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Not so much a part of his "deal," as it was a pas Daniil knows well and has done several times before arriving at ABT. ABT might have felt there was less risk putting the new kid/star out there in this -- rather than something brand new for his first few performances. They (Sarah and Daniil), I have no doubt, would much rather be dancing Tchai pas de deux or the demis of Allegro Brilliante while in DC. I'm thrilled that they are cast for SL's trois. Flames is an old, uninteresting pas, except for its tricks. The male role has many choices of tricks to do, or not, depending on the male's comfort level and preference of right vs. left side. Not so for the ballerina's choreography. Sarah is technical, but tricks, for tricks sake alone, are not her thing. Flames' joy in today's world is seeing exceptional talent on young, beautiful, hungry dancers that look great together and can put new sparkle on ____ choreography. Sarah and Daniil have a lovely chemistry and comfort together, and they compliment each other height-wise, width-wise, age-wise, and physical beauty-wise. ABT could have given Flames to Irina and Max (ha!) instead of Allegro, Gomes or Hallberg and Wiles or Murphy instead of Tchai pas.... but it doesn't take a genius to see that the newest talents are what sells Flames. I for one would rather not see this pas ever again on anybody. Flames is burnt to a crisp and needs to go where old coals go.

Kaufman's review today in the Washington Post resonates with my opinion of opening night, and I loved her fun comments about Daniil Simkin.

>>Saddest are the regrets for Robbins performances, and especially dancers, >>not seen or not remembered. Gelsey K., Helgi T., E. Villella (dancing film), Kyra Nichols, Helene A., Peter Boal, Wendy Whelan... In Fancy Free, I missed ABT's fabulous men: JM Carreno, A. Corella, H. Cornejo who owned Fancy Free in my opinion as compared to NYCB. Kept thinking that if a documentary could cover Jerry's life and works in 2 hours, that it would take at least 8 hours to begin Mr. B's..... Where is that documentary??!!!

I spoke with Tanny at NYCB many times, also during performances at the Met when the Kirov visited. My best friend got Tanny (and her friend) tickets to see The Lion King, a b'way show she said she wanted very much to see. Heard that she loved it. At NYCB this season, there is a most beautiful picture of Tanny in Nutcracker, the Dewdrop role. I saw it while I was at the theater last night. She certainly was gorgeous and very photogenic.

I'll add my bravas too for Jeanette Delgado in Square Dance. Fantastic! Strong as heck technically, but also warmly womanly with a bright, big smile. She was the star of the evening for me, as she made everything look so easy and fun, while most of the (many) ballet dancers in the audience knew just how difficult her part was. Btw, Jeanette also danced the (jumper lead) third movement of Sym in C, just as fully. Wow! For me, Janie Taylor's Square Dance at NYCB was my ideal. She's done this wonderful ballet approximately 2-3 times, I saw 2. However, J. Delgado gave an amazing, new flavor with her bold style. I'd run to see either lead again, any night. Jeremy Cox was also very good, and interesting, but he took many liberties with the choreography in his solo of Square Dance that I didn't like. Must point out Michael Sean Breeden in demi-soloist parts of Square Dance and Sym in C. I had always admired him and his dancing while he attended SAB. Still an elegant, poetic, handsome dancer with polish, I was so happy to see that Michael was getting a good share of demanding Balanchine ballets to learn/dance/enjoy!

Kondaurova is an exotic beauty, "Cleopatra-like" with red hair and a cat-like, mysterious, sensual face, but sometimes she does not exude the strongest overall presence/personality with her dancing. I found her to be more mysterious and beautiful to look at, than commanding on stage this past season at City Center, except when she became a fun, sassy, bold, sensuously sexy woman in Rubies. As to why the Mariinsky would put Somova into a part like Kitri... although it is most definitely not her natural role?.... Well, Balanchine often put dancers into parts, and created parts for dancers he wanted to improve by the choreography. Classes and rehearsals aren't often enough, and certainly not as much fun as dancing, and gaining performance strengths, while on stage. Kitri is one of the most difficult female roles (in the full-length version), technically. It's all powerhouse stuff with a bold personality required on top. Kitri should make Somova stonger in her jumps, and turns, if she dances enough of them. Personality is another story... needing lots of coaching for sure.... I'm reminded of Mimi Paul who was a poor jumper until Balanchine created Valse Fantasie for her.

