nanushka

I just don’t think we can assume that — much less that it was obvious — from what was in the article. Once she started working with Irina and Max, she may well have wanted to see that through. (She has the resources to do so, it would seem.) That doesn’t imply that McKenzie would have cast her then withheld sufficient coaching/teaching from the ABT staff.

We’d need to know how much coaching each dancer received and what other financial resources they may have — none of which we know, I assume. I agree with you that Brandt has well deserved her opportunities though.

I don't think that was obvious at all. He said it in the context of their discussing what she might work on during the summer break — a time when staff wouldn't be teaching or coaching her anything, presumably. She wanted to get a head start, I think. I don't think McKenzie was suggesting that she had to the learn the role on her own and she wouldn't get cast unless she did.

It wouldn’t be the first time someone wrote something a little illogical and hypocritical while airing grievances unwisely on social media.

Yeah, the key part for me is this: That sounds like it's about what the artist is putting in (work vs. money), not how many tickets buyers the artist is or is not bringing to the company's performances.

I agree it seems likely, all things considered (especially coming right after the NYT article, and the fact that the message is directly linked to Giselle), that Lane is throwing some shade at Brandt. But assuming that's the case, I don't really buy her (implied) logic. If a dancer throws both money and hard work at a problem, why does that necessarily diminish the hard work? Brandt wasn't sidestepping hard work; presumably she was investing in coaching in order to ensure that her hard work was as focused and effective as possible. Not every dancer can afford to do that, to be sure, but I don't see how it detracts from Brandt's achievement. I think Lane has been sadly underutilized and undervalued at ABT. But I hope she doesn't let that cloud her judgment. Better to stay above it — at least on social media!

Those three things may be true (though personally I don't find his storytelling to be the strongest — Ashton, I think, did it much better), but I don't think that's all that's needed to make a ballet a perfect whole. Yes, this is what I was trying to express — not a criticism of any particular work(s). Or even if he did leave behind such a body of work, that tradition hasn't really been inherited by those who've created works for the company post-Balanchine.

It may be. (I personally disagree; I think it has perfect parts but is not a perfect whole.) But even a single perfect ballet does not equal an inherited broad artistic vision for how full-lengths can fit into the broader repertoire of this particular company, with its distinctive strengths and features. That's what I was talking about. Have they been followed up, post-Balanchine, with full-length ballets that really fit that model and are (artistically and commercially) successful? I guess Martins' Sleeping Beauty comes closest, but I personally think it's flawed enough that it doesn't really work.

Bad sets and costumes. Tempi way too fast. And the dramatic structure is all messed up by the intermission placement. NYCB could really stand to get some sort of broad artistic vision for full-lengths, because as brilliant as Balanchine was they did not inherit one from him.

Wow! And that's saying a lot. ABT has always seemed to have a pretty great roster of Myrtas. It seems to be one of their most consistently well-cast roles.

Lane has really grown as a dramatic artist in past years. (I remember seeing her first Aurora many years ago and loving her dancing but being rather put off by the one-note smile.) Her Manon last year was a revelation. I would so love to see her full Swan Lake again. That trip sounds grueling — so glad you had such a great experience at the performance!

Yes, there were numerous changes made to the ordering and inclusion of musical material from the 1877 version to the 1895 version, as the track samples for these two recordings show: https://www.amazon.com/Tchaikovsky-Swan-Lake-1877-Version/dp/B07JB3JGYQ/ https://www.amazon.com/Tchaikovsky-Swan-Lake-1895-version/dp/B00LTJDOQ8/

Would love to hear any reports on Murphy’s return and especially on Forster’s debut! Did anyone see it?

Oh wow. That is not a word that I would ever have associated with Mearns, based on past experiences seeing her (though never in Swan Lake). Very interesting.

But how was the dancing last night?

Ah yes, I'd forgotten this description!

Out of curiosity, did Farrell get applause at that moment on the occasion of her return to NYCB? I'd certainly guess not, but if it were ever going to happen at NYCB...

I can't imagine, going into a 5-performance weekend, that they'd only have one couple rehearsing it today if it were going to be added to the ballet. And it would be a noteworthy enough change to the production that I'd expect some announcement of it (or at the very least a cast listing) to have been made before now. I think it almost certainly must be for something else. But we'll know soon enough.

Also know as the Metropolitan Opera House. 🤦🏻‍♂️

I’m quite surprised. ABT at the Met (and also at the Koch, I believe) does not refund for cast changes, no matter how jacked up the prices may have been for particular performers.

Wait, refunds? Were they actually giving them? Thanks for the reports, @kika and @Becki Lee. How was the audience response to Brandt? I hope it wasn’t at all muted by the cast change.

It’s obviously not going to work equally well for everyone, and I’m sure Copeland is not the only celebrity performer who has some fans who will say or do stupid things.

That seems to suggest that Copeland's fans in general have no capacity to distinguish a great performance from a not-so-great one. Many of them may love Copeland first and foremost and only have a secondary interest in or knowledge of ballet more generally, but I think even a novice audience member can be impressed (and therefore have their disappointment at least lessened) by a great performance. I am not a fan of Copeland, and I have certainly been critical of her at times for a number of reasons, but I think what she says to her fans in a situation like this matters, and I think what she said in her post was pretty good.

Yes, helpful to have a dedicated place to discuss as it draws nearer and the company’s plans become clearer. I’m eager to know what they’ll do.

Yes, and I think Copeland’s post could have the effect of making some of those disappointed fans feel a bit better about the (I suspect excellent) performance they saw.