cobweb

Re the Joaquin de Luz farewell, I faxed in my order form. Do they send out a confirmation or acknowledgement that the order was received, or do they not acknowledge it and just send the tickets in August? Has anyone else received a confirmation?

I ruled out any performances with NYCB or ABT, since I have seen/can see them do the same pieces at lower cost, and I'd rather spend on a program where all the companies are ones I wouldn't otherwise see. I was interested in Programs III and IV, but given the prices, just went for one - Program IV. Intrigued by the Joffrey doing Four Temperaments.

It's not like there was no dancing. But whatever substance this piece has, is lost because of 1) lack of engagement with the music/ the music is extremely difficult to engage choreographically; 2) so much going on - costumes, sets, many dancers, and no clear choreographic patterns; 3) lack of a narrative developing in distinct scenes. I also enjoyed the dollops of whipped cream coming down the slide! That was fun. I wonder why they all didn't come out that way, though - the final four darted in from the wings.

I'm just back from the matinee, my first viewing of Whipped Cream. I wanted to see Simkin before he leaves, as well as Abrera and Lane. I thought I might attend the evening performance as well, wanting to see Cassandra Trenary. However, one performance is enough, no more Whipped Cream for me. Many reasons. First, and to me this is a fatal flaw, the music simply is not suited to dance. For this reason alone, if I were AD, I would never have approved this project. To me the music and choreography never came together in my heart. Don't know how else to describe it. I felt largely unengaged, and except for a few moments near the end involving Daniil Simkin, it never spoke to me... and I'm chalking those moments up to Simkin's exceptional talent. The choreography seemed both overly busy and repetitive. The costumes sometimes distracted from the dancing, especially with all the candies in the first act. That section was a real missed opportunity for some decorative patterns in choreography, but it was just a mishmash. Finally, practically no plot, no character development, no sense of either the narrative or the music building and developing, and no deeper meaning. Dull. The afternoon was redeemed by delightful dancing. Simkin will be sorely missed. I can't tell from Lane's post (above) whether he will be a regular with ABT or not, but I just want to say what a complete pleasure it's been to watch his development since he first burst into ABT. Come back often, Daniil! Sarah Lane was a delightful Princess Praline, with her crispness a relief, a blast of fresh air, after all the the cacophony onstage. She and Simkin look great together, their partnership has really developed over the years. Again: come back soon, Daniil!! Stella Abrera was a sinuous Princess Tea Flower, sexy and funny. I have attended ABT so little over the past few years that I didn't have an updated impression of Thomas Forster, but I thought he was a wonderful Prince Coffee, and totally agree with all the posters up-stream that he is ready for bigger roles. So much more expressive than Cory Stearns!! (A low bar, I know ...) Finally, Catherine Hurlin was wonderful as Mlle. Chartreuse, a confident, funny, mature performer.

Thanks for mentioning the Jazzharmonic. I agree - they were terrific. That was a major part of the evening. And I couldn't agree more about Roman Mejia. He is incredibly self-possessed at such a young age. I look forward to his career!

Totally OT and it’s not a second tier troupe at all, but I have to put in a word for Taming of the Shrew at Hudson valley Shakespeare Festival. Not my favorite Shakespeare by a long shot. But it turned out incredibly funny and so moving at the last minute. Make love not war. Highly recommend.

Thank you for all these incredible videos canbelto! I never would have seen them otherwise. Ps. Agree about Gatti. Where is he now?