Somova was definitely a miscasting for Kitri. I wouldn't want to see Maria Kowrowski or Wendy Whelan in the role either... Tereshkina should be lots of fire and fun!

>Finger turns are 98% her The ballerina controls how much momentum is used, but the guy maintains the momentum, controls the balance of the turn, and the ending of it especially when multiple turns are done. He doesn't crank her around during the turns, unless a problem arises, but without the proper alignment and momentum, the ballerina could not execute these turns by herself.

>"You should be able to do this without him! >Forget he's there! Don't depend on him, depend >on yourself!" Depends on the pas de deux / ballet. And, definitely, a good partnership depends on trust, strength, and good communication. Jumping into a lift with a guy is timed very differently than if a ballerina would be jumping it herself. Too slow, too deep a plie and you'd be a ton of bricks to lift. Too quick, too soon a prep (plie) and the partner could not support you properly, he probably would miss your fast jump entirely until you've gotten yourself partly in the air, but not fully. Turns. Some need a solid, hands-on, eg, finger turns (arm above head) as do executing many multiples (eg, Mr. B's Nutcracker pas female ends in a backbend while still in passe, and most of the famous, big pas deux partnered turns where the ballerinas does more than 3 or 4 turns). Fish dives can be very dangerous if done from an air lift (eg, DonQ) from an arabesque above the guy's head flipping into one or two tours with legs together into the guy's arms and onto his supporting bent leg (into the fish). I haven't seen a pair do double tours lately, and I suspect that's because they are deadly if miscalculated, breaking a rib or two at the least. But when it works, it's a very exciting addition. The best partners I've danced with have all been very strong (physically) and very experienced in partnering skills. It takes time and fine training, as with everything else.

A great loss. The ballet world will miss him very much.

>...I'm beginning to understand what might happen between >the SAB years and the Company years. SAB teaches dancers how to dance a class and, at times, adding a variation or two while in a classroom environment. Company experience should (and often does) teaches dancers how to move/dance on stage. Rehearsal time permitting, I rarely think that SAB performs anything better at their annual workshops than NYCB does. Only difference is that SAB dancers are fierce with competition, hoping to get a job at NYCB so the one or two performances they get at the annual workshop can be a do or die situation. Unlike Macaulay, I did not like, at all, how Concerto Barocco was coached and performed at the last SAB workshop. Hard-hitting attacks were eye catching but had nothing to do with the refined, beautiful music. >...Often even if the original dancer is coaching the role s/he > can't impart to the next dancer something that was second > nature - that's why casting matters so much. Sometimes >the best substitute is for the new dancer to bring his/her >own flavor and quirks to the role. All very true. Still coaching could, and should, further bring out an individual dancer's personal flavor and "quirks," improving their different approaches to different performances. Many dancers have a strong sense of who they are and what they bring to a role. Most others need some guidance as to what is expected of them. >Who is responsible for NYCB's casting -- and for dancers >in the cast of a particular ballet -- at NYCB? They have ballet mistresses and masters who have input.... but ultimately Peter Martins is responsible.

>Something's going on in MCB that's urging dancers >on to develop -- indeed to seize -- >the very qualitise that Macaulay likes. I think MCB is dancing the way Eddie is coaching them to dance. I think he is also importing like crazy the dancers who dance the way Eddie likes. I have tickets for every performance of MCB's upcoming visit to City Center, so I'll soon get a very good impression of what's going on there.

