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Well.... I can hardly believe what I saw tonight at Bocca's farewell to ABT.

It was one of the most amazing nights of my ballet lifetime. I had never seen Manon in full length, and I must say it kept getting better and better with each pas de deux when watching Bocca and Ferri together, and dancing for each other. I loved MacMillan's pas de deuxs! So full of passion and sweeping movements, while the corps choreography was pretty basic. But those pas de deuxs!!!! Oh my!!!

Bocca danced better than ever, better and more free and spontaneous with each variation. Tonight, he reminded me of some of the films I've seen of him when he was merely 20 years or so old. By the time the very last pas de deux happened, you could have heard a pin drop in the huge Met audience.

I had seen this last pas de deux once before but (I won't name names) it then looked kind of heavy physically to manage and to watch. But not tonight. With Bocca and Ferri, it was complete, very special magic. I'm sure I'll never see it danced this way again any time soon. Lived, loved, as they've never done before. That was the mood. These two incredibly full-hearted artists, both so physically big, souls so big *together* created something of complete abandon, unbelievable daring and freedom. Those thrown tours against the male partner's chest... I once closed my eyes in fear, wondering why they would dare be repeated two more times. Tonight, I couldn't wait to see another. Ferri was like a bird joyously flying into surrender and sureness.

Tonight's house was full of wonderful stars, performers from every walk of the Art world, not just the ballet world. If I started a "can you believe he/she was there list," I'd be writing all night... The intermissions were, for once, far too short!!! Seemed everybody who was anybody, or ever was anybody, to sigh over in artistic accomplishment, was at Bocca's farewell tonight. What a love fest!

The final bows all happened too quickly. Huge smiles and cheers rather than tears. Hearty hugs and fat kisses from dancers all over, past and present...male and female! Cynthia Gregory, Martine van Hamel, all those Latin boys(!), hunks from NYCB too! Many ballerinas we've seen over the years came on stage for the surprise. Showers of flowers. I'm still in tears as I write this. A truly great night.

I am also out of town and going through withdrawls. I caught Divert last week and was so dissapointed to miss Scheller. She is a gem. Wasn't Hyltin in that cast as well?

I was there last night. Sterling Hyltin keeps getting better and better. Gorgeous lines, endless quirky energy in the allegro parts. Bright, big jumps, beats! Lovely, risk-taking turns. This girl is a fearless mover! Did I say, and with so much energy?!!! In the adagio section, Hyltin becomes tender, delicately pretty with her long arm and leg lines. She's totally unpredictable, but I will predict she's going to be one of the best at NYCB gobbling up many leads along the way. The other leads, and corps, in Divert were all very good, and this ballet looked well rehearsed again.

Seems the first performances of NYCB rep ballets have become the new dress rehearsals (except the new semi-precious stoners, I can't call them Diamond Projects either....). I tend to catch the second and/or third performances of rep in preference to the first run throughs.

Such was the case with the return of Vienna Waltzes last night. It was beautifully fun. Gorgeous costumes and sets. But the orchestra was badly off, especially for the final Der Rosenkavalier section. My favorite section. Glam, glam and more glam. I wanted to blow a whistle, and say, please...start over Mr. Conductor.... please. The horns were a complete mess. Honkers Richard Strauss never intended and missed notes everywhere. Com'on!!!

Darci Kistler started off radiantly in this section, but quickly began having some costume-in-the-way problems, also a couple of Chuck Askegard (where are you, my partner?) problems. She lost her bright smile by the curtain bows.

The rest of the ballet did much better not having to cope with as challenging of costumes. Joaquin De Luz replacing Damain Woetzel in the Voices of Spring was dazzling and completely on top of his technical skills. His partnering with Miranda Weese needed more work, but this was a last minute male substitution. I also loved the very dashingly handsome, Nikolaj Hubbe in the first Woods section.

I had heard there was only one run through, in costume, for everyone, earlier in the day of Vienna Waltzes. That would explain a lot... Tisk, tisk. Especially considering that for the many brand new corps/apprentice dancers this one rehearsal was the first and only rehearsal of Vienna... avec long-trained gowns, wigs, ballroom partnering, a crowded stage, sets. They did a good enough job, but it was a bumpy ride that should get better as the ballet continues in performances this weekend and next week.

