nanushka

I agree, the Smirnova/Chudin interpretation is rather chilly. I do, however, think that's one quite valid take on the PDD. It worked for me –– but it's certainly not the only way I'd ever want to see it. I'd be curious to hear your thoughts on the Farrell/Martins video, if you've seen that one.

Oh I think you're being too generous with your underlying assumption here!

I never said that I didn't! You provided a perfectly reasonable historical explanation for the phenomenon that I observed. I never said that I required or desired or even expected to see anything other than what I saw onstage. Once more: Yes, what I had in mind was how, even accustomed as we are to our own fairly whitewashed ensembles, it's quite visually striking to see even that small bit of diversity absent. I am not criticizing the Bolshoi! Please look back at what I have actually written above, rather than assuming that you know what I meant.

I was indeed referring to the lack of racial diversity that I saw onstage, which was "visually striking" to me. I did not, however, say that I "expect[ed] a ballet company from another country to have the same ethnic makeup as a US company." Those are your words, not mine.

I have no requirements. I'll repeat what I wrote above: Yes, what I had in mind was how, even accustomed as we are to our own fairly whitewashed ensembles, it's quite visually striking to see even that small bit of diversity absent. "Visually striking." Not "appalling" or "reprehensible" or even "unfortunate."

I don't think I've been clear. I was not launching a political criticism of the company for a lack of racial diversity. I wouldn't have "liked to see" anything.

Like that whole serfdom thing, for instance.

Yes, what I had in mind was how, even accustomed as we are to our own fairly whitewashed ensembles, it's quite visually striking to see even that small bit of diversity absent.

A pretty conventional 'think piece' on a not-very-original topic. Basically, "I'm going to raise this 'problem,' let you all watch me chew on it here for awhile, employ slippery logic and dubious equivilancies, and avoid making any really firm assertions much less offering any sort of solution." The one bit of "textual analysis" (about the manipulation of the Tall Girl in Rubies) is ridiculously lazy, totally lacking in nuance or any sense of complexity or context. The sort of thing you'd expect from an earnest sophomore in a cultural studies course. Sure, there are some potentially serious issues that get touched on. But clearly this M.M. is not up to the task of thinking them through.

She looked quite sinewy to me. And Patti's great. But Broadway belters don't typically transport me to the Emerald forest. Edited to add: Wow just watched a bit of that Giselle video, haven't seen arms like that since Mezentseva. She did not look like that to me tonight, in orchestra G.

I noticed quite a lot of eyeshadow onstage in the last movement tonight, FWIW, and mostly on the men.

By "supported" I simply meant partnered. I'm sorry I don't have the exact vocab. I would personally not describe anything about the performance as "miraculous" but à chacun san goût, right?

You'd think with all the text they did manage to include (and really, do we need the complete run-down of what pieces will be in every single program?) that they might've found room for the rest of the dancers to be at least mentioned.

Ok the Beatles-worthy screaming applause was kinda cute at the start of Rubies but I really could have done without the frequent interruptions of the Diamonds PDD. Never heard anything quite like that before, but then again I don't usually attend YAGP galas. Smirnova and Chudin were breathtaking, gorgeous, perfection. Those turns a la seconde in the scherzo with his perfectly shaped and pointed foot -- ahhh. The polonaise was a bit chilly for my taste and seeing the whole ensemble together, well....#balletsowhite let's just say. Their idea of diversity is apparently a lone redhead in the front row. A great end to the evening though!

I think tonight must be the "take the summer intensive kids to see Jewels" night. The entire top ring screamed their heads off when the curtain rose on Rubies, before anyone had even danced a step. Reichlen fantastic, though I recall last fall being fantasticer. Megan Fairchild doesn't seem to me to have enough oomph for this part. Too much the soubrette. Someone said on a recent ABT thread that Tchai Pas should seem "dangerous" and I think the same is true here. I didn't get that from her.

I was quite underwhelmed by tonight's Emeralds, though apparently almost everyone else here disagrees with me. Huge screaming ovations especially from up top. Three complete sets of curtain calls after the regular bows. Gilbert was fine. She managed to come off pointe twice in a single climactic supported pirouette but her balances (especially at the very end of the first movement) were very nice. Unfortunately she has the face of Patti LuPone and the upper body of an Olympic track and field star. Her iconic ports de bras in the solo were perfunctory, as if she were admiring her new bracelet from Woolworth's. She has a very flexible back but has a tendency to deploy it only at the end of a step, rather as an afterthought. Of the other couple, Louvet was the stronger. He's committed throughout, at least. Moreau, in the trio, covers space well. Overall, though, just about zero sense of having entered a different world. No magic. Yawn.

Did they do the multi-company curtain call at the end last night as well, or was that only or opening night?

The Davidsbündlertänze is there as well.

The Allegro Brillante you mention is available on YouTube, along with a couple of others.

Going on Saturday night –– would love to see any reviews from those going earlier!

What genius sat there one day and thought, "Hmm, a place called Library is the obvious place where our website visitors would go to find a listing of all the ballets we perform"? (In a menu of tiny grey type at the top of the "Education and Training" page, no less.)

There is one, actually. But it's very hard to find. Under "Education," go to "Library," then "Repertory Archive."

It's also not just about the specific transaction of selling tickets –– or it doesn't need to be. As a comparison, NYCB's website is a pleasure to use and I have on more than one occasion spent time just browsing around, reading repertoire information, checking out dancers' profiles, watching videos, etc. This is a major part of how an arts organization can get people more interested and engaged in the product. Obviously, NYCB has a much larger marketing budget than ABT. But it's also about making the best use of what you've got, and not building a format that simply doesn't work well for the user. It's ridiculous, for instance, that on the "Dancers" part of the new home page one has to scroll down through all those very large photos, and one can't even see the individual dancers' names without hovering over each photo. (And yes, one can still get back to the old, more user-friendly format of the complete site. But that's not obvious to an unfamiliar visitor.)

Most of us are probably pretty savvy about such things. What baffles me is that ABT wouldn't do what it takes to have a clearer, more inviting and better functioning site for those who aren't as knowledgeable or highly motivated. It's just no way to try to build an audience.

And it'd be one thing if the transition were to take a week or so but this has been two months now, spanning the company's most important season of the year. It's nuts!