ABT Fan

17 minutes ago, angelica said:

 

I, too. How many New York debuts that day? Sarah, Christine, Gillian, and the return of David to his home company. Is it Simkin's debut too? Please correct/add if I've got this wrong. I'm going by memory.

 

Thank you, David, for working so hard to come back to us. We have missed you greatly.

Yes, it's Simkin's (NY) debut. Like the others he made his official debut in Oman. Also, Copeland's.

dirac, I'm so glad you posted this as I just finished reading that article in the Times.

I was pretty dismayed by Ratmansky's answer that he doesn't see a problem. Those three female choreographers he sites may have the same talent that he, Wheeldon and Peck have, but he misses the point. Their work is not performed as frequently in as many (major) companies and given the same level of critical attention as the three men's. I think a lot of folks would agree that you cannot be considered a "major choreographer" without similar opportunities and exposure as these men. Also, Ratmansky's argument that Graham and Nijinka are still performed are both irrelevant and hollow examples. Graham is not a ballet choreographer and this is a discussion explicitly about classical ballet. And (seriously?), Nijinska is rarely performed nowadays. And, saying "she will have equal opportunities" after a female's talent is discovered or "arrives" demonstrates the problem! How can you "arrive" if you're not given a chance (or enough chances) to showcase and develop your work? How do you deem someone to have talent if they've never been given the chance to create something and eventually on a big stage? Was Peck considered to have "arrived" when his very first ballet was commissioned? (Having talent and great potential is not the same thing as having "arrived".) 

And, Wheeldon doesn't know why there is a problem? Really?

Hooray! They must have just posted it because I had checked this morning. Such great news.

There are still a lot of seats available for that performance on every level, but I expect that'll change drastically very soon.

vipa, I agree with you. Paris definitely gets fewer roles than other female soloists and I've often wondered why she was promoted (what did management have in mind). I've always been a fan of hers too but she's not really being utilized, or certainly not in the same way the other soloists are. Perhaps LadyBubbles you're right in that McKenzie never promoted her with the intention of giving her better roles, but as a reward for what she's already accomplished. And, I agree that given her bio she's probably in her late 30's as well. I imagine that not every promotion to soloist is with the intention or hope that that person will become a principal. Take Roman Zhurbin. He's a good dancer but a better actor (the best actor they have) so I assume (again, this is my assumption only) his promotion was recognition for that very important artistic contribution. But, I seriously doubt they would have envisioned him as a principal candidate with that promotion since he performs mainly character roles and some demi-soloist dance roles but no principal/lead dance roles. I am glad they were both promoted. I wish I saw Paris get a few more soloist roles, but since it looks like they're grooming several soloists for possible principal status, there's only so many opportunities to go around.

I agree that Herman Cornejo is exquisite in this role. Gorgeous, airy, light jumps and perfectly shaped arms. Just sublime.

Don Q casting for Espada and Mercedes on May 16 (Royal and Paris) and the eve of May 20 (Forster and Shevchenko) has now been posted:

http://www.abt.org/calendar.aspx?startdate=5/1/2017

And, Scott has now been cast in Mozartiana on July 6 and the matinee on July 8. http://www.abt.org/calendar.aspx?startdate=7/1/2017

Still eagerly awaiting Albrecht casting on the eve of May 27 with Murphy and all of the Purple von Rothbart's for the run of SL.

3 hours ago, California said:

In 2015, Cornejo was paired with Obratzova, which was sublime (one guest artist I'd love to see again). Copeland was paired with Simkin in 2016. Copeland seems to dance with Cornejo fairly often (Swan Lake in 2017), so Cornejo or Simkin might be the more likely pairing in 2018 than going back to Gorak - if R&J is on the Met schedule again.

I agree - Copeland and Cornejo would be a better match in R&J than Copeland and Gorak, or even Simkin. I didn't catch Gorak's debut as Romeo but I believe I remember reading mixed reviews. Though he seems to have stalled in casting and his acting and partnering still needs work, I believe he has great potential that I hope with the right coaching will be met. I see a beautiful Romeo in him someday and Lane would make an exquisite Juliet. Even though I hated The Tempest, they were gorgeous together and had such natural chemistry that I can only imagine how that'll translate into R&J. Trenary and Cirio would also make a very nice R&J. 

