Birdsall

Thanks for the video clips, Cristian! Nice stuff to watch on a Saturday morning! I love Spectre de la rose, and Polovtsian Dances are fun (and the opera Prince Igor is also good). But I only know these things from Mariinsky dvds. I wish more companies in the U.S. would do them.

Yes, but even if the flowers come from Solor, they are definitely then a "consolation prize", which is even sadder and more humilliating, competition-wise. That's why I liked Part's portray, for which even if she takes the flowers and dance with them, she doesn't pretend any longer, as she's telling everybody and herself-(AND Gamzatti)- that she's definitely out of the happy picture. This is probably why Makarova deleted the "Happy Flower Dance" from her version. What you saw at ABT is a very mild flower dance and sort of sad still. The Russian and Parisian versions have a sudden folk-like "happy dance" that is a lot of fun but it really doesn't fit into the story at that moment. It is sort of hilarious that she goes from being so sad to so peppy in a heartbeat, sort of bipolar! LOL But Makarova did away with the upbeat "Happy Dance" (my name for it for lack of a better phrase). Part of me misses it in the Makarova version, but at the same time I like how Makarova did make Bayadere a more serious work.

Faux Pas, That would explain the reason I read. I think I read it on Wikipedia, and so the facts are bound to be a bit off. She probably downsized the shades at the state theater during the time she staged just the Kingdom of the Shades scene. Then, she kept it like that even when transferring it to the Met. Who knows, but that would explain it.

Met has almost 4,000 seats & standing rooms, State almost 3,000 seats before the rennovation and about 2,800 seats after. I estimate ABT sold out or almost sold out about 20-25 performances each Met season. If ABT were to move across the plaze, it'd lose about 30,000 to 40,000 tickets. There would be headache in re-arranging subsrcription seats. Sets might need to be re-configured, ballets re-staged. As a point of reference, Covent Garden has 2,250 seats, Bolshoi & Mariinsky main stage each has about 1,800 - 2,000 seats. State Theater is humongous, and the Met stadium-size by European standard. What I find interesting is that I read that one of the reasons Makarova changed the number of Shades to 24 (from the original 32) is that the Met stage did not easily fit 32 unlike the Bolshoi or Mariinsky or Paris Opera Ballet. So I guess despite the Met's large size, the actual stage is more narrow. Is this true, Mussel? I notice it is much higher than most stages but it doesn't look much wider than most stages, so if what I read about the Shades is true, then the Met's stage is smaller. I wonder if the State Theater's stage is wider. The auditorium does feel wider to me even if it is smaller seat wise. I bet some productions would have to be reconfigured. I don't have the stage specs for the Met, State, Mariinksy, or Bolshoi... but the Met stage is definitely wide enough for 32 shades because I've seen it with Mariinsky doing the 32 shades (4 rows of eight shades wide) with the new old Bayadere reconstruction during the 2002 Met season. Even ABT configures the shades with 3 rows of 8 shades wide during the coda with plenty of room width wise to spare. So the width of Met stage was never an issue, it's just an excuse used by Makarova to downsize the shades. She also staged the same produciton with 24 shades for the Royal Ballet. I think the real reason for the downsizing is cost saving and company size. ABT has 36 female corps, so 32 shades would really push the company to the limit with a very thin margin to account for illness and injuries without taking into consideration of height disparity (the front row of shades is the shortest in height while the last row the tallest to give the illusion they have the uniform height). That is disappointing to know that there could have been 32 shades in her production. I have seen the Paris and Mariinsky versions on video, and it is even more stunning when you see 32 descending. 24 is still good, but it overwhelms you to see 32. I had hoped that the reason I read was legitimate. But like you say, it would be pushing things.