Pascale Van Kipnis returns tomorrow matinee in the first Wienerwald (Woods) section. She'll be back from an injury break, and I'm so looking forward to watching her special glowing charm in a part perfectly suited to her genuine, unfussy beauty.

Also thought Dvorovenko & Sarah Lane were both wonderful in Jeu. Dvorovenko was lovably zany, Lane's dancing was so pure it was breathtaking. I do think that ABT is doing the right thing by bringing her along slowly. As others have mentioned there are many outstanding young women in the corps who have been given chances at soloist roles in the past few seasons...I hope they will all continue to get chances and look forward to seeing them this season in roles like Giselle's peasant pas de deux, Moyna, Zulma , Swan Lake pas de trois, etc. The temptation to fast track Lane must be especially fierce because a tiny, perfectly classical ballerina would be a great partner for Cornejo, but I really hope they don't rush her. It's different at NYCB where a talented kid like Scheller can get a crack at Tchai Pas or Peck and Hyltin in Bizet or Friandises. These may be principal roles but the whole evening doesn't depend on them... Full length ballets make up the bulk of ABT's schedule, and lead parts in them can lay very heavy on the shoulders of an inexperienced dancer, no matter how talented.

....I don't know if she (Lane) had any featured roles on their tours. .....let's give management a break once in awhile. I think they're bringing Lane along nicely!

Dvorovenko is having one of her best seasons. She did very well in Terpsichore. I think she will be especially wonderful in Swan Lake and Le Corsaire too.

As for ABT's management and the development of it's corps dancers. No, I absolutely do not think they do much at all to bring corps dancers along nicely. And less so during tours. Corps dancers, if they're lucky, perform in a couple of gigs inbetween ABT seasons. That's how they nuture themselves!!!

I enjoy full length ballets too, but if Reyes is dancing the leads and also dancing soloist roles (Peasant pas, pas de trois)...

Remember all the press about Hamrich during City Center? What is she dancing this season at ABT???

I think ABT's management is far more concerned in bringing in "stars" to beef up interest in their rep, than bringing and maintaining a variety of rep that will show all their dancers well. Ballet Imperial, Symphony in C, Sleeping Beauty, quickly come to mind. And where are all the pas de deux specials we used to see? Don Q, Grand pas Classique, Diana & Acteon, Tchai pas. Why can a corps dancer be featured in Tchai pas at NYCB, but never at ABT??!!!

The truthful reality is that many dancers who are not principals at ABT are not dancing often enough. I think management doesn't need a break... The corps and soloist dancers do!!! If ABT's management brings along Lane, et al, any more "nicely," these dancers will be seen at their best elsewhere.

DefJef,

Bravo!!!

Leigh,

I'm reminded of how I tear up with joy every time I see the holiday tree growing in Balanchine's Nutcracker Act 1 leading to Clara's bed gliding in the soft snow. I think I'll always see it that way... as a beginner (as with many other amazing moments in ballets)... At least I hope I do. Some kisses are like that too...

DefJef,

First of all, you write so beautifully... It would be such fun to read your thoughts after seeing specific performances. Ballet Talkers are not at all only interested in professional craft knowledge, or professional writer voices. This website is full of a variety of ballet lovers just as passionate as you! We all learn from each other -- no tights, slippers and dance classes required!

>>I love to be wowed by the incredible poise and timing and

>>perfection and sitting there in stunned disbelief of how a ballet

>>might come together...

We do too!

I love all the quotes given here, but also keep thinking how a painting or sculpture or architecture are not at all like ballet which is a *living* art. It is flesh and bones, athleticism, soul and sex, as well as great structure and great imagination... when at its best. I'd think that the more one knows about what goes into creating a ballet and it's dancers, the deeper the overall appreciation would also be. A first kiss versus matured, deep passion...