Usually the ballets they tour with earlier in the year are an indication of what is to come at the Met, though I don't know if that's always been the case. 

I forgot about that. Well, maybe he'll get another shot. 

Hopefully we'll see a debut or two (Lane, Trenary, Gorak) that'll lead into the Met season.

I wish they'd bring back Robbin's Antique Epigraphs. I feel like I'm the only person who likes that ballet.

Here's a clip of Lane's rehearsal in Oman. Murphy only has a clip from an earlier rehearsal in N.C., below. 

7 hours ago, bingham said:

 

Too bad, Stella can't be there. She is scheduled to dance Giselle at the Met.

 

With Gomes, too. Small sacrifice.

Congrats to all of the nominees!

This photo from Oman today has me even more excited for the Met season to start next month! Here's hoping Hallberg will reprise Albrecht.

3 hours ago, nanushka said:

 

Is the "he'll be cast for May 27" part of your hope/assumption as well, or has that in fact been indicated in some way?

That is my hope and assumption if all goes well for Hallberg in Oman next week. That date is still marked TBA on their website.

Murphy and Hallberg are doing Giselle in Oman next week, so assuming (and hoping) that goes well for him, he'll be cast for May 27.

1 hour ago, Josette said:

Herman Cornejo made Whipped Cream palatable.  What a great artist he is. 

 

That's the one I'm leaning towards!

I agree with California. That site is awful, not user friendly. They should make it easier to buy more than one ticket at a time. Just got my Lane/Simkin and Abrera/Gomes Giselle tickets. Hooray! Now to decide on which Whipped Cream cast (I wish Hallberg was in another performance other than the gala).

I saw this photo on Simkin's Instagram, and you can kind of see his gold costume here. I thought the shorts looked really short but given his position in the air I thought they just rode up. Guess not. But, the boy gets married? I'm sorry, but that's just weird.

https://www.instagram.com/p/BRrIZschJ5X/?taken-by=daniil&hl=en

Thank you Josette, I can't wait to read more of your review.

I wonder what she'll be doing here in NYC.

31 minutes ago, DeCoster said:

It seems that Ratmansky is fairly fond of Lane, as he created the role of Miranda in the Tempest on her and also cast her as Aurora and the Golden Cockerel.  I hope this bodes well for her promotion at the end of the season.

Agree. She's also done his Seven Sonatas and Clara in his Nutcracker.

And, since she's finally being given Giselle this season, I have my fingers crossed too.

Here's a little snippet of Sarah Lane rehearsing Princess Praline in her costume:

4 hours ago, its the mom said:

My concern for PA Ballet next year is the size of the company to support works like Jewels, T&V and the big classical ballets like Sleeping Beauty.  I am just not sure they have the numbers necessary, and if they end up using trainees from the school as fill-ins, it begins to compromise the quality of the shows.  

That's a very important assessment. 

How do they manage Nutcracker? I haven't seen Balanchine's production in years, so I can't recall how that adult cast compares with a SB.

I assume they'd use the dancers from PA II for these large productions (?). Their website doesn't list a number, but there are 12 dancers in the PA II photo. If that's the correct number, then that would make 54 dancers total (including 8 apprentices) between the two companies. 

Does anyone remember if PA has announced an intention to increase their number of dancers for next year?

16 minutes ago, California said:

 

Others here noted a lot of unsold seats for Corsaire, which opens this Thursday, and you have to think there's pressure all around to bring in more audiences next year with sure-things.

I just checked availability again, and I'm shocked at how many unsold seats there are. I really hope somehow that changes in the next day or so, though that seems unlikely.

2 hours ago, mussel said:

Looks like if NYCB and ABT had an offspring.

Ha! Couldn't agree more.

Although, on that note, I doubt they'll be able to import Andrew Veyette for T&V if they find themselves in a casting emergency like ABT once did, given the "history". 

This line up reads to me like Corella desperately needs a home-run season and so is stocking that with crowd-pleasers and plenty of Balanchine to appease Philly. After all of the (ugly) housekeeping and bad press, I hope it's successful.