CTballetfan

You know, I felt just the opposite. I thought the costumes, especially for the men (in the divertissements) looked heavy and clunky. I didn't find the performance of the jewel fairies to be very exciting. I also wasn't thrilled with what Ratmansky did with the upper bodies (for example, in Puss n Boots the cat no longer wipes her whiskers).

I have to say that with the exception of Calvin Royale, Cory Stearns and Stella, I found all the performances lacking. Perhaps this is because some roles usually performed by soloists (the fairies) were done by the corps. Maybe they're just not in performing shape yet. But I'm feeling as though I've time travelled back to the early '80's when (as Julie Kent alluded to) NYCB was the "hot" company with the great choreography and exciting dancers. ABT looks stale and its dancers not in good shape. I felt this way last Spring season and am finding myself feeling the same way now.

I agree about the costumes for SB. The white foppish man's costume in particular--the dancer was just overwhelmed by his headgear and ruffles. It's the costumes that put me off the ballet. I think they will be distracting. I also want to note that it was such a treat to see Ethan Steifel on the Guggenheim program. I hope he is able to make a new career at ABT--or somewhere else where his talents will be appreciated. I liked what David Hallberg said, that he joined ABT because of Steifel. All in all, this was a wonderful program--and all for free!

Fabulous! Thanks for alerting me to these programs. I'll definitely watch tomorrow's. I enjoyed both the reminiscences and the excerpts, esp. Stella, who was so exquisite, her arms like liquid gold. Why is she not a principal dancer?

I agree that row F center aisle orch is a great location. My subscription the last 3 years has been D, E and G center orch right off the aisle and you will see very well, every facial expression-- and their feet, which are often obscured closer than row C. So enjoy! I think this is the best section in the house.

Correction -- my iPad translated Misty as amity-- does that kind of thing all the time, thinks it has a mind of its own and I don't always catch it!

AlbanyGirl, I'm not nearly as knowledgable about the dancers as others on this board. I can only speak to my own impressions of them as they performed. That said, in answer to your question about Semionova, I saw her dance only once, her first performance in Swan Lake when she joined ABT in 2011. I found her interpretation rather fussy and overly dramatic in what I think of as the Russian style. She was so thin it made me uncomfortable watching her. Her very long, very thin arms fluttered so much that they overwhelmed her body and distracted me from the overall performance--yes I know that arm fluttering is the key to the interpretation of the role, as the dancer transforms into a swan. But it seemed overdone. Anyway, I was not transformed by her performance and I decided not to select any further ballets in future featuring her. And I haven't. But you will love Gillian in whatever she dances-- to me she is the quintessential American dancer and she is great in every role I have seen her in.

I see on the company website that they are premiering a new commissioned work by Justin Peck called Heatscape. I alerted a friend who is in West Palm for the winter and encouraged her to see it at the Kravis Center this weekend. Is anyone going to see it? Do you know anything about the piece?

Just checked single ticket availability on the ABT website and except for a few performances there are so very many orchestra seats available, even for SB. How will they sell them all? Is the company in financial trouble?

What's with the announcement today on ABT's website that Paloma Herrera will not give her farewell performance as Aurora in SB in June but has moved up her final performance to May. She and Xiomara Reyes will both give their final performances the same day in the same role, one at the Wed matinee and the other in the evening. A bit awkward, isn't it? There is no cast now for Herrera's SB in June.

Thank you to all who posted in answer to my question of which ballet to see in the spring season. I think it will be SB, either Lane, Murphy or Vishneva. Whichever, I'm sure the production will be splendid.

I would like to see one of the full-length ballets I have not seen: Othello, Sleeping Beauty or Cinderella and could use some advice. What are the strengths and weaknesses of each ballet and which cast would you recommend seeing in each? I am familiar with all the ABT principals and soloists, my favorites being Gillian Murphy, Marcelo Gomes, and Diana Vishneva, but would take advice on who is best suited to a particular role. Looking forward to purchasing tickets on March 22, when tickets to single performances become available. Thanks.

Thank you, amour, for your wonderful blow-by-blow account of last night's performance. Your description of Glass Pieces reminded me of how much I love this ballet. Between the music, dance patterns, and lighting, it's perfect. I bought the music after I saw it the first time and love listening to it. Too bad the winter season is coming to an end--I have enjoyed all the commentary from posters to this site.

It breaks my heart too, NinaFan, because I have been a long-time fan with a series subscription every year. I don't go to many other cultural events because I want to sit center orchestra and 2 seats are very expensive, so I put my money into ABT. After last spring's mediocre season (IMO) I decided not to renew my subscription this year. I hope they will find a way to replenish the principal and soloist ranks rather than continue with what one other poster called the "rent-a-Russian" way of doing things. I find myself much more enthralled with NYCBALLET and that is where I will be spending more of my ballet-going time and money.

To me, ABT is the best at mounting story ballets and there is a place for that in New York City, so I hope management will do something to rebuild the roster of dancers and reclaim the loyalty of fans like me.

I just saw some publicity for the Broadway show stating that Robert Fairchild will star in the Broadway run. Previews start in March with the opening in April. So I assume he is taking leave from NYCBALLET for the spring season. Is this right? Too bad for me-- now I'll have to see the show if I want to see him dance.