I attended last night's performance of the Ashley Bouder Project at the Joyce. This is my first time seeing this group. I had mixed feelings. First, it was great to see the dancers in such an intimate setting. I always love Taylor Stanley, but I got to pay more attention to the flexible, fluid India Bradley, who danced with authority. Also Roman Mejia, who really seems to have it all. As for the pieces, I found Alas fascinating, and would welcome seeing this piece again. There were some elements I didn't care for (such as dancers abruptly running offstage as a form of exit), but it was an enticing, engaging hybrid (of what, exactly, I can't quite say). I am glad to learn the name of this choreographer, Abdul Latif. I thought Lauren Lovette's new piece for Bouder was unremarkable and banal, and I was baffled by what Bouder's own new piece was trying to say. (Don't have the program handy, and can't quite remember the titles of these pieces.) Then there was the piece for two men (originally for two women, I think?), which left me cold. I didn't see how it made any difference to have two men versus two women dance it, since as far as I could tell this piece was not about the relationship between the two dancers, and I could not tell what it was about. Would enjoy hearing other comments from those who were there.

Thanks for the analysis, canbelto. I'd like to underline your #3, disappearing into the choreography. In the Stars and Stripes videos, Tiler Peck comes across as far, far more disciplined and committed than Isabella Boylston. As you point out in the video of Tchai pdd with the Paris Opera Ballet, it works despite the lack of Balanchine style; this is because they are so committed and absorbed in the choreography, not trying to make some kind of individual statement. "Disappearing into the choreography" and presentation are something that I feel ABT needs to focus on generally, not just in Balanchine works. I've made this comparison before, but this spring I was so struck by Pennsylvania Ballet’s committed swan corps, totally putting to shame the ABT corps which simply does not give off the same seriousness of purpose. The toreadors I saw last week did not look like toreadors at all (exception: Patrick Frenette). I notice this strikingly with the children of both schools; even the youngest ones from SAB (such as the Polichenelles in Nut) seem to have more gravitas than the JKO kids (seen recently in Harlequinade). I know "gravitas" is a strong word to apply to young children, but I swear, they're doing something at SAB to instill a sense of pride, graciousness, and sophisticated presentation in the kids from the youngest ages, and of course this is reflected in the dancers they become.

What an image, canbelto! My brain is short-circuiting as I try to picture it. Thanks for the videos. That’s very instructive. Boylston is not lacking in incredible technique, but the video with Tiler is just completely different.

... or, it's possible that whatever the allegation was, it was true, but questions of consent were murky, or what seemed like consent eight years ago is being revisited and judged by new standards, and Gomes guessed that ABT would feel they would have to fire him or censure him in some way, even for something (as I recall from the press release) unrelated to his employment at ABT. That even if he got "due process," whatever that means in an employment context, he would be judged and sentenced unfairly. All my guess as to what may have happened.

Totally agree! When I saw Don Q on Tuesday, Frenette stood out with panache among a bunch of halfhearted Toreadors. And Roman Zhurbin! Watching him on Tuesday, I had the thought that the MacArthur genius people should consider him! His ability to bring pathos and humanity to the most flat, cardboard, outdated, and unsympathetic characters imaginable, is incredible. When I started to feel sorry for the "swamp thing" in Swan Lake, and to speculate on his inner psychology and estrangement from society, I knew Zhurbin had pulled off something amazing.

Great idea! I can see it too.

So... "flagship soloists"? As has been discussed on here many times, the rep at ABT limits dancers' opportunities to take on bigger roles and develop at a higher level. For that reason, the "flagship soloist" idea makes more sense to me at NYCB, where there are tons of roles to be filled out, than at ABT. Although I have mixed feelings, because some corps are used for years as if they were soloists, and they certainly deserve the title and the pay. However, now there will have to be a lot of turnover at the female soloist level before there's room for Ogawa, McBride, or whoever. As for the thin male principal roster, maybe ABT can make Robert Fairchild an offer he can't refuse.

I am always glad to hear promotions, and these ladies are all talented. If there was ever a case of a dancer performing beyond her rank, it was Fang as Mercedes in Don Q on Tuesday night, ablaze with passion, technique, and stage presence in spades. And I love to see long-term corps who have basically been acting as soloists, finally get the promotion (as with Luciana Paris and Roman Zhurbin). Williams was also quite grand on Tuesday. Hurlin is a beautiful dancer, and no doubt tremendous potential, I am hoping to see artistic development and commitment to her roles. Still, in some ways I'm a little baffled by these choices. Given that Fang and Williams must both be about 30, give or take a few years, can we consider them to be on the principal track? It seems very poor talent management to be promoting people to principal when they're 35, and it would also be a shame to see soloist spots taken by dancers seemingly not on an upward trajectory.