A huge congratulations to the new apprentices!! I'm thrilled for all seven of them!! Still, awfully shocked not to see Erica Pereira's name among them... Perhaps she received another offer elsewhere that was too good to refuse... There is no doubt in my mind, after seeing the Workshop perfs, that Erica could dance anywhere and be a bright star!

He also says, "Monday night was a gala, and so it was perhaps not surprising that the casting was stronger." I AM surprised at such a statement, and think that in the future, all three workshop performances, not just two, should be reviewed.

Rockwell has proven many times he knows little about ballet. I'm often shocked at his arrogant but ignorant comments. But it is nice to see the Workshop being reviewed in the Times, though I agree with Farrell Fan that it seems only fair to review all three performances. SAB Workshop happens only once a year.

Erica, indeed, was a spitfire with endless energy, and had a gorgeous, sweet beauty about her. She looks about 13 years old, but I was told she's actually 18. Erica was my favorite dancer of the day, yesterday. Such a real talent and so delightful in such a very difficult ballet, Square Dance.

In the evening performance of the same ballet, David Prottas as the male lead was especially outstanding.

I agree with the earlier poster that Square Dance is one of the most technically difficult NYCB ballets for both female principals and corps. In general, it seemed beyond a good challenge for most of the SAB corps, who were also in the other two ballets (not easy) of the day, after two complete run throughs (full out) at Friday's dress/orchestra. Talk about trial by fire!

Please, if any of you attend this afternoon's performance - I would love to hear about it! I'm especially interested to read your impressions of Square Dance today. The young woman who is dancing the lead is an old friend.

Is your friend the petite female lead or the taller female with black hair? I was at orchestra/dress rehearsal yesterday and will attend both performances today, as I also have friends/family involved.

I had heard that except for the fabulously funny, Julio Bocca as the Joker, that Cranko's Jeu de Cartes was a too cute, much lacking ballet. I decided, last night, to see Jeu for myself. It is definitely a very silly ballet, but if you get a chance, don't miss Irina Dvorovenko in the female lead, and Sarah Lane in the second female lead. They are each absolutely charming and wonderful in their respective parts. Carlos Lopez as the Joker did a fine job, but I was mainly impressed with Irina and Sarah as the two lady/cards. I can't imagine any others succeeding as well.

Irina's a natural comedian, a real Lucy Ball on pointe. She is absolutely unrestrained in her goofy dancing and acting. And as for Sarah Lane, red is her color!! Sarah dances the charming, radiant ballerina of Diamonds, a little flighty, nutty herself, shocked to be among all the crazy male cards (very a la Allegra Kent in Robbins' The Concert avec butterflies). Jeu is a hoot, though the choreography is rather crude and unsophisticated. But both Irina and Sarah are extremely entertaining in their wacky, fun worlds.

So why isn't Sarah Lane a soloist yet?! The last time I saw her (and also in red!!) was in The Upper Room at City Center's ABT fall season. Sarah's role in that Twyla Tharp ballet was very technically challenging, requiring speedy turns, jumps, multiple partnerings, as well as quirky Twyla movements. Irina performed the same role only a couple of days before Sarah's debut of two rehearsals preparation. It's extremely odd to me thinking about why ABT might throw a talented corps dancer into a very demanding principal part, and then we don't see this dancer again for months and months. This new Jeu role came only(!) seven months after Sarah's debuts in the fall. And the fall debuts were five months after one of the most demanding ballerina debuts possible, Balanchine's Theme & Variations with Herman Cornejo last spring. Very odd...

Anyway...

Also watched Apollo with Carreno, Kent, Murphy, and Riccetto. Murphy and Riccetto were each strong and sure, beautiful muses. I thought Gillian Murphy was totally in her element here looking so comfortable with the style and demands of Balanchine's choreography. She can be overpowering... but I think she was most outstanding here because the two main leads were weak. I especially found Kent to be distracting with affectation rather than enhancing the sublime music.

Btw, this cast fixed one of the starbursts!

One of my favorite moments is the starburst image and I don’t think they did it well.

Yes, and I wondered if anyone else noticed it. Part/Wiles/Arbrera were the muses and I saw it from row C center of the dress circle. They appeared to be on a slight diagonal and were not aligned properly behind each other---they showed too much of the bodies and not enough of the legs.

