carbro

Hello to you, angelina12, and welcome to BalletAlert! We're very glad you found us and look forward to hearing from you. Please feel free to join any of our discussions.

DeLuz entered ABT corps from Pennsylvania Ballet, which is why I didn't consider him home-grown, in the sense of those I mentioned above who at least came through ABT's junior company. He already had experience as a professional by the time he arrived at ABT.It's very true about the nature of ABT's rep vs. NYCB's giving dancers opportunities. And that won't change as long as ABT continues to shorten its more interesting fall programming at City Center. Well, it's now down to a single week. Not likely to get much shorter than that!

Not to mention Charles Askegard, Joaquin DeLuz, Sofiane Sylve, Ib Andersen, Ask La Cour, Nikolaj Hubbe, and oh, yes, Peter Martins!On the other hand, one could enjoy watching the developoment of ABT's home-grown Herman Cornejo, Cory Stearns, Gillian Murphy, Marcelo Gomes, Julie Kent, Paloma Hererra, and others who are clearly moving up the ranks.

I saw your headline, Cristian, and assumed you were referring to Makarova & Nagy. I have to get with the times!

A pleasure to welcome you, Bart Birdsall! Exploring a new passion is very exciting, and I'm glad you're sharing your enthusiasm with us. It's often a mystery why one dancer or another moves us especially. I hope that as you continue your discoveries, you'll share some with us. Realizing that Florida is a large state, let me note that Miami City Ballet is a favorite company of mine. Do you get to see them often?

We do not delete accounts.

Both ballerinas have solid, dependable techniques. Murphy is a more overtly athletic dancer. Last year, the word that came to my mind to describe Cojocaru's Aurora was "thrilling," not a word often applied to that role. So my recommendation would be for Cojocaru. I'm confident that others will chime in with their preference. Welcome to BalletTalk, MPH! And whichever you choose, I hope you enjoy it!

Welcome, Jo_on_Pointe. I've had no more success than you, and the lack of recent information is mysterious. I can only conclude that she's returned to private life. Depending on how motivated you are, you may want to contact the author through her publisher. I'm sure they keep contact info as long as the book is earning royalties.

My friend and her mother had a pair of tickets for this performance. Unfortunately, the mother is not feeling well and has decided not to go. If you're interested, please pm me, and I will put you in touch the third-party friend who told me about ticket's availability. The cost is $50. Offer withdrawn. I will not be able to enable the transaction.

Yes, Ballet Foot, we are proud of our "savvy members." On their behalf, thank you for your kind words, and welcome to their midst. I'm sure you have wonderful insights and memories, and I hope you'll feel free to chirp up when something you read here prompts you. Happy to have you here!

Thanks, ksk! Here's the link: -->click!<--

We're glad you joined, too, janeintucson! Plenty here to help you catch up on your homework, and we hope that as you do, you might add any special insights. Welcome to BalletTalk!

GREAT idea! I liked all three finalists but would have suffered a mild pang of disappointment had Hines and Kym not won. I am always surprised and delighted when athletes (the skaters excluded) out-perform the professional performers. This season, Hines' charm and humility really got to me, right from Week 1.

Angelica, thank you for the recommendation. I did see the film (finally, in the theater on the last day of its run) and thought it very moving. There's a brief description of it on this thread: I hope all further discussion of the film continue on that thread, and this topic devoted to the works ABT has presented in its first week + Monday and closely related issues.

I don't remember ever seeing any casting for Suzanne Farrell Ballet, either. Concur about not wanting to sit too close. The Joyce originally touted itself as having "not a bad seat in the house." However, the seats on the sides of the mezzanine, though giving you a full view of the stage, may cause you to twist a bit in your seat. Not the most comfortable. Why do theaters, when you will be watching at an oblique angle, set the seats facing front, like the seats that run parallel to the stage? It makes no sense.

I have read from more than one man that MacMillan's Romeo is a killer role. It is rare that a dancer has to tackle both that role and Square Dance. I have no idea how they would compare. One is a short, intense ballet with little (if any) strenuous partnering. The other involves a lot of lifts and a uses all aspects of a man's well-rounded technique. I assume Miami dances the "revised" version of Square Dance with the solo for the leading man. Years ago, I read somewhere ( ) that Balanchine inserted that solo because he felt that the female corps needed a rest between the Girls' Dance and the Finale. I believe it.

