CTballetfan

I see from the press release that Carlos Lopez is already a ballet master at ABT Studio Company so I guess it's a natural progression and promotion to be named ballet master of the company. I note that Ethan Stiefel is listed on my program from SB last week as a teacher in the company, so might the fact that he is not already a ballet master of something mean that he is lower in the pecking order and would not be a candidate for ballet master in the company? Or might he have other interests and not want to teach full time? How do these promotions on the teaching side work at ABT?

Just read Alastair Macauley's review of ABT's spring season. Sorry I don't know how to set up the link. If you read it, please respond with your thoughts on his take.

I don't know enough about Cirio in relation to the other male soloists. I saw him dance once, this Tuesday as Bluebird with Misty. He could barely lift her and struggled with her across the floor-- embarrassing. His jumps were low to the ground, although precise, and to me he didn't project dynamism. I was also surprised at his height--not his fault but I like tall leading male dancers, with the exception of Cornejo, who is a dynamo in every role. I am also surprised he was promoted before dancing and winning acclaim for leading roles. But KMcK must see something extraordinary in him. Btw, I am glad for Hoven. He has improved much and was terrific on Tuesday. Maybe he will be given some leading roles.

To respond to Stuben's question about the Act III characters, for me the entire production was so over the top, what's a few more characters? I hardly noticed. I also want to thank all those who reported in detail about the casts I didn't see (I saw Gillian Tuesday evening). I would have liked to see Trenary and Stella as Aurora but at least I got to see Stella as the Lilac Fairy. I also learned a lot from your comments because you are more learned than I about the technical aspects of ballet. So thank you and I hope ABT will announce soon the schedule and casts for the fall at the Koch.

Wow! Looks like I chose the wrong cast. I look forward to seeing Trenary in something in the fall at Koch or a starring role in the spring. Giselle???

What I should have said is that this is my opinion. IMO she is the most accomplished prima ballerina in the company, stellar in so many lead roles that she can be depended on to deliver an outstanding performance and attract ballet goers to performances in which she has the leading role. And I think KevinMcKenzie depends on her too to fulfill these expectations. Everyone to their own opinion on this board, of course.

I'm glad I'm not the first to report on last night's performance, which I attended. I agree with much of what Birdsall said about the choreography and the dancers. After reading the posts here from last spring's premiere run, I expected extravaganza and spectacle and I got it. For the most part the costumes, wigs, beards, and sheer numbers of adults and children on stage was overkill. The huge Met stage felt cramped. The only crowd scene I liked was in Act One with the horseshoe-shaped garlands--very effective. The rest of the crowd scenes did not work for me although I appreciate all the work that went into staging them. I did think the 19th century style ballerina costumes, with knee-length skirts, complemented the 19th-century style choreography, and their skirts were exquisite. The male dancers' costumes detracted from their line. The costumes of the 4 princes at Aurora's birthday ruined my appreciation of their dance. Hammoudi, Forster, Hoven, and Zhurbin were all terrific as the princes but I wish they were just wearing vests and tights so I could see them! The dancers--for me the best was Stella Abrera as Lilac Fairy in Act One--so creamy and dramatic, she owned the stage. Also outstanding was the Diamond Fairy (program said Devon Teuscher), whose performance sparkled like a diamond. Also Catherine Hurlin as the White Cat--absolutely delightful and well complemented by Alexie Agoudin as Puss in Boots. Less spectacular but okay were Misty as Princess Florine and Jeffrey Cirio as the Bluebird. He had trouble with the first of the two lifts and I could see him struggle to carry her across the stage. His costume also detracted from the image of a bluebird--it was top heavy with puffed sleeves and a ruffled front and although he is light on his feet he doesn't get much air and the costume didn't help. I would have liked to see Simkin in the role--I saw a clip of him and he was spectacular. Misty was okay but not stage-commanding. But she does have a huge following who roared at her entrance and when she was done. As Aurora Gillian was technically spotless as always, especially in balancing on single point with her four courtiers. She also stepped out of the shell perfectly. Cory was elegant--so nice to see a tall male dancer--and a supportive partner, especially in the repetitive falls into backbends in his arms. But I didn't feel anything magical in their performance. Maybe because it's the end of the season and Gillian has been carrying this company. Maybe because by Act 3 the overkill of the crowd scenes and the "shtick" of some of the Ratmansky choreography broke the spell for me,but I didn't feel the magic of the intimacy in the pdd that I was hoping for. Not to take anything away from Gillian's and Cory's performance but when I see her as Odette and Odile it is magic. I don't think I'll see this ballet again. Too much spectacle and not enough magical ballet, but I am grateful I got to see it once.