I am thrilled to hear this. I've never been to see Sarasota Ballet, as I'm usually gone in August when they're here. Slightly different schedule this year, so I scooped up tickets to both Saturday performances. Excited!

I got the email too - knowing there were upcoming retirements was precisely why I decided to subscribe. But I notice the attached form only has seats up to second ring. Obviously the place will sell out, so why only taking requests for up to second ring. Is this typical for retirement priority seating? Any insight from those who have done priority ticketing before?

Last night was only my second performance of the season... a total change from past years. I agree about the excellent Shevchenko (she was why I went to this particular performance), who was fiery, with great technique, and who knows how to command the stage and engage the audience. I also agree about the airy, expansive dancing of Kaho Ogawa. I barely noticed April Giangeruso at all, since every time they were on stage my eye was glued to Ogawa. I also noticed one of the Toreadors, who showed true excellence. Not sure, but I think it was Patrick Frenette. Totally committed to toreador-ness, IMHO totally showing up the other toreadors, who looked like American guys hanging out in turquoise outfits. I also spotted young apprentice (now corps, I guess) Zimmi Coker, who several have mentioned on here. She's easy to pick out with her red hair. Didn't see her do any actual dancing, but she is a bright presence. Finally, a complaint about wandering eyes. When I saw Pa. Ballet do Swan Lake recently I was highly impressed by the corps' commitment to holding their eyes downcast. It makes a great impression of stillness and grandeur. At ABT, I often see the corps, when standing still, sneaking a look at the principals dancing. I hate to say it because she is so wonderful when dancing, but Catherine Hurlin is someone I have often noticed doing this. By contrast, fellow redhead Zimmi Coker looked blissfully disciplined and committed to her stillness.

Ok, thanks for the reminder about the cost of the singers. Are Brahms soloists in particular expensive for some reason?

I can't help but longingly wonder if I will ever see Union Jack again. It has a real hold on me. The middle section I like more or less, depending on who is doing it; Jenifer Ringer was terrific. But the rest of the ballet has me mesmerized. From the instant that rolling drumbeat starts I am rapt in my seat, and at some points, like when the two women's regiments approach and pass each other backwards, I find myself clutching the armrest with tense excitement. And then the exuberance and joy of the final section, sends me out of the theatre on a high. Come back, Union Jack!

In my experience Boylston has always had an incredible technique, since she first burst into the corps. But, but, but... somewhere up-thread, I believe someone asked whether she has improved in things like the broken wrists, overly casual demeanor, lack of grace and refinement and, IMHO, show-offy quality. If there was an answer to that, I missed it in the rolling tide of posts. I know she has a lot of ardent fans here, so I ask this cautiously, but can anyone comment on her development in these areas?

Thanks, JuliaJ! I am marking those dates on my calendar RIGHT NOW. I wonder why, if they are doing Liebeslieder in the winter, they are replacing it for the spring?

I could understand that (although still highly disappointed) about Union Jack. But they did do Liebeslieder not long ago, and it's not like it's a huge number with sets, costumes, or a cast of thousands.

Wow, that is a TOTAL BUMMER!!! The TWO pieces I was MOST looking forward to seeing next year were Union Jack and Liebeslieder Walzer!!

Thanks to all for these detailed reviews. This is probably the first time in the 16 years that I've been attending ABT, that I have missed Swan Lake entirely (and in my early years of attendance, I would see as many as five SL performances). I would have gone to see Shevchenko, but I can't get to the matinee. I was interested in seeing Teuscher, but I guess honestly not motivated enough to make either of her dates work. Otherwise, not interested in the casting, or interested in one of the cast but repelled by the other. But I am enjoying the reviews, which will help me decide for next year...