I noticed it too, but much more so with the Herrera/Wiles/Riccetto cast when the starburst is facing horizontally. Riccetto's 90 degree arabesque lined up perfectly with Herrera's 45 degree one, leaving two legs in the starburst air instead of three. I assumed that was only because Riccetto was much shorter than both Wiles and Herrera.

These ladies also didn't time the starburst well when facing the audience. It seemed to me another height issue, one spoke too small for a good balance.

I only watched Apollo yesterday at ABT's matinee and evening performances.

In the afternoon, Hallberg was a perfect beauty to look at, but he never quite took off the ground from being a magnificently handsome but puppy-ish Apollo. Veronika Part, as his primary muse, was gorgeous. However, as thin as Veronika is now, Hallberg also had some problems partnering her in the pas de deux which took away from the spirit of the piece.

In the evening, Acosta started out a bold powerhouse and grew into a fine, firey Apollo. He is completely the opposite of Hallberg's quietier Apollo. Acosta explodes with power, then matures into a God with refinement, maturity and sensitivity yet never losing his fire. Acosta's muses, Herrera, Wiles, and Riccetto were all excellent, dancing fully with strength and feminine polish. I was especially impressed with Riccetto who, although too short for this cast, danced better than I expected after seeing her looking pretty flat in other roles. Here, the choreography shows off so well Riccetto's long arms and legs, and lovely lines. Perhaps it's time ABT added a smaller cast of Apollo to show off their abundantly talented, shorter men and ladies.

Just checked out Carlos Acosta's website. Interesting pictures... According to his bio, he is 33 years old.

Anyway, Acosta does have an extensive international performing schedule, and I'm sure collecting mucho buckos!! I'm happy for him!! I just want to see Acosta in NYC more often!!

Michael, Thanks for reminding me how much I hated that NYTimes' review of Irina Dvorovenko's Black Swan of last Monday's gala. He (the reviewer.... I'll not name) had some nerve... panning Irina without giving one reason for the pan, and the audience responded to Irina's dancing as if she was one of the best all night. I'm so glad Ballet Talk and Dance View Times are around... The NYTimes is pretty lame these days....

But as an artist, what could ABT offer him to compare with his Royal partnership with Tamara Rojo? Especially from a company that has a random partner policy.

I'm thinking...

Thought Roberto Bolle was Tamara Rojo's Romeo(?!)... though Tamara is also cast with Acosta at times.

I'm not too familiar with The Royal Ballet... but Acosta hasn't danced Corsaire there has he? Nor Apollo? Or Theme and Variations?

I think ABT has much to offer Acosta that RB does not, as in variety of rep and number of performances. As far as partners for Acosta at ABT.... Veronika Part... and Herrera seems to perk up around him... Sofiane Sylve might be very tempted... I can also think of a Cuban or two...

Ahhh, the Amazing Acosta. His Ali is a creature of passion & poetry, so unlike Corella who pulls out all the stops instead of listening to his inner deity.

I saw Acosta in ABT's Corsaire last night too. The audience screamed with joy. He certainly has found a new calmness in his passion and poetry, and his turns and landings from huge leaps were cleaner than ever. Yet Acosta hasn't lost one bit of his daring, full of testosterone, attacks. I *loved* him! Acosta covers the stage, vertically(!) and horizontally better than anybody I've ever seen.

Guess Acosta's dancing at the Royal Ballet has been good for him, bringing out a new elegance. Makes me wonder what changes might come about with Alexandra Ansanelli's dancing in a year or two...

And why hasn't ABT yet offered Acosta the highest paying contract to stay here??!!!

Ana Sophia Scheller was luxurious! Already imagining her in such roles as either of the Emeralds' leads.

The highlight of the evening for me was Herrera with Acosta in Apollo. They both were vibrant in their unique ways, and it was a thrill to see the ballet danced so fully.

If only the ballet Gods had also thrilled us by casting Other Dances with Vishneva and Bocca...

