nanushka

Yes, in fact their final performances were back-to-back Coppélias on a Saturday; he danced Franz in one and she danced Swanilda in the other.

Generally agree with much of what's been said, but just one minor point to KMcK's credit: he did cast Waski as Myrta, I believe, a few years ago, but then she got injured.

Sorry, I meant there was news as early as May (see above) that she'd be performing this. In other words, it wasn't a last-minute engagement. The Lacotte is indeed completely different from the Bournonville, but I don't see why she would have had only four days to learn the part. Even if that's the only time she had remaining once she arrived on site and was able to start working with the coaches there, she could have arrived having pretty much learned the role on her own. I remember an interview with Joseph Gorak — who really was engaged at the last minute to dance Cinderella for the first time, following another dancer's injury — in which he said he learned the role in his living room watching a video. Obviously, there'd still be much to master after that, but I'd think a dancer could do quite a lot on their own.

Why did she have only four days to learn the role? Even here on BA, there was a report that she'd be dancing this as early as May 28 (above).

Michael Cooper has a piece in the Times on the opera world's mixed responses to the Domingo allegations. A few excerpts:

His casting has been more irregular in the past few years, I think, than in the few years before that. I’m not particularly surprised he doesn’t show up in the limited casting that’s listed on the calendar. The work with the longest list, The Seasons, is one that I don’t think he danced at the Met this spring. I wouldn’t read anything more into his absence from the lists than that his opportunities for advancement have indeed largely passed.

I really hope she posts the Act I solo!

I find the timing of Brandt's posts, corresponding with the announcement of casting for D.C. and the remaining TBA, to be very interesting. Does she know she's being considered for that slot? Is she publicly demonstrating her capacity for the role with the hopes of being cast? Or is it just a coincidence that she's working on the role with her coaches at this particular time? I don't mean to imply any sort of criticism here — if she's putting in a bid for the role, she's doing so on her (considerable) merits, which is to be lauded IMO.

The whole point of workplace sexual harassment law is that, in relations with coworkers, superiors, etc., that "option" is not really a matter a free choice without consequences. In the context of an abuse of power, a sexual relationship can no longer be truly "consensual."

Thanks so much, @California!

Would anyone be able to copy and post here the text of Yoncheva’s FB post? I don’t think I can view it there without reactivating my account and I really don’t want to do that. Thanks much!

Because a little under two years ago the cultural and media climate shifted pretty suddenly and such stories began to be given considerably more weight — and alleged victims/accusers began to be treated (at least by many, though certainly not all) with considerably more respect and to face less backlash (though certainly not none) and because a major exposé such as the AP’s takes months to report out.

Maybe if they had succeeded in disciplining him. But just attempting? I don't think that would have been likely to have come out in the article. In any case, I wouldn't find it surprising at all if such an attempt was never even made. Until quite recently, the impetus just wasn't there, for far too many people and organizations.

Cope how? Sort out the problem how? Go where? Even for quite good singers finding sufficient employment can be very difficult, if one has not achieved a degree of fame (i.e. if one is a “nobody,” I guess). As for the fact that it’s universal — indeed, but the main point of @Kathleen O'Connell‘s statement was “with little hope of redress,” I believe.

It’s awful to hear the opera house attendees are irritated. I’d say it largely depends on which of them has behaved badly.

Indeed. And if the article is correct about what was widely known, SFO and the Philadelphia Orchestra may have taken action only because we finally live in a time when many organizations feel they have to take action once such matters are made public. (We’re still apparently not in a time when they feel much need to take action before that point — at least when a Domingo or a Levine or the like is involved.)

This is definitely one danger, but there were more immediate concerns for these women — i.e. loss of work and potential long term professional repercussions.

On the first point: The article makes it very clear why they didn’t speak up at the time. On the second point: Does speaking the truth about crimes one has been a victim of (assuming the stories are true) really need to be explained by such grasping (in the first insinuation) or petty (in the second insinuation) motives?

Yes, as the article suggests, this has been an open secret in the opera world for decades. Not to mention in the orchestra pit, where he's a mediocre conductor as well. (I agree he was an excellent tenor, in his prime.)

I wonder how long the Met will take this time. I find this part of their statement baffling: ...the implication being that if he didn't do it in our house, it's not so much our concern?

It took longer than I expected, but this big clomping shoe has finally dropped: https://www.apnews.com/c2d51d690d004992b8cfba3bad827ae9 There are numerous specific stories told in vivid, excruciating detail.

I don't think there's a full-length lead that Bell won't get sometime in the next several years — and yes, it'd be great to see Hurlin in Don Q as well.

The Times also has a special rate for educators — I believe it's $10/month.

I bought two separate orders successfully between 12 and 12:15. However, I only received my print-at-home tickets for the second of those orders. Good luck!

I just don't really consider Kourlas first and foremost a "dance critic," but oh well.