Met has almost 4,000 seats & standing rooms, State almost 3,000 seats before the rennovation and about 2,800 seats after. I estimate ABT sold out or almost sold out about 20-25 performances each Met season. If ABT were to move across the plaze, it'd lose about 30,000 to 40,000 tickets. There would be headache in re-arranging subsrcription seats. Sets might need to be re-configured, ballets re-staged. As a point of reference, Covent Garden has 2,250 seats, Bolshoi & Mariinsky main stage each has about 1,800 - 2,000 seats. State Theater is humongous, and the Met stadium-size by European standard. What I find interesting is that I read that one of the reasons Makarova changed the number of Shades to 24 (from the original 32) is that the Met stage did not easily fit 32 unlike the Bolshoi or Mariinsky or Paris Opera Ballet. So I guess despite the Met's large size, the actual stage is more narrow. Is this true, Mussel? I notice it is much higher than most stages but it doesn't look much wider than most stages, so if what I read about the Shades is true, then the Met's stage is smaller. I wonder if the State Theater's stage is wider. The auditorium does feel wider to me even if it is smaller seat wise. I bet some productions would have to be reconfigured.

Cristian, that was a lovely way to describe how Bayadere has become a warhorse in a fairly short amount of time here in the U.S. Thank God, b/c it is possibly my favorite ballet. It is hard to pick one as THE favorite, but this is right up at the top. I agree that it is a shame the ramp in Kingdom of the Shades is so short. I'm sure the corps dancers don't agree! LOL Especially the one at the very front! I love the finale image of Heaven and Nikiya and Solor going up to Heaven. I know this is a recreated final act that Makarova created, but I think that last image is so gorgeous. It completes the story, and you sigh.... Bart

Great reviews of the ones you saw! Loved reading your review! I agree that Cojocaru is special and did do some wonderful balances the night I saw her along with many other wonderful effects. The scarf variation was the main thing that made her look almost confused. I also agree with your comments about Semionova. I saw Cojocaru, Part, and Semionova in that order and thought Semionova was the best, graceful like Part, but not as soft; daring as Cojocaru but more stable. Semionova's Swan Lake video, by the way, is very nice. The reviews on Amazon make it sound like it is a very modern, reworked Swan Lake, but I actually find it pretty normal except for the sparse sets. If you don't mind sparse sets and a slight reworking of the story, and you like her, I think you will love the video if you don't have it already. New Yorkers are lucky to have Semionova sign on as a permanent principal with ABT.

This totally coincides with what I thought about her performance on Thursday night (May 24). The scarf variation looked very tentative, and I thought she came off pointe even when she wasn't supposed to, but she more than made up for it by the speeding chaines which were done so fast that it was exciting. Overall, I think Cojocaru is wonderful to watch. In contrast, the lovely, soothing Part did the chaines at a very slow/soft speed. I feel that Part's smooth and soft approach works also, but it isn't quite as exciting at that moment in the coda. It is really hard to choose one dancer that you like best in a role, b/c each one brings something different and interesting (probably due to personality). I have never had one opera diva I followed either, always several at any given time. All great artists have their good points and bad points that fans argue heatedly over! LOL

I think I've read that you like her. I have never seen her, so I look forward to seeing her even if it will probably be one short piece. I'll report what she dances and what my impressions were.

If any Ballet Alert members live in Orlando or nearby you should check the link to this out: http://worldballetco...s_of_dance.html It is the culminating gala for the World Ballet Competition in Orlando, FL, and it showcases the winners and then also has well known dancers perform short pieces. Some dancers slated to dance: Maria Kochetkova of SF Ballet Joan Boada of SF Ballet Rolando Sarabia Adeline Pastor LIa Cirio and Misa Kuranaga from Boston Ballet

OMG, Rosa!!! How did that cat get there????? That made me laugh out loud!!!!

As critical as I am about LePage's Ring, I will say that I loved the final moments with the planks undulating like waves. No production can possibly come close to what Wagner had in mind. Imagine daring to have moments where a character turns invisible, turns into a frog, then a dragon. Later, another dragon. Rhine maidens swimming in the river. A fire that consumes the world and then a flood at the end. No production is ever going to satisfy us! LOL I have to say I absolutely loved the LA Ring finale. All the theatrical trappings fall away to show backstage and lights shine out at us in the audience as if to say, "Okay, you saw the harm that greed does and how love is the most important thing. Now it is up to you to do something about it!" Many people hated the LA Ring, but I enjoyed it!