Thank you, Abatt and Amour, for your wonderful descriptions of last night's performance, especially Rodeo. I love Copland's quintessential American music and hope to see Peck's version in a future season. Since it got a rousing reception from the audience, Martins should bring it back, right?

Thanks to all of you who have reported on the performances this winter season. I have enjoyed all of your posts. Almost like being there! I am recovering from an auto accident and can't get into New York from Connecticut so had to exchange my tickets for my winter performances for spring so I am happy to hear all the details from you. Please report on the Peck/Copland ballet-- I had a ticket for that and am keen to read your synopses and reviews. I also had a ticket for R&J, which I had seen before with Hytin and Robbie and I love the ballet and the music.

Check this out from tomorrow's NYTimes on Bouder, Peck, Hyltin, Reichlen, and Mearns:

Http//:nyti.ms/15eWKrj

Hope I got this URL right. If not, Check the Times website.

These ballerinas make this company the most exciting company in the world right now.

I want to reply to ABTfan's comment that some balletomanes are tired of seeing guest and part-time principals in the lead roles. I fully agree. This has been a major problem over the last 5 years or so and looks to continue. Who except for the glorious Gillian Murphy and Marcelo Gomes--okay Herman Cornejo too--is left? What you have are "pop-ins" from other companies. For the last 5 years I have taken top-dollar subscriptions for myself and a guest and often been disappointed. I no longer think a $700-800 subscription is worth it and I am not renewing. Maybe if I am moved I'll spring for tickets to one performance, and maybe I"ll just attend more NYCBALLET performances, where I also take a subscription. There the wealth of fabulous dancers overflows and the company consistently breaks new ground. Where is the ABT of yore? I miss it. There is room for 2 world-class ballet companies in New York, but right now, in my opinion, there is only one.

I agree that Tiler was amazing--she can hold the stage without a partner, other dancers, or sets and enthrall us. But the ballet excerpts were too short--in the blink of an eye each one was over. I did note as the credits rolled by that the dance segment was produced by Damian Woetzel. The audience was polite but not nearly as enthusiastic as they were for the musical tributes. Contrast the tribute to McBride to the lengthy and cast heavy tributes to Sting and especially Tom Hanks. The parade of patriotic numbers and cast of hundreds seemed overkill and perhaps even embarrassed Mr. Hanks. In light of this patriotic display I thought it should have been the last tribute. Nevertheless, the show was by far the best thing on an otherwise paltry TV evening.

The best and the worst on the same evening: Gillian Murphy as Odette took my breath away. I have never been so transported by a ballerina in that role before and I was so lucky to be sitting in row E center orchestra to see her up close. And you know the worst-- the announcement that she was injured and could not go on as Odile. In fairness to Hee Seo, she was there to step in--the show must go on--but her dancing cannot hold a candle to Murphy's-- no drama, no spark, no energy, just technical correctness. It was interesting to see how grateful Marcelo Gomes was to her when they took their bows. He's always invested in putting on the best performance--he's a gem--and he correctly felt that she saved the evening.

Finally, a note of thanks to New York City Ballet for another exciting, varied, incredible spring season. Here's to more works by new choreographers and to all the dancers--splendid in all the ranks.

Just watched it on PBS channel 13 in New York this afternoon and enjoyed it so much, especially Serenade, which I don't remember seeing before. This was a very impressively staged and danced ballet. At the beginning of the broadcast Peter Martins says that what he admires most about these young people--even those as young as 8 or 9-- is their dedication. They give their all. That was evident in all the selections. I especially loved the joy on the faces of the little girls. A few standout performances-- the one I will remember most is the lead cowboy in Western Symphony, whose grace, boundless energy, and joie de vivre made him stand out. Bravo to all the dancers, teachers, and NYC BALLET!

Thank you, Amour, for your wonderful review. You made me feel as if I was there too! I have missed Nutcracker this year but am looking forward to the spring season, for which I plan to use my subscription tickets for La Sylphide and a performance with a few repertory pieces.

According to news sources Mikhail Baryishnikov was on the selection committee and Tiler Peck, Misty Copeland, and Jared Angle performed in McBride's honor. Curious about what they performed. TV broadcast is December 30.

Maybe his gig w/ Vogue will evolve into something permanent? Someone said on this blog he'd be a great dance reviewer for the Times. That would be an awesome coup.

I agree. What a wonderful writer of clear insight and inventive images that are totally "right" for the piece, and all so seemingly effortless and generous. If the Times prefers its critics pompous and often belittling, surely another publication would welcome regular insights from a dancer who knows dance from the inside but can also see dance in its perspective among the other arts and humanities. I look forward to seeing him in his new TV series and here's to a great new career for him. His writing is like a breath of fresh air that we take after exiting a stuffy room!

Casting has just been announced on the ABT website. What do you think?

I read that he is scheduled to open in Paris in winter and then bring the role to Broadway in spring. Does that mean he will not dance with NYCBALLET in fall, winter and spring seasons? If so, do you think he will return to ballet?