Thank you, Eileen. I never made the connection between Nijinsky's Faun and the women's poses in Antique Epigraphs. I thought Robbins liked them paired due only to the fact that the music for both is Debussy, but I think you're onto something. Here is a link to NYCB's notes for Antique.

Thanks, spinning. I ran it through Google Translate and got a translation. It's rough in spots, but you'll get the gist. "My dream." Makes it all the sadder that he isn't dancing with ABT now.

I've broken off the reviews of Opening Night and the rest of Week 1 (Don Q). You can find them here.

Continuing for a moment, my enduring association of the Barber Adagio, a detail of the Kennedy funeral that I do not remember, is 9/11 and the days thereafter, where it played endlessly, endlessly on the radio. Back to the business of this thread, thanks, Batsuchan, for your comments about the Reyes-Sarabia Don Q.

Oh, for me this was the outstanding highlight of a better-than-usual ABT gala. She did not bang us over the head with balances, but instead emphasized the flow and phrasing -- the dance qualities -- of the choreography. In addition, she brought some characterization to this Rose Adagio. As Aurora makes her diagonal of pique arabesque, penchee before each prince, she greets the first prince, then the second, then pauses for a moment at the third before greeting the fourth. In the next phrase, the princes separate and she runs to that most intriguing third prince for the shoulder lift. Usually, which prince lifts Aurora seems arbitrary, but Cojocaru explained to us that there's a reason. He's charmed her the most.I agree that Splendid Isolation does not merit repeated viewing. However, someone paid a fortune for that costume/set, so I guess they feel they have to amortize it. As a salute to Jose Carreno, Majisimo was better in concept than execution. It did give Carreno an opportunity to shine as a solo dancer, among the ensemble and as a partner. His energy, polish and charisma never failed. Herrera also stood out. Paloma's White Swan pas was letter-perfect, but left me more admiring than affected, because it seemed skin-deep. I am not a fan of MacMillan, but I have to admit that the heated passion that Vishneva and Gomes generated, in what for me was the second highlight, made me want to run out and buy a ticket to see them in the full Manon. Alas! It is not in this year's rep. I thoroughly enjoyed the excerpts from Bright Stream and wish its run did not coincide with the Royal Danish Ballet's visit to Washington and New York. Figuring that Bright Stream scored such a hit at its premiere at Kennedy Center and likelihod to do the same here, it is sure to return next year. The Danes are not, so I have prioritized them.

Whoops! Sorry I'm a little late in responding, and I hope this gets to you in time. Standing room spots are numbered and assigned. In the Grand Tier, there is a curved rail with numbers along the length, which means that those with the spots at the outer ends stand behind someone -- uncomfortable for both the person behind and the one in front. SOMETIMES, if the stands are not well sold, ushers will let you migrate to the less populated side. Dress Circle spots are right behind the last row of seats, like the Orchestra. No one stands behind anyone. And the overhang blocks less of the set than it does in the GT. I hope this helps.

Welcome, Juliette. So I assume you've seen our thread mentioning Michael Brigante here. Maybe your post will elicit some responses, and perhaps you'll even find friends among our posters. I hope you enjoy our forums, and we hope you'll feel free to add your opinions, experiences and ideas when the spirit moves you.

Nor are they honoring 4th Ring Society discounts. . Also, why not make the "premium" increase progressive, so that those who can afford the higher priced locations get a steeper increase, and a smaller one for those who scrape money up for their top-of-the-house seats?I had assumed I'd see the premiering ballet once, at least to see whether it's awful or not. I particularly resent that there are no Vienna Waltzes without Seven Deadly Sins also on the program. I've been looking forward to seeing VW, hoping to get both casts. It ain't gonna happen this spring. Also, these ticket prices were changed after having been advertised at the same price as tickets for other non-gala programs. Is increasing them after others have already bought at published, lower prices even legal? I'm thinking of calling the NYC Department of Consumer Affairs, which licenses box offices. It's a small step away from bait-and-switch pricing. The first time I was hit with this at NYCB (I had already bought my facility-fee-added Royal Danish Ballet Tickets), I said to the guy in the box office, "I'm not blaming you, but this is so dishonest. They should just fold it into the price of the ticket and make that the face value." He agreed.

On the right side of the screen, on the light blue strip and to the right of the column head LAST MESSAGE, at the top of the column, you'll see a box. Check it, then scroll to the bottom of the screen, select DELETE (you don't actually select it; it's set as the default) and click GO. You'll have an empty mailbox ready to receive new messages.