Kaysta

Agreed, way too much slo-mo, way too much Homans, not enough about the dancers and choreographers of ABT.

I'd rather they take out all of Homans interviews and just let Lupe Serrano talk. I love her. I could listen to her and Ratmansky talk all day and not get bored.

So far, all I can say is less Jennifer Homans, more Gillian Murphy, please.

Now that Stella is dancing a Giselle and Cinderella, maybe there really is hope for her promotion this year.

I still can't believe this is finally happening. Stella finally getting to dance Giselle in NYC on a Saturday night, no less! No Wednesday or Saturday matinee! I might actually stop ignoring all of those ABT calls and renew my membership now.

Just got front row balcony seats for Stella's Giselle. I also have tickets to the Saturday matinee, so it's going to be a busy Giselle-filled Saturday for me.

Oh my god! I'm getting tickets right NOW! I'm so excited! I don't even care that I'm going to be DEAD at work the next day.

Oh crap, I just realized it's a Saturday night, and I don't have to be at work the next day. This is absolutely amazing!

Stella to debut Giselle with Shklyarov, replacing Semionova: http://metopera.org/metopera/season/single/reserve.aspx?perf=13274

Finally, better late than never.

Oh my god! I'm getting tickets right NOW! I'm so excited! I don't even care that I'm going to be DEAD at work the next day.

Bocca? Now that would get some diehard fans to the theater. Bolle is still listed. If Kent cancels, could Murphy finally get to do a Giselle at ABT? I don't recall what she has danced with Bolle.

If they gave Murphy or Abrera a Giselle, I would buy tickets in a heartbeat. Although Murphy is supposed to dance Myrta that night.

Shame that Kent isn't performing much during her last season, but I'm actually looking forward to seeing Teuscher in Pillar (although I wish I could see the Murphy cast instead).

I think a more important standard is whether you would post the exact thing if you were posting under your full real name, rather than behind the selective anonymity of the internet.

Agreed. If I refuse to stand by my words, or would be embarassed by my posts should one discover my real identity (which honestly isn't that hard to figure out, as my username is part of my first name, and part of my last name), then I probably shouldn't be writing it.

Truth is, I'm not that fond of Misty's dancing myself. I don't think she is horrible, but I've seen technical miscues in her performances, and my eyes are pretty untrained. I much prefer Stella Abrera, whom I feel has a nicer line, beautiful arms and better technique. But as someone relatively new to the obsession of ballet, I am a bit shocked at what I assume are such highly cultured and educated people speaking in such negative terms towards some dancers. I guess I don't have much of critic in me.

You're probably correct. I grew so frustrated by the continually falling standards of operatic singing--and constantly complaining about it--that within the past couple of years I essentially gave up on the art form. And what I've seen and heard during my now infrequent encounters with opera, whether live, at the cinema, on television or online, has not persuaded me that things will improve anytime soon. During discussions with some of my relatives, as I come from a family of opera lovers (including singers) rather than balletomanes, a few (but not the singers) would ask me why I would rail so passionately against, for example, a famous lyric coloratura for her under-supported, flat, twangy and squeaky singing. Why not just ignore her, let her fans cheer and basically live and let live? And I would reply that watching her slip and slide through the music on the world's most legendary stages offended my sense of justice. I was offended for the sake of her more accomplished predecessors, for other lyric coloraturas, though flawed themselves, who could do a better job, and most of all for the composers, whose music was being was being so grotesquely abused.

No one deliberately gives a bad performance, and generally, though Lord knows I flunk sometimes, I prefer to pass over in silence rather than to criticize harshly. (Choreographers, directors and conductors are fair game.) But I can understand detractors. It's not that they're ornery or bear a personal animus against certain dancers. I believe that they love ballet passionately and cannot bear to watch a substandard version of it. For my part, I don't have a horse in this race. Frankly, I don't expect much from ABT anymore. But I think a lot of what we're reading here is a cri de coeur from people who do love ABT and despair for its future.

Eloquently put, and I get that.

