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Thanks to all who responded to my question as to what La Sonnambula about, especially the articles linked to by @cargill and @california. I didn't realize that the Sleepwalker was supposed to be the Baron's wife, and I'm not sure it enhances my appreciation of the piece to think about her that way. For one thing is only raises more questions, like why is she sleeping when everyone else is partying? Thinking of her as a wife makes it mundane; to me she is something more spiritual - the embodiment of some unknown, unknowable force. Like the Kisselgoff review says, the piece works more as allegory. Why does she come back to collect the Poet, after so forcefully rejecting him? What is their bond? The Kendall article says that when the Sleepwalker reappears she's "on a mysterious errand," but to me she has clearly returned to seek the Poet, to whom she somehow senses something has happened. This time she's walking, not bourreeing. The images of her lamentation, and then receiving the Poet's body, are stunning. It reminds me in a way of the entry of the Dark Angel and the man in Serenade, where she is covering his eyes and his hand is stretched forward. In both cases I have no idea what specifically this might mean or represent, but it is deeply moving nonetheless, with a sense of something elemental and profound being captured in the image.

Thanks, nanushka! Those are some great shots. I'm glad they gave the costumes some love in this video. I also discovered there's an instagram hashtag, #divertimentono15, where there are some good shots. Comments on tonight's performance. Joseph Gordon has upped his elegance, control, and grandeur this season. Just beautiful to watch. Divertimento delights. As I've commented before, I love the Minuet, and especially when the ladies come forward two by two, and most especially that moment when Christina Clark and Malorie Lundgren grand jete. Honestly I get choked up by the whole thing. I look forward to seeing Jovani Furlan debut on Sunday. I wonder how much time he had to learn it, but Walker is out and Joseph Gordon needs a break. I'm enjoying Scotch Symphony. The guys in green kilts and crimson jackets make a big impact. Not sure if they are more menacing or more protective, but they move with such sharpness and clarity, and the guys are so well rehearsed and very much in sync, that it packs a wallop. Alec Knight and Victor Abreu as the demisoloists both looked sharp. Knight seemed to be on an upward trajectory a few years ago then stalled. He seems to have a lot of untapped potential. Also Baily Jones in the red kilt solo was wonderful. Jovani Furlan looked great. Ashley Bouder... hmmm... there seemed to be a claque down in the orchestra house left... just wish they would assign this to someone who can deliver, draw in the audience, and make a case for keeping Scotch in the regular repertory. I know Sonnambula has a reputation for being a snooze, so to speak, but I'm enjoying it. What a strange piece, shifting in mood, introducing the main character late in the game, clearly a narrative but it doesn't cohere, and just overall what does it all mean?? Is there some back story to this that Balanchine adapted? Anyway, a few comments on the divertissements. The quartet of Boisson, Maxwell, Gabriel, and Zuniga all looked excellent. This is the second time I've seen Jacqueline Bologna and Maxwell Read in the pas de deux. I've never thought Bologna was particularly special, but she takes control of the stage here, her feet and her line are more beautiful than I ever noticed before. Maxwell Read doesn't have the most elegant line, with kind of an unwieldy chin, but he has a large, generous presence. Finally, Daniel Ulbricht as Harlequin delivers! Wondering about all the replacements and casting changes. I'm kind of assuming that this may be driven by COVID and the performers (and backstage too, probably) being tested regularly. I'm not an epidemiologist, obviously, but I do wonder at what point should symptoms, rather than just a positive COVID test for someone who may be asymptomatic, dictate that someone cannot do their job.

Intermission report. Another great showing for the scintillating Divertimento No . 15. The yellow and blue tutus are so beautiful. I did a quick online search for a closeup of the costumes but came up empty. Back when I was on instagram years ago there was someone in the costume shop who used to post closeups of the intricate costumes. Does anyone know who that is and is she, or the costume shop, still posting?

Casting updates from the lobby, sheet dated today. tonight - Phelan replaces Hyltin in Sonnambula. Saturday mat - Chan replaces Walker in Raymonda, Gordon replaces Mejia in tschai pas. Saturday eve - villarini Velez replaces Mejia in Piano Pieces sunday - Furlan replaces Walker in Divertimento. No changes announced for next week.

Thanks for the casting updates, abatt. Wow, Walker and Mejia out, possibly Hyltin — not a good way to start the season. Since it seems like they’re not posting casting updates online, maybe BAers can make a habit of checking the lobby casting sheet and posting any updates.

Still no Week 3 casting, or updates for this week (if Walker remains out). I hope this isn't going to become like last season, where they just stopped updating the casting sheets online. If anyone is there tonight, please check the casting sheet in the lobby to see if it's been updated.

I wonder if the delay has to do with whatever caused Peter Walker to be out last night - presumably injury. That must mean some reshuffling of casting.

