nanushka

Yes, probably! The Ratmansky triple bill was rather short as well — my recordings of the pieces total 1h13m. But I know that one didn't annoy me quite as much because all three pieces are of high quality and together feel like a substantial work of art.

I don't think ABT mixed programs at the Met start out any cheaper than full-lengths do; it's just that full-lengths are likelier to be subsequently hiked up by "dynamic pricing." I remember at least one mixed program a number of years ago (though I forget which ballets) that seemed a particularly bad deal, when we paid full price for maybe 65-70 minutes of dancing.

Definitely. From one perspective, a company is defined by its roster of dancers. From another, it's defined by the actual body of performances it presents to the public. In my opinion, ABT is a significantly weaker company when judged from the latter perspective than from the former.

Ugh yes, this is something that has been SO frustrating about the careers of both of these fine dancers. And unfortunate.

Completely agree with you on both these points.

I'm inclined to agree with much of this, and my overall feelings about the company are at something of a low point these days (or months or years), but just to play devil's advocate, as I'm looking over the current principal roster... Bolle, Cornejo, Hallberg, Lendorf, Murphy, Simkin: I don't get the sense that many on here would argue these dancers are not world-class, and deserving of a principal position in a top-tier company. Seo, Boylston: I don't particularly like them, but the former has guested at the Mariinsky, I believe, and the latter recently guested at POB. So at least some must think they belong in such environments. Cirio: He has something of an international profile as well, I believe, though I'm not as familiar with the details. Abrera: Beloved by many on here including me. Deserving of a principal position in a top-tier company? Lane: Beloved by many on here including me, though perhaps not as across-the-"board." Deserving of a principal position in a top-tier company? Shevchenko, Teuscher: I like both quite a lot, but I don't think either is yet world-class. Still, I give them a pass for being first-year principals and fairly young. Even top-tier companies would have a couple of those, I'd guess. Stearns, Whiteside: Enh. Still, I wouldn't say these two are enough to taint the whole enterprise. That leaves us with Copeland. Admittedly, I haven't seen her dance since she made principal; she no longer dances many soloist roles, and I'm disinclined to buy tickets to performances in which she's the lead, based on reports I've read here. I'm not sure this all adds up to an abundance of mediocrity. Though it's true casting plays a big role: when the more mediocre dancers get more performances, that creates an overall feeling of mediocrity, perhaps. That, plus the fact that several of the names in my first group above are rarely present, are soon to be less present, or are nearing the ends of their careers. Really I'm just thinking aloud, though.

Yes, thanks leeyl! It's great to hear that Shevchenko's Odile was so strong. Now that I think about it, she may really have the potential to eventually excel in both roles to a degree that's not possible for many dancers. Her strengths seem nicely balanced between adagio and allegro. The coming years could be exciting to watch!

Yes, I meant I don't try to navigate anywhere from the new main page. I go immediately to the old site and navigate from there. It's always the very first thing I do. (I should really just put it in my favorites bar, I know...) For instance, trying to look up dancers from the new main page is awful, because the photos are huge and the names aren't visible unless you hover over a certain photo, so trying to find a particular corps member whom you know by name but not by face is annoying.

Agree. I always go immediately to the old site, which at least is moderately navigable.

Only the main page was redone then. The inner pages are all the same as before. Clicking on "Visit the Full Site" in the upper right-hand menu takes you back to the old website exactly as it was.

I would expand the point and suggest that ABT has done a poor job in cultivating patrons, period. Their marketing — as many on here have noted in many contexts — is generally pathetic. Even just hiring a few really good, forward-thinking marketing professionals and investing in a less embarrassingly out-of-date website could make a huge difference. Or just look across the plaza and steal a few ideas! It makes me so sad and frustrated, thinking of what this company could be with stronger vision and leadership.

A complete copy of Levine's suit against the Met is available on the Times website. Very interesting reading.

IMO when one is at Shklyarov's level, "stopped developing" isn't really a major concern anymore. He's there.

Agree completely. All three women would be very tempting options, and all three men are potentially not ideal.

They may be wedding rings, or they may just be rings signifying commitment. Lots of couples have lots of different ways of adapting the traditions.

There are more details about Levine's alleged behavior in the '60s and '70s in this article in The Boston Globe. If true, he is a monster. And now, it seems, for the first time in his career, people are not showing him the deference he apparently feels entitled to.

Heh. Seriously.

And yet another development:

Does anyone know if any publicly available information (e.g. planned or canceled public appearances, social media postings, etc.) makes it clear whether Hallberg was planning all along to travel to Australia between his Royal Ballet appearances in Giselle and Manon? It seems unlikely, but possible, that he was, and if he wasn't, that could suggest the possibility that he made the trip specifically to get further rehab — which would seem to belie the idea that his injury was a minor one.

The duds do seem particularly unsegregated this season, don’t they?

Dancers vary a lot in how much they express their struggles (and other personal matters) on social media, but I don't recall much that I'd label complaining. From those who do express feelings that could be labeled as negative, it's more along the lines of "Oof, today's going to be a tough one" or "Time to power through" — those sorts of things. I've never noticed such comments to be more numerous in the lead-up to matinees, but if so then its the mom's explanation seems likely. (NYCB dancers, even principals, not infrequently have to perform back-to-back, evening followed by matinee — even, as recently with the final two performances of the Stravinsky-Balanchine program, in the same roles.)

Judging from numerous Instagram posts and stories, it looks like the company's accommodations in Singapore are significantly nicer than those in Detroit, and that the dancers enjoyed a day off exploring and relaxing after their long travel. If anyone is in Singapore, it'd be great to read any reports on Christine Shevchenko's Odette/Odile this Sunday — her role debut, I believe. Excited to see her in this at the Met in June!

"Dreaded" may be a bit hyperbolic. But it's true that Murphy getting a Wednesday matinee for Whipped Cream is not really comparable. And all the other Wednesday matinee assignments are either paired with second performances in other slots or are for first-year principals, in some cases in NYC role debuts (e.g. Shevchenko in Swan Lake).

True, but I think there's a reasonable logic (not the only one, but a reasonable one) that it still makes good business sense. Copeland's taking on the role of O/O has been for many a socio-cultural touchstone, and continuing to give her multiple performances of the role may also be about continuing to cultivate and enlarge her audience, which can then be relied on to turn out for other things — even when she's cast in the "secondary lead" (e.g. Gamzatti). ABT likely knows that audience still has potential for further growth. Even though those other performances are already likely to sell out as well, there'd be no reason, in their eyes, to stop building the fan base, and thus the demand — because, in their eyes, only good could come of that.

I’d gladly sign up for all three!