I can see how Macaulay's comments led to some confusion... I thought it was an unfinished article.... For starters, Macaulay has his favorite dancers, and I'll just make one comment re that. Macaulay loved Hallberg (ABT) in Ballo this past October. So did I--- But ABT does not (on the whole) dance Ballo better than NYCB does/did when first created. Macaulay also (I recall) loved Bouder (NYCB) in the female lead of Ballo, and Scheller (NYCB) in the same lead, and also DeLuz (import to NYCB) in the male lead. The corps/soloists of ABT's Ballo seemed more mature. And, yes, NYCB has a young, lighter, less classically trained approach. One was not better than the other, just different. So was one company better than the other in Ballo? I don't think so. Again, just different. And at this point the ballerinas of NYCB have danced the leads better. Ballo is not about the guy. He dances much less than the female lead. Loving Hallberg does not justify saying that the entire ballet of Ballo was better danced by ABT. Not one female lead yet, at ABT, has come close to the excitement, brightness, cleanliness and risk-taking fun, attack that Bouder brings/brought to the Ballo lead. Ditto Merrill Ashley, or Scheller. I also saw San Fran's 4Ts. Some casting (imports) of the leads (Sylve/Domitro) were much more excellent in comparison to NYCB's recent casting of leads after (import) Sylve was exported from NYCB. I could go into other examples too..... but.... I'll let others have a chance. The point I'm trying to make is that ABT and other major companies do have a lot of very fine imports who dance anything brilliantly, while NYCB has only two or three home-grown beauties for all the major Balanchine leads. Macaulay should have addressed that.... And why is NYCB holding on to senior dancers that have long stopped dancing well.... Paying them principal/soloist salaries while the import possibilities go elsewhere... That's why you can see Balanchine ballets danced well by some, even many, other dancers in other companies, while not at NYCB.

The dismissive "whatever" bugs me as does the "no prob" Bart mentioned above.

I'm celebrating that Suite #3 and Divert #15 will be back!! Also Chaconne and Stravinsky Violin Concerto (casting pending). I'd very much like to see Mearns give Chaconne a try. For a *Gala* there is far too much Martins, unless this season we are celebrating Peter Martins' legacy for some reason.

I think Peter's Gala (not the first time) is disrespectful to Balanchine, and I will not be there.

Because Yuriko has nice lines, and nice jumps. She's leggy and lean, and I think ABT saw that Yuriko has a delicacy, a clean, pretty look about her that would work in Balanchine ballets. I really liked her in the Brief Fling piece this season. Also liked Yuriko in Upper Room - done a year or so ago where she broke out of the clean, pretty mold. I think Yuriko can do Balanchine but she's, so far, much more comfortable in other ballets. Sarah Lane is very special. I'll just leave it at that. Theme is about the hardest ballerina role I know of in the female Balanchine rep. Flames was also the hardest ballet tied with Theme at City Center this season but in a different, circusy way. I can't wait to see Sarah dance many other parts including Ballo where she will be a bit more comfortable. To balance this out a little.... I think both of these ladies have a bit of stiffness but that's more because of their *classically,* correct training and nervousness in huge roles. One dancer is a bit more stiff than the other, but that's a personal style. Yuriko is a cooler dancer than Sarah (eg, Sleeping Beauty, goat of Sylvia, Amour -- all require an actress style). Theme, Flames, Ballo were huge steps up for these ladies having been soloists, not principals, in the white tutu act of Bayadere, etc. I forgot to mention that both these ladies were gorgeous as soloists in Bayadere at the Met. Sarah turning one triple after another on top of her radiant, lovely, lyrical qualities. Yuriko as the jumper girl in Bayadere (the 2nd solo) with beautiful lines was effortless in her lyrical, classically languaged movements while flying across the stage. I think its wonderful and interesting to see Balanchine ballets done on classically trained dancers. But it's always going to be different from NYCB. Classical dancers are not used to Balanchine's training, Balanchine's ballets on a daily basis, and a style that is more out of the box. It doesn't surprise me one bit that Theme was a first at ABT because it does have a formal, classical style in comparison to something like Ballo or Allegro Brilliante (coming soon!!!). I love all these ballets, and am so happy to see them train young dancers to dance better. I can't even look at NYCB's opening Gala night program this year without crying.... because there is so little Balanchine. I think ABT's on the right track when often NYCB is not these days.