...I don't see Evenfall as a near-masterpiece, or even a great ballet....filled to the brim with delightful invention. But...the central couple is not the central focus. I wonder to what degree this is due to Miranda Weese's cool personality... but Damian shines in his variation...he can still turn on a dime, and his phrasing is fluid and unaffected and one of NYCB's consistent pleasures.

Red Violin is one of Martins' better ballets...

....Liebeslieder... It was a very different performance from Tuesday's... Kistler was off form, looking uncharacteristically weak on pointe, and Weese was dancing while remembering she still had another ballet ahead. But Nichols was more relaxed and she and Martins had a lovely rapport. ....Whelan and Hubbe...a passionate whirlwind that culminated the ballet most fittingly.

I didn't think Evenfall was a great ballet either, but it was fun...as you said, filled with invention. I'd see it again just for the corps.

Also am agreeing with you re Liebeslieder... just didn't want to go into it again at length... I didn't care much for Kistler Saturday or Tuesday... and I also didn't care much for Weese who is too cool for me... Wendy and Kyra were lovely...

Today was the day to see Brahms Schoenberg. Sylve was better than ever in Fourth Movement with a last minute sub of Chuck Askegard as her partner. Sylve was smoldering sexy and bold with technical treats. Chuck was the lucky last-minute partner for Sylve although he was only originally cast to partner Kyra in the First Movement! By Fourth Movement, Chuck was ready to have some extra fun.... and he did! They both did!!

Thanks also for your recent comments on Kyra Nichols and Tyler Angle in Liebeslieder and for bringing up the concern about having Reichlen dance three significant parts in one night.

Re Reichlen's night... I should have added that it's not just tiring to have been featured in all three ballets at one performance, but that what was probably exhausting for Reichlen was dancing them all during the day during rehearsals... plus whatever else she's learning / preparing to dance in days/weeks ahead, then repeating her major roles again for the audience that night. It was one long day for her when Reichlen debut'd in Monumentum.

I have to admit that was my plan - to see the Wheeldon and make an early night of it. Do you think the company anticipated that?

My plan too.

Thought Liebeslieder was lovely, but in need of a new ballerina or two and accompanying partners.

I skipped Red Violin.... Don't care much for Martins' donut holes...

Evenfall was fun. Lighting and costumes were beautifully used to complete this work. Wheeldon definitely uses the corps in new and interesting ways, moving them about the stage with much cleverness. Evenfall appealed much to the intellectual eye. However it, and especially the pas de deux, had little heart/soul. It left me a bit chilly, though I enjoyed watching it.

Jenifer Ringer looks to be dancing as well right now as she has in a very long time -- Bizet 1st movement and Brahms 2d were very strong in the last ten days. She's carrying her performances right now in a way independent of her partners, the way a principal dancer does, she's the one responsible for making the ballets work.

It's really much more of a team effort when there is partnering involved. If the conducting is too fast, and the partner is not that sure and strong, then there isn't much Jenifer could have done to make 2nd movement work on her own. Such was the case last Tuesday. It was a struggle nearly the entire time. Jenifer returned back to her gorgeous self on Wednesday because she had a seasoned partner, Nilas, and the conducting was sane. It drives me absolutely bonkers when conducters ruin a ballet because their heads are down in the pit totally unaware of the damage being caused, when they should have been to rehearsals to secure the tempi.

I agree with you that the costume for the male in 2nd movement hasn't looked very flattering on any of the guys in a long time. It really needs a tallish, handsome guy with long legs and a smallish behind... It's also such a drab gray color... so the guy needs to be strikingly handsome.... Can we borrow Hallberg this weekend???!!!

I'm already looking forward to seeing Tyler again in this role, in a couple of years, when he can relax and enjoy himself more.

And when he looks a little more grown up. Tyler looked like a schoolboy in love with his baby sitter, and Miranda like his babysitter joking with him.

I agree re Tyler being the young lover... though I didn't see much joking from Miranda. She seemed somewhat stern having to dance with the new kid who could mess up the partnering all too easily, but thankfully didn't.

I thought Kistler in Liebeslieder now looks like a woman with money, who purchased her younger lover and/or escort for the evening event. There was no love there...