But I feel strongly that if I'm not willing to either A) repeat my criticism to the dancer's face, or B) sign my full name to the things I write because the criticism is so harsh or skirts into personal attacks, then maybe I shouldn't be writing my comment. Anonymity on the internet allows one to say things they wouldn't say in person and I dislike internet "tough guys."

And on a personal note, my niece is just starting to become serious about ballet, and I can't help but think how horrible it must be for the friends and family of these dancers who have to hear some of these negative things that are said. I'm all for pointing out miscues and for true critiquing, but at times the comments cross the line. These dancers are human beings, and I think people forget that when posting online.

ABT casting update. Semionova /STearns are removed from tomorrow's Theme and Variations. They are replaced by Boylston Stearns. Also, Teucher replaces Kent in Pillar for Wed night.

Is Kent still injured? I wouldn't mind seeing Teuscher in Pillar of Fire on Saturday.

It should be interesting Kaysta. Hughes and DiPiazza are both more Balanchine-type dancers. DiPiazza was sidelined in the beginning of the year with an injury. With the addition of Maslova and Pineiro as soloists, Arian Molina Soca as a principal guest artist, and what looks like Nicolai Gorodiskii as a soloist for next year, I don't think there will be many promotions from within. I doubt that he would put that on his instagram if it wasn't the truth.

http://ink361.com/app/users/ig-560512064/nicolaigorodiski/photos

Good point about DiPiazza and the injury. She was stunning in Swan Lake though, the best O/O of the three I saw, so I guess I have a soft spot for her.

I didn't know about Gorodiskii coming in. I don't know much about him.

I don't mean to speculate, but I hope Corella doesn't run into issues with not promoting dancers from within and pulling in all of these folks from the outside. I really like Pinero, and I heard pretty good things about Maslova, but this concerns me.

Sometimes both the tone and content of the criticisms of Copeland seem to me a little...I won't say insane, but over the top.

I love Veronica Part, but if I judged her by her performance of the Lilac fairy this last spring in SoCal, I'd miss out on her always stunning Nikiya in Bayadere and write her off as horrible.

I'm not saying Copeland deserves a pass for her miscues, but the criticism of her is definitely over the top. Same with the criticism of Boylston.

For me personally, if one writes twenty negative things about a dancer and doesn't see one positive thing, I'm not going to take your opinion very seriously. Not that you care, as I'm of no importance. But I refuse to believe any dancer should be categorized as either the second coming or as scum on my shoe.

How does PB usually do this? Different companies have different practices.

To be honest, this is the first year that I'm obsessed enough to regularly check the website, so I'm not sure when it was updated for the previous promotions (Alexander Peters last year, and Lillian DiPiazza the year before), though both of their press releases suggested the promotions went into effect for the next year. They were also done by Kaiser, so things could be changing.

I hope that the Pinero promotion is not the only up coming promotion. There are several corps dancers who deserve to move up, most noticeably Alexandra Hughes and Lorin Mathis. I also wouldn't mind seeing Ihde and DiPiazza move up to principal.

It's evident that change is to come.

"Corella is one of those responsible for the rising number of Latinos at the Pennsylvania Ballet. So, what is so special about the Hispanic dancer? 'The blood of the Spanish dancer is much hotter. The way of interpreting, the way of moving is much more visceral,' Corella said. 'The American dancer is much more technical: the way in which they count steps, of counting music... And this is one of the things I'm trying to instill in this company, that they don’t need to count, that they need to listen to the music — the technical part they already have. That what they have to do is apply all their passion, because that is how they will connect with the public.'

http://aldianews.com/articles/culture/ballet-latino-accent/38921

The article also mentions that Mayara Pinero has been promoted to soloist from the corps (apparently mid-season? is that unusual? she is already listed as a soloist on the website).

I've seen a few of her performances this year and have been impressed with her, but I find the timing of this promotion a bit odd. Is no one else being promoted? Why during the season and not for next season?

I'm sorry if I came across overly negative. I certainly don't want to diminish anyone's enjoyment of an art form I love. And despite where I think ABT is headed I'm still seeing 13 performances this Spring Season, including tonight's opening night. I just feel they're on the wrong track.

Not directed at you, just a tone I've noticed from some (definitely not all ).

