nanushka

The Todd Haynes film Far From Heaven I believe is set in 1957, the year Agon premiered. The film is very much about the sorts of cultural anxieties that California described above (re black men and white women), and it's striking to think of the ballet being performed at that very same historical moment.

Thanks very much for looking up those references. Much appreciated. I find this discussion most interesting.

That’s a very interesting historical detail, canbelto, and great to know. Thank you. Where did you see that info, do you recall?

Thanks, California. What are your thoughts on what Balanchine is conveying (saying, suggesting, communicating, etc.) in addressing the issue?

I'd be curious to hear people's thoughts on what Gia Kourlas had to say about the recent casting of the Agon PDD at NYCB: (She goes on to discuss the dancing as the other reason.) What do people think about idea that "Skin color is as much a part of 'Agon' as its Stravinsky score"? What is the significance, if any, of race in Agon, and in its casting? Does an all-white performance of the PDD necessarily make the piece "a shell of its actual self"?

"Not valid" and "inappropriate" by what standards? My initial inclination is to disagree. Such comments seem to me, as I've said, not inherently unfair to raise — and certainly many of the things that many of us say here are potentially harmful to someone. It's difficult to critique art and performance without running that risk. And “very detrimental to the mental health and psyche of all dancers” seems presumptuous to me. But I'm curious to hear alternate opinions.

But, as you say, they do at times play into our likes and dislikes — which seem fair to bring up. I don't think doing so is necessarily an attack on their mental health, so long as it's done with a due sense of proportion and respect.

She's also in the video of Symphony in 3 that's on YT, dancing the same role as this past weekend, and she looks like a completely different dancer (in a good way) there as well. It's from 2008, I believe.

How crazy is it that there's more info on the Met's website than on ABT's? Crazy and typical. Thanks all!

What are the four roles in order likely to be? Thanks to anyone who knows.

Great to see Hoven, Forster and Shayer getting leads! But Hammoudi still...why? That ship has sailed and sunk.

Yes definitely, I thought the same. The height difference, which can in many cases look awkward, made the piece even more impactful. Especially when he holds her up with his straightened arms.

Megan seems to suggest the dedication to Sean Lavery may have been a particular influence on today’s performance. One definitely had the sense of witnessing something special.

Ah, ok, I thought she was a bit taller than that. What you say makes sense.

I had exactly the same feeling about the program: that Duo was the highlight, in terms of the quality of performance, though it's my least favorite of the four pieces and the one I was least looking forward to. I've never liked Megan F as much as I did today. She had the perfect energy for the piece. And Russell J looked great, reminiscent of Peter Martins at times in a few ways. The violinist was also quite good, better than for Robbie F's farewell. Baiser was quite nice. I've missed seeing Tiler P since last spring, so it was great to see her today, in fine form — expressive, crisp, with just the right degree of brightness, and those lovely hands, arms and shoulders. Anthony H looked good on his own, but I agree that he was not well-suited as a partner for Tiler, as he is shorter than she is on pointe and he even looked to have a thinner waist. Agon seemed a bit sluggish — I noticed as soon as the "See the Music" started and the orchestra began playing. (I really hope the next AD gets rid of those. Such a bad idea. The speaker said three times something like "Don't worry, we'll get to the dancing soon" — in which case, why bother at all, if you know that's what people really want? And it ruins the effect when you've just heard some of Stravinsky's most inventive music 5-10 minutes before hearing it again in the context of an actual performance. Programs like this are great to include, when they're voluntary.) The slack pace sucked out some of the piece's energy. I agree that Peter W did not look fully comfortable in the 1st PDT. I liked Ashley H better than Lauren K, as the latter seemed to be mugging a bit more (which I noticed in Symph in 3 as well), though both danced well. Ashly I was quite good in the 2nd PDT, and Harrison C and Joseph G were well matched. Although the PDD was reasonably clean, it did not seem dangerous and taut and exciting; a bit too academic, yet also just a bit shaky. Symphony in 3 was great to see live finally (I never had), but I don't think the performance matched the piece's potential. I think I like Sterling H in Lauren K's role (which I've seen her do on video), and I'm curious if taller women ever dance the PDD role. I know it wasn't created on a tall dancer, but Wendy W danced it, no? I think I'd like to see Tess R in it. The male principals overall were more impressive today, I felt, though I did like Sterling well enough. There was a woman behind me who tapped her loud heel all through all four pieces — including Agon, which no one who's not a professional musician should ever attempt to do in public. It really put me in a sour mood, I must say, so take that into consideration when reading any of the above.

So excited for this tomorrow!

Yes, I'm excited too! It's interesting, because the first few times I watched it on video I felt it to be exactly what you describe ("the energy and attack leave you breathless") in a fun and exciting way, but then I read the critics quoted in Repertory in Review and they experienced it as what you describe but in a more menacing way. On rewatching the video, I can totally see how that could be the case. I'm curious to see how it will come across in live performance. Apparently it's a lot of fun to dance, too, as has come up repeatedly in the Conversations on Dance podcast interviews. I can certainly see why, from corps up to principals.

While watching the IG stories I was thinking, I can't wait to see Sterling in this on Sunday! I've never seen the piece live before, have only seen a video of it on YT with her, but she's in a different role there. I think I'll really love her in the PDD part!

Just a heads up to anyone who'd like to see, Tiler Peck currently has a series of stories on Instagram that show a stretch of the Symphony in 3 PDD from last night.

In which case, a statement to that effect on social media might have been a nice gesture. But then although he posts a fair amount, he seems rather reserved, and there's often not much personal detail. (And of course commenting on the Bayadère withdrawal but not the Whipped Cream withdrawal would come across as odd.)

Has there been any confirmation (e.g. announcements of other engagements) that his pulling out of other Met 2018 dates was in fact due to a desire to perform elsewhere around those times? I hadn't heard any specific follow-up after that happened. (I don't know if that's primarily what you're referring to, of course. It's just the most recent thing that seems potentially related to your comment.)

Also, Balanchine left some ballets to her — a number of them, I believe? How much might they be expected to have brought in? (Or perhaps not very substantial when compared to Manhattan real estate?)

Ah, you're right of course, sorry, I didn't check closely enough. I think if ABT has a sense that Hallberg is likely to pull out, they will push him for an answer, so that when single tickets go on sale they can be guaranteed a complete and quick sellout (all the way up through family circle) no matter what — whether for Copeland or for Hallberg/Osipova — with fewer disgruntled fans to worry about. (Obviously there will still be many of those!) Then again, they may not care about said fans. As for Copeland's fans, they may be disappointed that they missed out on the chance to see her, if she's subbed in at the last minute, but I don't think they'd be upset that she was given an additional performance. I think ABT might view it as their best opportunity of quelling the outrage over a late Hallberg/Osipova pullout. (Though I also think that'd be a miscalculation.)

I'd put my money on Copeland, who dances with Cornejo on Monday. That seems to me a likelier bet for a replacement, assuming Cornejo is up for three Giselles in five days. Though I do understand you said "should," to which I agree!

From recent reports (I haven’t seen him since Rubies in July), it sounds like he could go out in excellent form in pretty much anything in his rep. That’s great!