Forgot to say a bit about Eric Tamm. It's early on in his soloist/principal roles, but he has big, nice lines and he moves very well. He was also a very attentive partner. It may have been the tempi being a tad too fast, but Eric just needed to tighten up some of his ways of approaching steps.... have more command on stage.... but only now and then... and I think that'll come in time with some experience especially with difficult Balanchine ballets. He'll probably be one of the guys in Allegro Brilliante. I can't wait to see how they cast the men of that wonderful ballet in the Spring.

Sunday Nov. 2 matinee Ballo: I agree with vipa that this is just not a good ballet for Yuriko. She was a bit too stiff and chilly. She doesn't seem to enjoy the risk taking and thrilling/speed challenges of Balanchine's choreography. To her credit, she did a good job, and she did dance it much better than last year, but it all seems forced rather than joyous. Yuriko's jumps are quite breathtaking and light if a bit slow to arrive on the beat.... Then again, the tempi was faster for Yuriko and Eric Tamm than it had been for Wiles and Hallberg. Hmm... I was surprised by that.... And then came Sarah with Daniil in Flames. I really dislike this circus of a pas, but both dancers were in top form today; better than during the debut... We already talked about why.... Some ballets do not improve but are harmed by overworking them with back-to-back drills. Daniil's turns and jumps today seemed more dangerously fun than last time. He had an extra sparkle and pride today, as did Sarah. Sarah also managed a controlled 4 pirouettes!!!! where the other night she didn't quite make the triple. This is ABT's future! I cannot wait to see what's next. I hope ABT will not wait too long to give these very fine dancers every opportunity they deserve. I couldn't watch anything else after that radiantly youthful, joyful, hard-as-hell technique pas done with "delicious" razzle- dazzle quality.

>it's a wonder that anyone in the city performs at all. >there are no perfect performances. >I'd wager that if you asked the performer, he would not say that he gave a perfect performance. Outside of Havana, NYC audiences are also the most appreciative (applause/screaming) when anything is good. They generally have a fairly good understanding of what they are watching. I also strongly agree with you that performers rarely love their performances.... some nights are just better than others. You're absolutely correct in saying nothing is ever perfect. Except perhaps when Gelsey danced, her early years.... I have never seen anybody else, so perfect, in so many roles. But I think she'd have been miscast in Flames. And Gelsey rarely put in multiple trick turns or for fouettes, etc. Does that mean she wasn't a natural turner?! Quite the opposite. And according to this website, Alina C. (of Royal Ballet) flubbed her attempts at triple turns during the filming of Sleeping Beauty. Does that mean she's not a natural turner? No. Some performances' tricks just work better than others.... timing, experience, luck! Most of ABT's principal women now do multiple turns frequently. Not long ago they did not. Thirty-two single fouettes were considered plenty of a challenge. But the bar on tricks got raised by people like Gillian Murphy, Osipova and others. Then before long everyone was pushing their limits. I personally don't care about the tricks as much as the quality of an overall performance. I am not going to rehash much more from the above post.... and I'm certainly not trying to win over new fans for Sarah. Everyone is entitled to their opinions. But it really upsets me when people make grand conclusions that are premature and/or just incorrect. It's an inaccurate assumption to think that just because casting is up that rehearsals for everyone have also started. Of course, class and rehearsal are one thing, performances are quite another. In time I think you will see far better performances from Yuriko, Sarah and Cory, as they become more comfortable on stage in very demanding principal roles, and are also given ballets that present them at their best. I purposely didn't bring up Veronika Part.... She is a gorgeous dancer in certain ballets, but she will never dance Theme or Flames (at ABT).... and she shouldn't. But that's why some other, younger, newer soloists are being pushed so hard to explore their limits and capabilities under great pressure. Thanks for the lovely touch of humor re my ox comment. What can I say, I'm Russian and my mother was a farm girl... Kidding!! "Strong as an ox" was used by several Russian ballet teachers I've known. Let's wish Yuriko and Sarah merde for this weekend!!!

