cobweb

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...

As for “Met traditions,” one of my favorite things on pleasant summer evenings is to arrive on the Plaza early, sit for awhile in the shady grove on the side of the opera house, watch the evening crowds arrive, and have a gelato before the performance. I also vouch for the coffee and chocolate flavors, and my partner, who is a learned aficionado of all things vanilla, endorses their variations on vanilla. While we’re on the subject of food, I love the warm grain bowl at le pain quotidien. On a recent trip to Philly to see the matinee and evening performances of Swan Lake, I whiled away the interval between performances at a nearby Le PQ.

The Met is huge. Really huge. I can’t be as specific as the others about rows and raking, but if you don’t want to feel like you’re a mile away, you should probably choose closer. For a casual meal, I like the Le Pain Quotidien at 60 W 65th St, right across from Lincoln Center. I have spotted dancers in there several times.

Thanks to all for their reviews. I am just back from the final performance/my first viewing of this piece. I hadn't intended to go, then was intrigued by the reviews from my fellow BAers, then the day's circumstances made it difficult to get there at the last minute... but I am glad I made it. I found this a total charmer, a lovely production, costumes worth the price of admission, and I hope they bring it back next year. I'm a little perplexed by the complaints of "too much mime," which I usually take to be synonymous with "not enough dancing." There was a ton of dancing. Skylar Brandt made hay with the choreography, totally at ease and using her great eyes to charm and command the huge Met space... and Daniil Simkin, what can I say?? I will miss him! Hee Seo was way better than I expected, looking beautiful in the blue costume, with beautiful feet, a beautiful smile, an easy, relaxed manner, and a thoroughly authoritative, professional demeanor. The children... usually I love children in ballets, but now that I think about it, what I mean is that I love SAB children in NYCB productions. These kids got me pondering a distinction I don't usually make, which is the difference between being well trained and well rehearsed. These kids were well rehearsed... but the SAB kids strike me as far better trained and far, far better in an innate understanding of presentation and nobility. I agree with the suggestions to cut out/ cut down the kids section and make this a shorter piece with something else on the program. A few more detailed comments: I found Tatiana Ratmansky not nearly gracious enough as the good fairy. She moves like a modern New Yorker, not like the epitome of grace. Please, get someone like Veronika Part in there! Also Kaho Ogawa stood out in the Larks section - is there some reason I don't understand why she has not moved ahead more? Finally, Daniil Simkin... truly an incredible dancer. Dazzling technique, crystalline form, a true understanding of mime and the arts of comedy and of performance... I'm not sure I can fully articulate it, but he is incredible.

Thanks for the info, luvballet (great name btw!). I found all of these dancers wonderful at Saturday’s matinee. I am only surprised by their not taking LaJeromeny Brown, who seemed wonderfully promising to me. Any (official, of course!) word on his status?

It appears from Davide Riccardo’s instagram (public-facing!) that he has an apprenticeship. Very glad - he was fantastic.

Can anyone post a link to the Justin Peck instastory? Or related pic?

If there is any official word on who they are, I'd like to hear.

But didn't Antonio Carmena got a bouquet, just a year or so ago? I recall a little something extra for him.

As everyone has said, it was a bittersweet final performance/final weekend (with the Workshop as well). On the "bitter" side, I am sorry to see long-term company members depart. They feel like old friends. Likolani Brown and Savannah Lowery had probably taken their dance career as far as it could go, whereas Cameron Dieck, IMHO, definitely had larger roles in his future. For that reason, I am especially sorry to see him leave. On "sweet" side were fine debuts by Ashley Laracey, Silas Farley, and especially surprising to me, Sebastian Villarini-Velez's Melancholic. Wow. Whoever had the idea to pluck him out of the corps should be commended. I never paid attention to him before, but I am very glad to make his acquaintance. Then there's Miriam Miller. I have been a doubter for some time, finding her lacking in interest, but I was thrilled to be proven wrong. Way more capable and fierce than I imagined she could be. (Now, if only I can keep a similarly open mind about the apparently much-improved Erica Pereira...??). Finally I thoroughly enjoyed Emilie Gerrity's Sanguinic once again. So, the young new generation of soon-to-be apprentices, the up-and-coming dancers like Gerrity, Miller, and Villarini-Velez, and the departures of dear old friends. I don't know whose decision it was (Lowery or management) not to give Lowery a solo bow, but IMHO it was a mistake. The audience wants to say goodbye to such a well-known, long-term soloist.