My comments were not based solely on the 60 minutes segment (except for SL) but also watching Misty live for more than a decade. Until this spring, when ABT had their Met season I would attend at least 2 performances a week. Last fall, I believe I saw 6 performances in their 10 day run. I'm not unacquainted with the dancing of Misty (or anyone else) at ABT.

Trust me, your opinion has come across loud and clear. You don't like Misty Copeland's dancing or the "mediocrity" of ABT.

This statement is not directed at you, but I find the negativity (and outright vehemence) of some ardent outspoken balletomanes quite tiring. The day I feel it okay to say some of the negative things I've heard said about dancers like Copeland and Boylston, is the day I stop going to performances.

Murphy isn't an adequate O/O? Why, because she's not Russian?

I don't think there was enough dancing of Misty shown in that segment for me to make the statement that she is the second coming of Lopatkina or that she is the worst thing ever. Heck, I wouldn't feel that I could sum up the potential of a dancer based off seeing them a few times either.

I've learned a lot on this board, but sometimes the absolute opinions (and elitism of some) drive me crazy. Like there is no gray, only black and white.

Saw this cast live in London on the 30th and thought both McCrae and Osipova were fantastic. I think this is a good role for Osipova, I enjoyed her characterization of Lise. I was worried I would be disappointed after seeing Nunez but I wasn't.

I love love love this ballet. Ashton really gives Colas a lot to dance, instead of just being background for the woman. McCrae is amazing, I look forward to seeing him with ABT this year.

The disdain for SYTYCD annoys me. Not all of us were exposed to the arts as children/by our families. I had never seen classical ballet until SYTYCD, now I'm so addicted I traveled across an ocean to see the Royal Ballet. Because of SYTYCD. Think of me what you will.

I think it's awesome when dancers are brought into the mainstream. It opens it up to folks who may just stick around and become subscribers/donors.

I'm off to London from the U.S. to see three performances of La fille mal gardee. Super excited!

Great that they got rid of the annoying ads for the live stream tonight.

The live stream has made me even more excited to see Sleeping Beauty.

He said that Vishneva on a Monday night did well on sales and an in-house principal the next night only brought in 40% of those sales. Out of curiosity, I looked back at schedules for recent years to see when Vishneva had performed on a Monday. I found two! Taylor is quite the diplomat - there's no way of knowing which in-house principal he was referring to.

Here's what I found (I might have overlooked other Mondays, if others here find anything.)

Monday, June 4, 2011: Vishneva/Gomes in Onegin

Tuesday, June 5, 2011: Seo/Hallberg in Onegin

Monday, June 16, 2014: Vishneva/Gomes in Giselle

Tuesday, June 17, 2014: Semionova/Hallberg in Giselle

I'm not sure Semionova is considered "in-house," and it's puzzling that Hallberg wouldn't help with sales. Has anybody found other Mondays I overlooked?

I think it has to be the Seo cast if it's one of those two. I feel like a lot of people really like Semionova (maybe not on this board) and that she does relatively well with ticket sales. Last year her Swan Lake was standing room only and it was a matinee (I know this because I was in the back of the auditorium and had an extra seat next to me and the standing room only folks were scrambling to get into it).

In the end, who gets cast at ABT, and who gets promoted, is sometimes as much about money as artistic intergrity, in my opinion.

It is. Taylor pretty much stated that in his interview. He said that Osipova brings in the money and fills the seats and that one of ABT's lesser known principles brought in 40% of the ticket sales that Osipova brought in (he didn't state which principal).

I know I'm being naive and idealistic, but it's sad that money is more important than art. I totally understand why Misty Copeland has marketed herself the way she has. She knows if she brings in the money, she'll be cast.

Bayadere was first (a Shades excerpt, I think it was Mai Ahara, Nicole Graniero and Cassie Trenary).

The the SL PDT with Blaine Hoven, Christine Shevchenko and Devon Teuscher.

Then Giselle with James Whiteside and Stella Abrera.

Just now Roman Zhurbin did a mix of all of his character parts, which was pretty cool (he did Hilarion, Gamache, Rothbart, Evil stepsister, High Brahmin)