>Reyes takes chances; Lane does not. >I think it is part of a planning & execution problem... >It's almost as if she feels that she has to do the most >difficult thing she can all of the time in order, to prove > herself - a problem that often afflicts young dancers. Also someone wrote that Sarah is "not a natural turner." I can't let these go without a response. To that latter person I'll just say, based on what criteria? Have you ever taken class with Sarah? Did you see any of her three (so far) Themes in NYC? Theme is mostly all turns, fast ones, slower ones and lots of very fast footwork and transitions between all the turns. There is not one second's room for error. If Sarah didn't take chances, she would have refused to be thrown into nearly every ballet she's done at ABT -- most with 2 or less rehearsals. They have called her from the street with 20 mins notice to dance a big part. If Sarah didn't take chances, she wouldn't go for the triple pirouettes and miss. She's very often not satisfied to take the easy way by just doing a safe double. When was the last time you saw Reyes go for a triple?! Not even in DonQ when one can fall out of it very easily and flash a flirty, huffy, Kitri pose. In classes and rehearsals, Sarah often does 4-6 consistently. But performances have far greater pressures. In rehearsals you can stop the music and go back and fix something. Sarah's not an Osipova. She never will be. Nobody is. Flames is a fantastic ballet for Osipova. Then again, I don't think Osipova would be right for Theme without a good year of serious rehearsals. Wish we were going to seeing her in difficult pas de deuxs (eg, Flames, DonQ, Corsaire) when she guests in the Spring, but so far Osipova's only cast for much easier roles. I could have written dozens of things that went very wrong with Yuriko's Theme, but I didn't. She and Sarah (and a couple other up-and-comings) are just starting out, under the greatest pressure and competition. Try to appreciate what they are experiencing. Daniil was born dancing the tricks of DonQ and Flame. He'll have his pressures/challenges when he tries a part like Theme and/or Tchai pas. Btw, Ferri, Jaffe, Markarova were all the worst turners, completely unnatural. Yet, we managed to love their dancing. I saw Markarova's first DonQ pas in NYC and in the coda she managed 8 fouettes before landing into the wings (from center stage). But she flew out the wings and ended the coda with the most gorgeous stag leaps. Markarova could do whatever she wanted.... The up-and-comings cannot.