Regarding Nikiya's sacred-ness.....I do think she is a human being, and I tell a good friend (who is very religious yet gay) that all human beings fail to live up to their own expectations. No matter how much Nikiya devotes herself to the gods, she is going to fall short of her aspirations. And I think that gives an extra depth. She is devoted to her religion, yet she loves Solor so much. I think we could interpret her so many ways, and it is also why each dancer finds something different even though the choreography is the same. That's why I did not tire of seeing 3 Bayaderes in a row. By the way, the thing I love about Makarova's staging is the finale when they are basically going up to the Heavens after the temple collapses. What a gorgeous way to end the ballet. I've seen this same production (with very minor changes) on the two Royal Ballet videos and the La Scala video, so I knew how it ended, but reading about the sacred-ness of Nikiya made me think of it. What a gorgeous final scene. I think some people prefer the Russian versions with more character dances, but I love Makarova's staging. It is a more serious work and it takes your breath away at the end. With that said I also love the Nureyev staging from Paris and the Mariinsky version. The "traditional" Mariinsky version (as opposed to the reconstruction) inserts a wonderful pas de deux for Nikiya and a slave. This was inserted in the 50s by Sergeyev for Dudinskaya. After seeing that interpolation I wish every production would include it. It is wonderful. However, it makes no dramatic sense for Nikiya to show up at the palace and dance right after Solor has been told he is to marry Gamzatti and she doesn't seem to recognize what is going on. Then, she leaves and comes back to duke it out with Gamzatti like normal. Like I said, it makes no dramatic sense, but it is a gorgeous pas de deux! Re: Osipova: Osipova literally chewed the scenery. Sometimes when people say that it has a bad connotation, but I think she created a three dimensional Gamzatti even if her Gamzatti was very aggressive and mean. This interpretation could have easily devolved into Wicked Witch caricature, but it didn't, b/c she balanced it with such longing and love for Solor. You understood that everything she did was an attempt to hold onto him even though she knew his true love was Nikiya. Her Gamzatti blew the other two I saw totally out of the water. This was a characterization that was amazing!

Semionova was a treat tonight. Gorgeous dancing. I liked her better than Cojocaru and Part in this role. Was surprised to see Seo end with her back to us as Abatt said above. Also agree about Hallberg. Expected more from him somehow. Overall, Friday night's performance had the most well rounded cast out of the 3 I saw, but I think Semionova is a great permanent addition to ABT. Would like to see her in other roles. Flying home tomorrow. Had a great time meeting some of you.

By the way, comparing Part and Cojocaru....on Thursday Cojocaru had wonderful moments. Some balances were long held. Her pliable back, her grand jetes, etc. terrific. But I did think the scarf dance did not come off the way it is supposed to. She made up for it by her high velocity turns across the stage in the coda. In contrast, Veronica Part was beauty incarnate but very careful which works in this role, so I am not criticizing. Just stating the differences. Cojocaru was more of a risk taker. Part was more gentle, sweet, beautiful, soft. I loved both women. Love comparing and contrasting different dancers.

Loved Ilya's assessment of the characterization of Gamzatti by Osipova. I totally agree and feel this was a riveting portrayal. Osipova is not just bells and whistles. I feel she is a true artist. The contrast between Part's smooth as silk Nikiya and Osipova's aggressive Gamzatti was terrific theater! With that said she added little details that showed she was not just being a caricature of an evil woman. You felt she truly loved Solor and wanted him desperately. Gomes has a smooth style that works well with Part. In contrast, Vasiliev was ultra Bolshoi (grand gestures and high leaps and deep back bends) on Thursday. Some criticize this (Copeland barely left the ground as he leapt through the air), but it is now what we expect of him. If he were to match Copeland and stay close to the ground we'd feel cheated. I blame administration for this pairing. I've never heard such screaming for anyone like I heard for him. But I personally don't think he is just circus tricks. The way he left the stage as Nikiya was dying hunched over in deep shame was a great detail. I think he is an artist, one that will divide people, and one who needs to always be paired with someone on his wavelength who can compete. Just bought a ticket for Semionova and Hallberg tonight. Wasn't going to go to 3 but decided why not. After 2 Bayaderes my partner Tim says he will shop and eat while I see a third!