I am sorry there wasn’t special recognition for Lowery - I expected her to step forward for a solo bow and maybe flowers brought on by Jon Stafford. I feel I didn’t get to properly say goodbye or thank her for many wonderful performances. The audience clearly wanted more, and she looked like she was crying. Thank you and heartfelt best wishes, Savannah!

Reporting late on last Tuesday's performance, with Mozartiana, Not Our Fate, Pulcinella Variations, and Glass Pieces (I did not stay to see Glass Pieces). I have loved Maria Kowrsoki since she's returned from maternity leave (well, since before then, as well), but for the first time she didn't look so great to me. I thought she looked tired and wobbly. Tyler Angle had more ease than I expected in his variations. I am ready for some fresh casting in this piece (Ashley Laracey?). This was my first viewing of Not Our Fate. I found the music bombastic and could not figure out what the piece wanted to say. This seemed to be the "Dancers Running Around" school of modern choreography, with much frantic to and fro under dark lighting. The audience roared with approval, which I found disheartening. Really? Finally, this was also my first viewing of Pulcinella Variations, and I'm relieved to be able to say I found it very interesting and rewarding, with whimsically intriguing costumes. Emilie Gerrity continues to look very grand. Glad to see it again. Too tired to sit through Glass Pieces again., so I left at intermission Looking forward to the season closer tomorrow.

So I attended today's matinee and found it totally delightful. I am so glad to have begun attending the workshop (first time was just last year). It is a fun atmosphere in the audience, and the youth and energy of the dancers is rejuvenating. For me the standouts were a totally winning Naomi Corti (who did the solo role in "La Source"), the astounding Davide Riccardo (first section of "Western Symphony") and the elegant, funny LaJeromeny Brown (second section of "Western Symphony"). Corti impressed with her long limbs, sophistication, and musicality. Riccardo has a beautiful form, high jumps, very confident partner, and all the swagger you could ask for. He looks ready for prime time! LaJeromeny Brown took on his role with vigor and humor. It was hard to tell under that sequined cowboy outfit, but he appears to have an extremely pleasing, elegant line. All three danced with a maturity and stage presence beyond their years. I hope all three will be taken as apprentices. I also liked Lily Zurvitz (first section of "Western Symphony") and Ally Hellman (Rondo). The audience laughed when the imperious Hellman walked out with the much shorter KJ Takahashi, but they pulled it off with grace. I notice Takahashi is only 16. How much are boys likely to grow at that age? My guess would be that at the height he is now, he would not be taken by NYCB and might have trouble finding a job. But, maybe he still has some growing to look forward to?

I'm eager to read any reviews of this year's workshop performances.

I also enjoyed Coppelia last night. This is a ballet I have never warmed up too, finding it an awkward combination of precious and mean-spirited (in the attitude of the characters, and of the librettist, to Coppelius). I probably would not have attended if I hadn't had to swap a subscription ticket fairly late in the season and this was all I could get. Wound up appreciating it more than expected. Was glad to see Ashley Bouder, and Joseph Gordon in his debut. Bouder, needless to say, was utterly in control of the dancing, and has a charming comic manner, but her acting is one-note, and that note is Ashley Bouder. Joseph Gordon looked terrific, a convincing young lover, full of youthful joy and verve his solos, and a confident partner. Partnering seems to be a skill that's slow to develop. Young dancers often look visibly anxious about partnering, then they get to where they look reliable and in control. Finally, hopefully, they get into partnering as an art form, looking happy to be partnering, noble, proud of their ability to handle the ballerina and proud to present her. I love this. Gordon is getting there. Amen. Bouder looked particularly pleased with him at the curtain call. As for the rest... Swanilda's friends looked under-rehearsed, out of sync, with some struggling to keep up with the music and others leaping ahead of it. Also, the children were a little ragged, with sloppy formations and mis-matched timing. I'm used to seeing better preparation in the Nutcracker kids, but maybe they get more practice with so many performances. Mary Elizabeth Sell was a fine Dawn, with a grand sweep and lovely flow. We don't see enough of her in solo roles. Olivia Boisson was a lovely Prayer. I sometimes find her lacking in authority and that her presence does not project well, but she looked wonderful here. Baily Jones and Sara Adams both looked excellent as well in their solos.

I am, as someone said on another thread, Sarah-Lane-size (height-wise, at least, not width-wise). I tried to get a cushion at the opera recently and was refused on the basis of not being a child. I did not know about this rule.

I'm glad they are moving on to fulfilling, dynamic careers! It must be a huge transition. They are used to working demanding hours, but the switch from physical to mental demands (medical school!) must be huge.