Dup deleted

>Lane/Simkin might grow up to be Reyes/Cornejo - not exactly but... I'm at a loss to see any comparison.... Reyes is mature, strong as an ox, but lacks finesse. In the right parts she has strong tricks/technique, some excellent acting skills (eg, Kitri), and a huge, warm-hearted smile, but her dancing doesn’t have a natural beauty in lines or in overall presentation for me. I don't think I'll ever watch Reyes in a Balanchine ballet that requires a totally different technique/style. Herman has a sensual purity to his dancing, even when he's trying to ham things up as in Fling last night. I've always loved his dancing, but I don't particularly like Reyes and Herman together. One does not really compliment the other but they're both about the same height and seem to enjoy dancing together. One day soon, I hope you will see Sarah and Daniil in a ballet that really suits them, such as R&J, Giselle, SBeauty, Ballo, Tchai pas, in time even Theme. They have a freshness to their dancing that goes far beyond cranking out tricks. But Daniil certainly was the winner in the tricks department with Flames last night. Wow! He was beyond belief presenting all those male tricks we've seen on others over the years. But Daniil brings a new, easy approach and a handsomely, playful (yet serious) style. His body is beautifully long and his face is that of a cherub. I loved him! Can't wait to see Daniil in a better ballet. Sarah's solo and coda in Flames were all pretty much done on the same foot, her left one. The hops on pointe flying across the stage, turns, jumps to the left (pushes off of the left foot/leg) then the double saute basques(!) - three in a row (pushing off and landing on the left foot), then whatever fouette combination for 32 counts. My left foot was hurting just watching it and realizing how lopsided the female role is for today's world with dancers of different training. It's not a fine pas de deux I'd want to see again and again. ABT's debut female for Flames was Eleanor D'Antuono ('72 per the program notes). Enough said..... Flames was designed for a female who's as strong as an ox. Sarah is not that, though she did a lovely job getting through it without crashing through the tricks. I suspect Flames will be even better, less nervous, over the weekend when Sarah and Daniil haven't done a full-out dress rehearsal the same day as the evening's debut performance. That's a ton of pressure for very difficult tricks. I wish Sarah and Daniil had danced a pas de deux such as Tchai pas instead. It would have suited their styles much better. And Daniil can certainly handle lifts/partnering too as he showed us last night holding Sarah in the air a bit longer than needed during a high, over his head, tour jete. I was very happy to be there last night and see the first evening of what I'm sure will be a wonderful partnership. They look genuine and comfortable together in their youthful joy/energy and unforced styles. As for Ballo, Michelle Wiles was far from unforced. Strong as heck, yes! Lots of punch, yes! At times, heavy-weighted in execution, yes! At least this year, she didn't punch holes into the stage during her a la seconde position, on-pointe bounces. Michelle was lots of fun, but not in a Balanchine-ballet way. Hallberg was his usual, smooth, gorgeous, princely self. It was great to see him dancing so well again. The demis were mostly all very good, but not all were cast for the best result. I'd have switched a couple of them to dance different solos. Seo has beautiful lines but isn't/wasn't right for the huge jumping solo. Misty was excellent in the first solo, but I think she would have been even better in Seo's jumping part. (Yuriko was my favorite at ABT for that jumping solo.) Riccetto looks less uncomfortable with her solo's choreography than last year, but she doesn't dance boldly or pretty enough for me. Leann Underwood was a surprise in the fourth solo. A beautiful girl with a beautiful, feminine movement quality. I skipped "Interminable" Path. Brief Fling was certainly fun and silly, with very silly Scottish-inspired Mizrahi costumes. The dancing and acting was done especially well by the mostly very young cast. I'd like to see Messmer take on the female lead or Lane. I think both of these ladies, from what I've seen in various parts, are ready for more acting/character roles.

Belated happy birthday! I (sort of) liked Citizen too! It was certainly different.... While I don't think it's any kind of masterpiece I'd want to see very often, it was not too long, and it was fun to see Sarah Lane do something totally different: dark, creepy, sexy in an odd way. Would have liked seeing more choreographed for her and Stearns (the guy wearing the blue-green corset). I heard Paloma and Hallberg in a previous performance of the same parts/piece were also very intense. Baker's Dozen looked the most rehearsed next to Citizen, but I didn't like it. Too dated, cute with predictable jokes. Leaves was pleasant enough. The music is gorgeous, and I very much enjoyed Veronika in her part, though I think she would have been better cast in the lead. This sort of choreography suits her body and womanly style so well. Hee Seo was also a standout with gorgeous lines and lovely ease to her strong dancing. And then came Theme... I'm not going into details. I'll let somebody else take the first shot at that, but I thought this Theme's principals were a mess. Hallberg looked freaked by the sudden female casting change, though he did everything he could to be a good partner to Yuriko. His solos suffered as a consequence, and hers were very weak as was her contribution to the pas de deux and finale. It was a joy however to see Misty Copeland and Simone Messmer dancing as strongly and radiantly as ever in the demi soloists (2 of 4 girls).