If you have a good product and faith in the product you don't worry about negative reviews b/c the public still works via word of mouth and if something is fabulous , people will flock to it. Gelb's new productions since he took over have been touch and go. I think the new Ring is a big flop which cost millions. Yet he continues to claim it is wonderful. I was on Team Gelb when he started the HDs but now after several years of very mediocre productions and his new desire to censor Opera News, I am no longer on Team Gelb. Great works of art become greater when there is discussion about flaws, etc. When a leader feels the need to only have only puff pieces and no criticism that is a sign of a company in major trouble and an attempt to sweep any failings under the carpet. He must be catching hell from the board or something. But this is never a good sign.

Now we have people who read Grand Tier and are going there. Now it is switched to Parterre. I personally think Grand Tier will be fine as long as we move over to the side where you are near a wall and can look down on staircase so we don't block the staircase which I suggested previously. I will look in both levels I guess.

I arrived in NY yesterday, and maybe it was b/c I was tired(got up at 5am) or the guy blowing his nose constantly next to me, or the singers with moments that made me wince, but I found Libeslieder unbelievably boring even during the second part when the women don their dance dresses, although it did get much better. The dancers were wonderful despite my mood, but each time one of the singers sang by herself or himself I was like, "Not you again!" the women had too much vibrato. The tenor had issues with his top voice. The baritone was the best of the bunch. None of them sounded like they connected with the text or understood what they were singing. If this had been a Lieder recital without dancing I would have walked out. After intermission the magic began. I hadn't seen Brahms-Schoenberg Quartet and was blown away! I told my partner afterward, "Now THAT is what Balanchine was famous for!" I absolutely loved the whole ballet and sat mesmerized. Tiler Peck and Ana Sophia Scheller were amazing as we're Teresa Reichlen and Amar Ramasar in the final gypsy dances. The second ballet made it worth it. Plus, the blowing nose guy left after intermission!!!

I tend to think the uninterrupted top of the staircase is the easiest near the nude. But maybe we could all meet over to the side so we don't block the stairs. If I remember correctly, the the right of the top of the stairs in this pic is the direction you go for the restaurant. To the left is a bar. I found in the past the restaurant side has space to hang out. The bar side gets jam packed. So my vote is for the top of the stairs like Helene suggests at Grand Tier (level with kneeling nude) over to the right side (right side of the pic Carbro posted if you are looking straight at the pic) so we don't block the stairs.

Members cannot post photos. Only rg and administrators have permission. Photos take up expensive bandwidth . If there's a picture of yourself on another site, and if it's visible to the public, you can link to it. Oh, okay, Carbro, that explains it. No big deal. Thanks for linking photo of staircase. I made the mistake of starting this topic and forgetting one already existed which is causing double postings about where to meet. Maybe everything can be combine by a moderator.

Bart, The top of the main stairs is the Parterre Level. Okay, let's plan on that during first intermission. Let's hope others are reading!

I thought top of the main stairs.....is that Grand Tier or Parterre? I can't remember.....

All the reviews of Giselle make me salivate!!! I wanted to originally see both Giselles on Saturday like some of you did, but to make sure I saw that and the Vishneva/Osipova Bayadere would have bumped my trip budget way up to stay that long. So I was debating. The Vishneva/Osipova Bayadere just seemed too juicy of an idea to pass up, but the Vishneva Giselle and Osipova Giselle sounded wonderful too, and sure enough, your reviews make me so jealous!!! I love Osipova, but I thought her personality would be all wrong for Giselle, but apparently not. I am very glad to hear that she has more range than I thought she had. I thought she would be better as Gamzatti (all sparkle). I assumed Vishneva's Giselle would be terrific. I assume her Nikiya will be wonderful too. So many hard decisions for us non-New Yorkers!!! Previous years they seemed to arrange the schedule so out-of-town people could see two or even three ballets. This year it is basically one ballet per week unless you do half one week and half of the other. I hope they return to the previous few years where you could catch 2-3 ballets in one trip!!!!

Hope someone will review Part, Herrera, and Seo in La Bayadere, so we can read about them also! If my flight is on time I might attend NYCB's Liebeslieder Walzer/Brahms Schoenberg Quartet tomorrow night. Did not buy a ticket and will try at the last minute. Figured I shouldn't buy a ticket since flight could be delayed.