I’m glad to be back at the ballet, and I’m loving the Divertimento-Scotch-sonnambula program. The only thing that might keep me from seeing all five performances of this program is my 40th high school reunion. (Still undecided about whether to revisit high school…if anyone has insights on high school reunions, PM me.) There was so much elegance going on during Divertimento that I didn’t know where to look. It was all great. The elegance of Joseph Gordon (subbing for Peter Walker, hope all is okay there!), Aaron Sanz, and Davide Riccardo; the long legs and scintillating beauty of Emily Kikta; the incomparable carriage of Ashley Laracey - I was pretty much on cloud 9. This is a great vehicle for everyone involved, and IMHO it should be a recurring staple like Serenade and Symphony in C. Scotch Symphony fared much better tonight than last night, with Hyltin and the pristine Huxley. Olivia Boisson is looking lovely. She has always been an attractive dancer, but the years have given her maturity, polish, and real graciousness. Would love to see her in more. Unity Phelan and Harrison Ball both looked great in the all-debut La Sonnambula. Ball is so handsome it hurts the eyes. He has bulked out somewhat over the years and now makes a substantial, can’t-look-away presence. Phelan on the other hand was less beautiful than is natural to her, looking tired and wan like a sleepwalker ought, and it suited the role perfectly. She was like a force of nature, running under her own unknown rules. Very moving when she appeared searching for the dead poet. Young David Gabriel made a great impression of elegance and ease in the Pastorale. Will look for him again. And Cainan Weber in the Harlequin role made a case for himself as someone to watch. Totally at ease with the choreography and no problem holding the stage on his own. Looking forward to the casting for Vienna Waltzes.

This is why it needs a ballerina who can bring something extra. If Scotch Symphony is going to hold attention, it needs a ballerina who tantalizes and fascinates. Otherwise it can get dull fast.

I too have been mesmerized by the pageantry and choreography, and also the Princess of Wales' outfits and hairstyles. It all puts me very much in mind of the first section of Union Jack - the marching, the precision, the elaborate outfits (almost otherworldly), and especially the slowness, stopping, and silences. If the events around the Queen's funeral inspire a revival of Union Jack, I won't be sorry.

Hey @tutu, I haven’t seen Scotch Symphony all that many times because NYCB doesn’t do it all that often. I think my first time seeing it was at the SAB Workshop about 5 years ago, which was also my first introduction to Mira Nadon. Then NYCB did it a year or so later and I saw it a few more times, I think with Bouder. Laracey had one performance which very sadly I had to miss. But it’s clear to me that both Nadon and Laracey, and let’s throw in Phelan too, have the airy, mysterious qualities that would elevate this entire piece.

I absolutely love Divertimento No. 15 with its beauty, delicacy, and humor. Joseph Gordon and Unity Phelan were excellent. I really love the minuet that comes after the t&v section, so charming and somehow moving. I feel I could never tire of this piece. I also very much enjoy Scotch Symphony with its dark and mysterious beauty. Jovani Furlan looked fabulous in that outfit and has the needed gravitas. Bouder, not so much. I found her stiff and underpowered, not to mention this role is not a good fit for her even at her best. The magic of Scotch Symphony would be greatly enhanced with a dancer who can bring some mystery to it. I look forward to seeing Hyltin, but really think Laracey and Nadon are very obvious choices here. This is a missed opportunity that does a disservice to this work. MHO.

LaJeromeny Brown made a charming, memorable impression in Western Symphony at the SAB Workshop a few years back. Sorry to see him leave NYCB, but I wish him well.

I was confused about the Symphony in C casting as well. Had to study carefully before I figured it out. I assume it’s listed in order of the movements in the whole piece, not in order of appearance in the 4th movement and finale. That means Gerrity and Chan are debuting in the 4th movement. Also Hod and Mejia are doing the 3rd movement reprise. That surprises me, isn’t this usually a shorter ballerina? It’s a shame Alston Macgill isn’t cast in this anymore.

Agree. I would love to see Nadon and/or Laracey. I'm not sure this role is the best fit for Ashley Bouder's talents and style.

I would love to see Mira Nadon in Scotch Symphony (I saw the workshop performance a few years ago and she was indeed obviously a special young dancer), but I was also hoping to see Ashley Laracey. I guess that's less likely, however.

I'm on board with that! I'm glad to see Davide Riccardo getting an opportunity in the soloist role of Divertimento No. 15. His elegant presentation will be perfect for this role.

There is a New York City Center "Studio 5" presentation on Nov 14, featuring Homans talking about her new book and excerpts from Agon and 4T's performed by current NYCB dancers. I would absolutely LOVE to be there, but unfortunately, life dictates that I cannot. I would love to hear any reports!

So that means Bouder's back! ... after her unexplained absence all last year. Be glad to see her again.

Thank you, mille-feuille! That is what I've been looking for, to see at a glance what's on offer and when. Why do they make it so difficult?? ETA: I don't understand the "Classic NYCB II" program. If two of the pieces on the program are premieres, how can that be considered "Classic"?

Looking at the excerpt, the final paragraph says, Soon after landing at Idlewild, Balanchine made a trip to Washington, D.C., for a debriefing at the State Department. By all accounts, the tour had been a personal and political victory, but Balanchine was unmoved. Maybe the speculation about his mental state, the broken mirror in his mind, etc, could be from the debriefing report?

Thank you so much, but I've managed to cobble it together from here and there. Looking forward to the Divertimento-Scotch Symphony program!!

Thanks, Marta! Yeah, that's odd - it looks like there are hyperlinks on the name of the program ("Balanchine I") and pic, but when I click on them I get nothing. No idea what's wrong. I wish they had the old PDF available,

... but when I click "view full calendar," I still don't see the details. I just see the date listed, say, September 23, "All Balanchine I," a pic from Divertimento No. 15... but no indication of the other ballets on the program, and clicking on the entry is blank, nothing else comes up.

Looking forward to Week 1 casting going up. I wish the website were a little easier to navigate. I can't find a straightforward, night-by-night listing of the specific programming (as opposed to, say, "Classic NYCB" with no specifics). Am I missing something? Also like others said up-thread, I don't understand the video background/ advertising. I kind of enjoy the flowing colors, but I don't see anything at all that has to do with ballet there. Just hinting at youthful, generic modern dancing, that's what I get. Bring on the ballet!!