bobbi

The program was (1) Raymonda, (2) Reunions and (3) Symphony in C, and it was a very nice evening at the ballet. Raymonda is one of my favorite ballets, and it was given deluxe treatment by Jeny Ringer and Peter Boal. Special kudos go to Peter Boal: his is just pure classical male dancing at its most elegant; bravua with no vulgarity. Having been watching him since he was a Nutcracker prince, I now treasure every one of PB's performances and last night was no exception. This was my first viewing of Reunions. The fun part was watching the up and comers: Seth Orza, Antonio Carmena, Amar Ramasar and Ashley Bouder. All are strong technicians with exciting stage presence. I'd recommend seeing this ballet just for its current cast. The choreography seemed a bit repetitous but you didn't care with these dancers; when the curtain came down I still wanted to see more of them. The evening's treat was yet another terrific performance of Symphony in C. It was the same cast as opening night and they again turned in a top notch performance. All previous posts about opening night's Bizet apply. One added note: I'm so glad that Carla Korbes is back dancing. She was one of the corp ladies in fourth movement, but again, my eye kept gravitating to her. Stay well and healthy CK!!

I didn't have my laptop for a few days, so I am just now posting about opening night. But, as it turns out, I am just "ditto-ing" all of the positive posts about it. It was a first-rate night both repertory wise and dancing wise. I was very pleasantly surprised that the ballets were so well rehearsed; I was afraid with all the upcoming new works that the Balanchine rep would get short shrift. But I was wrong!! Personal highlights for me: Jenny Ringer's exquisite legato work in Serenade; Janie Taylor's rhine maiden look in Serenade; Maria Kowrowsi's maturity and strong technique in second movement Bizet; and Wendy Whelan's amazing Violin Concerto. But those were just the highlights. . . . Major gripe: Why didn't the first-string critic of the New York Times review opening night of the New York City Ballet? I'm sure ABT's opening night will be on the front page of the Arts Section and reviewed by AK. Anyone want to take bets on that?

I made an typographical error in my post on applause. Balanchine's ballet is of course Symphony in C (not Sympathy in C). Sorry about that. (Just the subject of applause gets me rattled!)

This is one of my hobby horses I'm afraid. I find applause in the middle of a ballet egregious and mood-shattering. One of the posts on this tread mentioned applause in Giselle. For once, I would like to see/hear a second act of Giselle without any applause so the other-wordliness could shine through. As it is now, there is a knee-jerk reaction and loud applause when the Willies are crossing the stage in arabesques. Sigh, Sigh. Was anyone at ABT's City Center performances of Balanchine's Sympathy in C? At two of the Bizet performances Susan Jaffe was not only loudly applauded in the MIDDLE of the ballet, but flowers were tossed on stage in the MIDDLE OF THE BALLET!! I know the ABT audience is not familiar with this ballet, but really . . . . Perhaps we could go back to the days when Robbins insisted that an insert be put in the program for Goldberg Variations asking the audience to hold its applause until the end. And it worked!!! Oh that it could be done with today's audience. Maybe we could take a poll on inappropriate applause and if the poll numbers agree, we can "petition" the powers that be.

In my thirty-five years of ballet-going, I've always heard dancers (unlike opera singers) referred to by their first names. About 15 or so years ago a well-respected writer on dance did an article entitled "Call Her Farrell." Apparently balletomanes did not listen!! In fact, I find that when I use the last name of a dancer it's because I am either not familiar with or don't care for that person's dancing. To me then, calling a dancer by the first name is really a sign of affection and respect. Does anyone else notice which dancers they use first names and which they use last?

In my thirty-five years of ballet-going, I've always heard dancers (unlike opera singers) referred to by their first names. About 15 or so years ago a well-respected writer on dance did an article entitled "Call Her Farrell." Apparently balletomanes did not listen!! In fact, I find that when I use the last name of a dancer it's because I am either not familiar with or don't care for that person's dancing. To me then, calling a dancer by the first name is really a sign of affection and respect. Does anyone else notice which dancers they use first names and which they use last?

So glad to hear that Monotones was recently done by the Royal. There is hope then that some day the Royal may travel with it to the U.S. I very much agree that casting is a challenge for this ballet. But certainly ABT now has the depth of casting -- both for Monotones I and II -- for the men. Corella, Carreno, Malakahov and Stieffel would all do very well indeed. But who among ABT's women are strong enough to do the female lead? (I know ABT has good "turners," but sustained legato is quite another matter.) If my memory serves, the arabesques in Monotones (and one of its glories) seemed to go forever!! Any suggestions who would be strong enough?

Hi: I am looking forward to all the Balanchine ballets of course and to seeing them re-populated with a young crop of dancers, particularly Ashley Bouder, Janie Taylor and Carla Korbes (hope she's back) and also Antonio Carmena whose dancing exudes elegancy, musicality and joy. I would like to see all of the above in Who Cares!! .

Hi All: I am delighted that ABT has added some new Ashton to its rep and am very much looking forward to seeing The Dream and La Fille again. But what about Monotones? The last time I saw that ballet it was done either by the Royal and/or Jeoffrey and it seems ages ago. So that's my wish list ballet. Anybody know why that lovely work has seemingly disappeared from view?