nanushka

I was hoping it might be a Peter Martins initiative that would be quietly dispensed with now that he's gone, but as abatt notes they're still on the calendar for next year at least. I was mildly annoyed to see that one of my planned dates (for a program I can't see another time) is marked. The one I saw wasn't terrible and wasn't long — but yes, I would prefer to avoid them in the future.

There will be a brief lecture before one of the pieces. Once this past winter they did this before an Agon; the orchestra rose up and the conductor and another person spoke about the music for about 10-15 minutes, with interspersed excerpts. (They said about 4 times, "Don't worry, we'll get to the dancing soon." If they know that's what everyone's really waiting for, I don't know why they even bother. In my opinion, these lectures should be given optionally, during intermission or before the performance, only for those who are truly interested.)

Lovette danced Calliope on Sunday, quite well.

Who all on the roster now (besides Megan F) has danced Swanilda? Any guesses as to who might be added? Eager to see the casting on that.

I know Peter Martins did a lot of good for NYCB (or at least prevented a lot of potential bad), but the fact that he seems to have prioritized his ego over the optimal maintenance of Balanchine tradition is, in my mind, possibly unforgivable.

Wait. When did it become possible for non-subscribers to exchange tickets at all, even with a fee? That's their current policy?

If anyone can explain the idiosyncrasies of ABT's marketing efforts in a way that eliminates confusion, I will be very eager to hear!

I highly doubt Bolle will dance much more this season than currently scheduled (which is basically the same amount he's danced annually for quite awhile). I think if he were more willing to solve ABT's male casting headaches by filling in he'd have done so more frequently before now. (Though he has on rare occasions, here and there, I believe.) The images shown on ABT's promotional materials are not infrequently unreflective of who actually appears onstage. Bolle's is a good face to put forward if one wants to draw attention and doesn't have scruples about strict truth in advertising.

None of those was at ABT, where dancers do not typically get full-length title roles on the Met stage just over a year after moving from apprentice to corps. Not to say it's never happened (I don't know either way), but in the context of this particular company it's certainly quite unusual.

Yes, and Teuscher does not come across as a particularly warm dancer onstage. She could really benefit from a Gomes or a Bolle in this ballet especially. I have strong doubts that this is a good casting decision.

Agreed! Double yay! I don't think it's particularly unusual that it's not listed this late. But I agree, I'd love to know.

Since that's a .pdf, I also wonder if it's updated as frequently as the website. (Possibly.)

Personally, I don't think he's ready for a full-length dramatic role. (I find him too stiff, but I really think that will wear off as he gets a bit older and gains more experience.) But I do think he will be one day, not many years off.

Exactly as it should be done, in my opinion, given the quality of the music at that moment, and given the overall cohesive tone of the piece. The fouettés with steps fit the more graceful, nimble virtuosity of this ballerina's role.

It looks like Veronika may be dancing with (or perhaps even joining!) RNZB.

He did, yes — at least that's what I gather.

The original poster's comment suggests to me that Natori was not so much "disguised as a man" merely out of a desire to be allowed into the Trocks but was rather living as a transgender man (i.e. not only for professional purposes) and did not reveal to the company that he had been born female. But yes, the situation is rich with irony!

I'm very excited to see this piece for the first time on Sunday. I've read about it from a few sources and am intrigued by it as a (mostly) pure ensemble piece that (I'm tempted to write "nonetheless") seems much admired. I haven't been able to find much video of it, besides the short clip on the NYCB rep page and a few other snippets. If anyone knows of others that may be more substantial, I'd be glad to hear (by either PM or public post). From the bits I've seen, it looks quite lovely.

"More details will come."

It's quite striking (but makes perfect sense) how many dance couples (and ex-couples) there are, in comparison with most other professions. So intimate and so insular and so all-absorbing. There are more than a handful of couples in my workplace, for some similar reasons, but not at all to the same degree.

During the 2016-17 season they danced together (due to an injury) and Megan posted on IG about how difficult an experience it was. I didn't realize they'd danced together since then, but it sounds like perhaps their relations have warmed a bit. If so, that's good to hear.

Is it possible he might dance in even more than one piece that afternoon? The calendar listing made me wonder if that might be the case.

Megan's announcement may explain the valedictory tone of their social media posts from when they last danced together at the end of the winter season. She may well have told him privately at that time that those might be their last performances together before he left the company.

Just a guess, but it looks like this may have been his plan for some time. According to his Linked In profile, he began his studies at Fordham in 2008 and earned his BA in economics in 2017 (with an impressive record, based on the few details there); he also ran a business from 2012-14. He may have known for some time that he wanted a second act outside the dance world, and it would make sense that he'd want to shift to that before he gets much older.

A flashback from Robbie on Instagram tonight: