NinaFan

10 minutes ago, nysusan said:

Meanwhile, it was such a pleasure to see multiple performances of Monotones danced so well in a small, intimate theater. My only quibble was that on opening night Ryoko Sadoshima was extremely wobbly in Monotones 1. She was better at subsequent performances but to me she was always the weak link. I can imagine how difficult those long sustained balances are but the rest of her M1 cast - Samantha Benoit and Thomas Giugovaz  as well as the entire second cast - Kate Honea, Katelyn May and Nicolas Moreno - performed them beautifully. I especially liked the 2nd cast and wish they had performed it more often.

 

Goodness, she must have been pretty wobbly on opening night if what I saw was an improvement.   I found her to be very wobbly Saturday afternoon.   No doubt that the balances are difficult, but it did take away from the performance.   Everything else was a pure joy to watch.

I'm glad I'm not the only one still waiting for subscription tickets!

21 hours ago, cobweb said:

ITA with NinaFan about today’s matinee, especially Monotones, which I found magnetic and moving. I am enjoying these performances so much that I am eyeing airfare to Sarasota.  I saw Les Patineurs once before, many years ago as a teenager. Can’t remember where - perhaps on one of the occasional trips to NYC, or more likely, some touring company that came through my area circa 1980. That one long-ago performance left an indelible impression. I was looking very forward to today’s excerpt and it did not disappoint except for being way too short to satisfy my eagerness. When the three dancers ran offstage I was hoping this was just a prelude to solo variations... but alas! So maybe to Sarasota to see the full length in December. Maybe. Meanwhile thoroughly enjoying the clean clean style and thorough preparation these dancers show, along with a fascinating rep that is almost entirely unknown to me. On to tonight!

ETA OT: racking my memory and a quick internet search indicates it must have been the Joffrey I saw doing that memorable Les Patineurs so many years ago. I saw them on tour in my out-of-the-way area, and I wore my Joffrey t-shirt till it fell apart. 

I was also hoping for more when they finished and ran off stage.  ABT revived Les Patineurs a while back with a young Angel Corella.  Angel really looked as though he was skating on ice with his gorgeous spins. 

I ran into a couple of friends at the performance yesterday, and one of them also remembered Les Patineurs at ABT.  She said that Angel AND Stiefel both danced the role.    While it could have been the Joffrey, could it have been ABT that you remember?  

Just got back from today’s matinee.   It was a wonderful performance, especially Monotones and the third act which included Gomes in the very last pdd.  What a joy to see Marcelo.  It’s clear that New York audiences miss him!

3 hours ago, cobweb said:

No reports? 

I was there last night. This is my first viewing of Sarasota Ballet. I thought Monotones I and II was lovely. I've only seen this piece once before and didn't appreciate it; here, it was luminous and poetic. Only problem was one of the women in the first section was very wobbly; in this piece that is very exposed and distracting. However, I loved the woman in the second part (Victoria Hulland?). I also enjoyed the Wheeldon piece, There Where She Loved. Never seen this before and found it intriguing, with lots of distinctive solo sections. Loved the music and singing. As I am new to the dancers, it's hard to single any out, but I thought several of them were wonderful, especially two tall women. Clean, appealing, unmannered dancing overall, and the program looked very well prepared and rehearsed. The one sour note... Symphony of Sorrows... overwrought portentous repetitive. From the "Acrobatic Lifting" school of modern choreography, with hunky barechested men and limp, depressed women. No thanks. 

Thanks for the review!   I saw Sarasota Ballet a few years ago, and they were lovely.  I'm looking forward to Monotones I and II and the Wheeldon ballet.   I only have the other program with pdd for the third act. 

20 hours ago, CTballetfan said:

I also have still not received my subscription tickets in the mail. Has anyone here received them?

No, still waiting.

23 hours ago, Leah said:

I just got my De Luz farewell ticket and one of the single tickets I’ve ordered in the mail. It’s bizarre that they didn’t send subscriptions first, especially as I would really like to exchange a see the music performance. 

This happens every year.  Like you,  I received my single tickets yesterday, but have still not received my subscription tickets. 

16 hours ago, fondoffouettes said:

Ha. Yes! I agree the Bright Stream is delightful, though I remember feeling that it really fell flat with the wrong cast (I can’t remember which cast that was).

Sure, that's true about lackluster casts making or breaking any performance.   I was lucky as I had great casts both years they performed the ballet. 

13 hours ago, CharlieH said:

I believe that the sets and costumes belong to the Latvian National Ballet. 

Ah, I had no idea!

