. If for nothing more than that it's a partnership that was a supposed to grace the Met stage a decade ago! (I personally, find it so odd that each of their injuries were off set from the others and they hardly seem healthy together!) I do have to say that the casting this season has seems off balance. I know some principals may be carrying a lighter load because of lingering injuries, but it does seem disparate that the numbers are so skewed. I would hope that management does ask to some extent how frequently the principals WANT to dance versus how frequently they are needed to dance. I can't imagine Boylston actually wants to dance as often as she does (especially if she's likely the one to cover if someone gets injured!)...but I've been here long enough to not expect that... Side note: the instagram live of Devon and Aran discussing the process of preparing, performing, and completing thei debuts was great. It's still up for the rest of day if anyone's interested!
  12. Wonderful to hear! Trenary & Gorak sound like a good match, and I do appreciate their respective technique and performance quality. Definitely also waiting to hear reports about Stella in the role...curious if anyone was at the Wednesday matinee?
  13. I was out of the country when his return was announced, but nanushka you took the though/words right out of my head! I'm tentatively planning a NYC trip in May but I can only do 3 days, which means if this actually happens, i'll still have to chose one or the other...timing-wise Sat evening is much more likely, but if it's not Hallberg I'm going to wish I planned for Tues!!!
  14. yes! I saw this roster update too, I'm definitely intrigued to see what happens especially since she has the technical talent and that little something extra to truly develop into the next big thing in ballet. I hope that she keeps that level head on her shoulders and continues to grow artistically so that she doesn't stagnate, get burnt out, or pushes/is pushed too soon. There's a great opportunity for both her and the company here, here's to hoping it works out right!
  15. I'm really sad to see the "on leave" designation for Hallberg on the brochure...but it indeed has been 2 years -- can't believe it! I know that during his time off due to injuries he has explored other artistic avenues, but my question now is does anyone know if he's attempted to com back? Has he taken classes or danced at all? Also, it's a pleasant surprise to see that Stella and Gillian have both been with the company for 20 years already! Where has the time gone! (and that means Gillian is the senior most principal now...oh my!) Anyways, back to tickets...I might make an impromptu trip to NYC this May, but I haven't decided yet, which means I have a hard time justifying pre-buying single tickets...what is the same day/same week buying situation for ABT at the Met? When does the box office open and what kind of seats are usually left? And are "day of" tickets priced higher -- i.e. how dynamic are the prices if I decide to just walk up? thanks!
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