Last night, Tess Reichlen looked a bit tired, dancing in every ballet, and I don't mean corps parts. I'm already looking forward to seeing Tess in Monumentum again this weekend. She's on the right track. Lyrical, beautiful, graceful, spiritual, and yet capable of the quirky off balance moves I wasn't yet expecting until she was more comfortable in this ballet. In Brahms First Movement, a fairly new role for her, Tess was a gorgeous compliment to the music and technique required. Her grand (huge) jetes, full of air with those long, long leggy lines... the flowing balances in arabesques that only the music interrupts. Oh my, how effortless they all look on Tess! Amazing talent, that girl.

Thought Kyra last night in First Movement Brahms was not in the best form, looking a bit too old and out of shape for a part that technical. But her musicality, her expressive arms, her womanly joy were lovely to see again.

Jenifer Ringer was better than ever in the Second Movement. She is a youthful Liz Taylor on pointe with lots of lush, sensual style and sparkling quality to her interpretation along with solid, strong turns, jumps, lifts that sweep this way and that with Nilas partnering, turns that lead into other turns with little preparation. Just wonderful, this choreography, never losing the romance. Ringer looks totally in love with this role, and it loves her.

I also enjoyed Mearns in the Fourth Movement of Brahms though she has a long way to go. Mearns does bring a glamorously beautiful face and fresh quality to everything she dances. Ramasar was selling it as hard as he could as her partner, but the necessary bravura technique was barely there for him.

Millipied's performance in In Vento, the other night, was some of the finest dancing I have ever seen from him. Like an animal let out of a cage. I didn't care as much for the ballet last night though everyone danced well... especially Tyler Peck, plus the music was as divine as I first heard it. Last night, In Vento started reminding me too much of Agon, and Cage and Forsythe.... And haven't those William Ivy Long-like outfits for the ladies been done enough yet?!

[

Balanchine met Brahms twice tonight...

I was there too. Liebeslieder Walzer, so beautiful, danced well by all, but especially by Kyra Nichols. She's the real thing. While the others were having a great time, performing/acting, Kyra seemed to *be* the role. She truly is the music. Actually, Kyra's beyond brilliant musicality and phrasing at this point in her career. Kyra's loving every minute of her present world it seems, and it reveals itself through her dancing of Liebeslieder. In this ballet, she's the half of what looks like a happily married couple with Nilas Martins who partnered superbly. This is not a marriage that has gone stale or showy in its successes. Its loving runs deeply decent and sincere while also being playful. Nilas is Kyra's generous anchor. She is warm, feminine, mature, filled with joy. Not a garish bone in Kyra's body. Nor is she over baked which I thought a couple of dancers last night were...a bit.

It was also a special debut night for Tyler Angle in Liebeslieder replacing Marcovici at pretty near last minute. If there was ever a perfect role for Tyler!! Elegant, handsome, romantic. A young prince with a strong, lean, muscular build, and refined technique. I'm already looking forward to seeing Tyler again in this role, in a couple of years, when he can relax and enjoy himself more. This is complex, finely detailed choreography, and Tyler handled it all in perfect style. My best compliment, he belongs there.

Brahms-Shoenberg Quartet was conducted as if overtime was soon approaching. First and Second movements were extremely rushed nearly ruining the gorgeous swoopiness of the romantic music and choreography. The Intermezzo, led by Jenifer Ringer and Albert Evans was the highlight though the fast tempi made it look uncomfortable and rocky. Yvonne Borree and Andrew Veyette in the Third Movement were completely mismatched. Veyette is technically strong, but unpolished in his stage presence. He is a rough, raw talent who easily throws himself into difficult jumps and turns. He's tall, and a competent partner. Borree does not belong in this lush, romantic ballet. She is pretty, but stiff at best.

While I wanted to see Sofiane Sylve in the Fourth Movement Rondo, I welcomed the chance to see Wendy Whelan in a role I've not seen her dance for quite awhile. She and Daiman Woetzel have a great partnership, and they were such fun camping and sexing it up.... but overall it was pretty weak on Wendy's part in the technical areas. She's not muscular enough these days for that sort of demanding role. Damian however remains in fabulous form.