Yes to Bright Stream!  Why on earth hasn't ABT brought that ballet back?  It's so much fun! 

I am so happy to hear that Kathryn has responded well to thyroid treatment and is back to dancing weight!  She looks gorgeous in the photo.  I was a huge fan when she was at NYCB.    Perhaps the interim team or new AD will manage to find a place for at NYCB now that she appears to have her condition and weight under control.  Just because she was turned away a few years ago doesn't mean it has to be permanent. 

30 minutes ago, California said:

I guess Glass is an acquired taste - I'm a big fan and the commissioned score for Upper Room is distinctively different from the excerpts Robbins choose from other works for Glass Pieces. Still, music by Glass is instantly recognizable after all these years. I love Upper Room and look forward to seeing it twice.

I agree that the scores for Glass Pieces and In the Upper Room are not the same.  Like you, I'm a huge fan of both ballets and can never get enough of either of them.  The only thing I'd say they have in common is the fantastic energy level which gets increasingly more exciting  as the dancing becomes one with the music. 

21 hours ago, Helene said:

I'm referring to standard subscriptions, where you are guaranteed your seat. 

With "Make Your Own," you are only entitled to the price break and priority processing before single tickets go on sale, but no guarantee for any performance or seat in any specific section.  That's the trade-off you make, and you, rightly, get what you get.  It's not really a subscription, despite the title, although they can extend subscriber benefits to people who buy bulk in advance, which is really what "Make Your Own" is.

I guess that's really true.  I've had the same NYCB subscription for years.  I came close to changing our subscription this year as I preferred a different series.  In the end, since they could not promise me the same seats I decided exchanging tickets worked best for me.   Since programming has already been changed, it's just as well I left things alone.   As with ABT, most of our tickets are purchased as single tickets anyway.

3 hours ago, nanushka said:

If I recall correctly, I think it may be before he gets the crown (and even perhaps before his final big jumping solo). The pasty chef comes on again and gives him the bowl that he'd been whipping back in Act I.

Yes, it was very funny.  He had this huge bowl and just couldn't get enough of the whipped cream!

Anyone still undecided about going to Sarasota Ballet's Program 2 - Saturday performances at the Joyce (with Gomes guesting) had better act fast.   Orchestra is sold out for both performances, but there are some Loge tickets (side) still available.

I enjoyed Whipped Cream last year, and again this year.   I saw the Simkin and Shayer casts this year.  No, the dancing is not exceptional, but there are some nice moments, especially with The Boy and Princess Praline.  And the dancing whipped cream at the end of the first act is lovely.   The sets are clever, the costumes ingenious, and the ballet itself is fun and adorable.  This very light comical ballet was a nice way to close out the MET season.  

A little girl sitting nearby in a tutu and ballet shoes really seemed to love it.  Before the ballet started her dad even walked her over to look at the orchestra.  During the  performance another little girl screamed out something that sounded like “ I WANT A CANDY CANE!” at which point the audience laughed. 

The ballet was well received by the audience, which included many children.  As I also said about Harlequinade, this may be an introduction to ballet for some of these kids.

I’ve had a very busy ABT season (minus the Firebird/Afterite week which I spent that at the Koch).  So now for a small  break with a smattering of ballet (like Sarasota Ballet next month) before NYCB’s fall season in September!

The only time I saw ABT dance La Sonnambula was a pre-recorded performance on PBS with Baryshnikov and when he was still AD.  I don't recall ever seeing ABT dance La Sonnamula in performance. As far as Prodigal Son, Apollo, Mozartiana etc, I would much prefer to watch NYCB where Balanchine is performed with the solid integrity it deserves.

12 hours ago, lostatthemet said:

I was there tonight (Monday, July 2).  It was a wonderful cast!  Stella, Sarah, Simkin, Forster.  Plus Hoven dancing his heart out in that big white sugar costume.   This was the first (ABT) ballet I've seen all season where none of the cast members set my teeth on edge.  It was such a relief and a pleasure.  

Thanks for the review.  I’m looking forward to seeing the same Simkin Whipped Cream cast, as well as Shayer and cast.  What a shame that you had such a horrible season at ABT.  I'm not sure what set your teeth on edge, but I’ve had a very exciting season attending the full length ballets with multiple casts.   However I did skip the Firebird/Afterite performances.

What a shame that the eight week spring season has to come to an end.  I wish they could perform all year long alternating ballet and opera as is often done in Europe and elsewhere.

On 6/30/2018 at 8:01 PM, canbelto said:

I was at three performances this week: Boylston/Simkin, Shevchenko/Whiteside, and Lane/Cornejo. A comparison of the three casts here:

https://humbledandoverwhelmed.blogspot.com/2018/06/abts-don-quixotes-chart-path-for-abts.html

I love your detailed review of the the three Don Q's.  I was at these performances as well, and agree with everything you wrote!

18 minutes ago, ABT Fan said:

Whiteside is very good in non-story ballets, and at times, even excellent; he can dance, and has very good technique. But, after seeing him with Part in SL a few years, and being so utterly bored and disappointed with his interpretation, I vowed never again. I've missed out seeing some women I'd like to see as a result, but I can't come to terms with paying good money for a good seat to see someone I really don't want to see. 

 

I had trouble seeing Part dance Swan Lake with anyone other than Gomes, so I do understand.  But Whiteside did an excellent job in Swan Lake with Shevchenko this year.  You may want to give him another try rather than missing out of on some pretty exciting debuts/performances.

57 minutes ago, fondoffouettes said:

I've seen some very good performances from Whiteside. I wouldn't seek him out, but I wouldn't avoid him either, if he's paired with a ballerina I like. He's probably best in comedic roles, like Espada and Colas (I didn't see his Harlequin).

I agree.   I saw Whiteside in several ballets this year, and he danced and partnered well, just as he has done in previous years. 

I saw four Don Q’s this week (Boylson/Simkin, Shevchenko/Whiteside, Boylston/Simkin, and Lane/Cornejo).   All were excellent and well danced.  My favorite was Monday night’s performance with Boylston/Simkin, however all of the Kitri’s and Basilio’s  were sensational. 

We had some pretty great supporting casts which have already been mentioned in previous posts.   Gabe Shayer was the Lead Gypsy at all four of our performances and he danced brilliantly.  It just breaks my heart that he wasn’t promoted to soloist this season.  I also wanted to give a particular shout out for Luis Ribagorda who made an impressive Gamache.  He was extremely funny, and must have had a ball playing Gamache opposite his wife on Saturday.

3 hours ago, abatt said:

I don't agree with the premise that the resignation implies, even vaguely,  that Gomes was guilty of wrongdoing.  It is equally as likely that he became so angry and his pride was so hurt by the way ABT dealt with him that he quit in disgust and as a protest of his treatment.  Also, while many Americans live by the motto of sue, sue, sue, that is not necessarily true of someone who  grew up in another culture.  Instead of a protracted legal battle, he decided to walk away and move on to other things for the few remaining years he had left to be a ballet dancer. 

1 hour ago, abatt said:

I agree. I'm sure they would have rather this incident never happened. But the Board of Directors felt the need to give it the full blown investigation treatment once they had information regarding a potential claim  in order to cover their butts from potential legal liability. 

I agree with abatt.  If it was me, and I was innocent, I would probably get so angry that I would just quit on the spot.  And since nothing seems to have come of this, I believe that’s just what happened.

Sure, I understand that ABT felt it was necessary to investigate the “allegation”.  But what l can’t understand is why they announced it to the world before they knew if the “allegation” was true.

Wonderful news and well deserved.  Congrats to all of them. 

But can this be all of the promotions?  In other words, are they releasing the promotions for men in a separate announcement???????

1 minute ago, Ilovegiselle said:

no principal promotion this year?  also no men's promotion?  I know some people in the forum were hoping for Gabe.

Exactly.  Gabe is well overdue for promotion to soloist!

26 minutes ago, abatt said:

I received an email from NYCB with the program info for the DeLuz farewell.  The program is:

Theme and Variations
Concerto Barocco
A Suite of Dances
Todo Buenos Aires

"Joaquin is scheduled to appear in Theme and Variations, A Suite of Dances, and Todo Buenos Aires."

I just got it too.  Members and subscribers got advance notice to purchase tickets via mail or fax with the additional information below. 

2 hours ago, fondoffouettes said:

I agree that Lane can be inconsistent, and before her promotion, I would have agreed that she could be a bit one-note. But following her revelatory Giselle and then her promotion, I feel as if she's shown so much depth in her interpretations. I think she's one of the finest actors in the company. I don't think she ever got to show this side of herself as an artist when she was dancing the countless peasant pas de deux and trois, Princess Florines, etc. 

I agree about Lane and her depth as an actor.  Like others who stagnated at ABT, Lane was not able to show off her dramatic skills until she performed her first Giselle last year.  While they are completely different dancers, I feel the same way about Shevchenko who was also stuck in the same type roles for years.  Flower girls etc. cannot even begin to show off the complete artistry of a dancer.