RUKen, thank you so much for going to the trouble of transcribing this. I hope to go--it sounds wonderful. I don't know any of the dancers, not being familiar with the company, but it's always refreshing to see a major company I have not seen before.

Any news about the casting? If any of you have seen this production, is it worth the trip?

I haven't seen SL this season but have seen Gillian Murphy and Hee Seo in the role. No comparison--Murphy is one of the best contemporary interpreters of the role--strong, dramatic, musical and lyrical. Seo is soft, no drama, no projection. Curious to see what others think.

This schedule will be wonderful, following right on the heels of NYCB. I think ABT looks so much better at the Koch than at the Met, esp. in mixed bills. Looking forward to whatever they choose!

Did anyone see the opening night performance with Gillian Murphy? If so, how was it?

Thank you, I would never have thought to look for these. So wonderful, especially the ethereal Vishneva as Aurora--just exquisite--and the light as a feather Simkin. He really embodied Florine. I feel transported by them!

Thank you both for your recommendations. They were very helpful. Based on your responses I'll aim for Murphy or Abrera. I wish I could see all the casts. What fun it would be to see different casts on succeeding days as some of you have done for other ballets this season. I will report back after the performance.

I am planning to see one performance--tues eve, Wed matinee or eve, or Thurs eve. Which cast should I see? Which cast is the least desirable or does it matter b/c it is an extravaganza? Your opinion is appreciated.

Mimsyb, let's not forget Ethan Stiefel as Ali, to me one of the greats in this role. I was fortunate enough to see him in his penultimate appearance in this role in the spring 2012 season, the week he retired and chose this role for his final performance. In addition to his exciting and explosive dancing, his acting was full of life, whether center stage or off to the side conversing in character with another dancer. Would that he were still dancing now!

Orchestra row K is the best location in the orchestra, IMO. Close enough to see their faces and far enough away to take in the panorama of the stage and not hear the heavy footfalls of the dancers. Also this is about where the orchestra section begins to slope up so if a tall person is sitting in front of you, he might not totally block your view. For years I had season tickets in the center orchestra rows E-G and never liked being practically on top of the stage. Just my take, not everyone will agree with me.

Thank you all for your wonderful and detailed comments about this ballet and the casts. Maybe your praise has changed my mind about what I thought was a silly ballet. I saw it only once, at the Paris Opera Ballet in the company's grand opera house in Paris. My husband and I were so turned off by Act 1, especially the dancing chickens, that we did not stay for the rest of the ballet. Neither did some other tourists we spoke to as we all left. Maybe we should have stayed? So sorry to have missed Gillian's 20th anniversary performance, even if it wasn't one of her iconic roles. As to the continually empty seats, how much do you think is due to the size of the theater--so much larger than the Koch--and how much to the choice of ballets or lack of big-name guest stars? Very interested to hear your answers. Also looking forward to your reviews of The Golden Cockerel. Again, thank you.

Yes I was there two years ago when Hee Seo stepped into the black swan role replacing Gillian Murphy, who was injured in Act 1. Unfortunately, something went out of the performance IMO because Hee Seo did not have the command or bravura of Murphy. But she did step in at the last second-- the intermission was only 10 minutes longer than usual--and Marcelo was grinning ear to ear with gratitude to her at the curtain calls. So hats off to her.

I don't blame her for taking this opportunity. She is terrific in NYCB's West Side Story, she has a great, expressive stage personality, and she's been at NYCB many years, so time for a change! And she can see that both Fairchilds and Tiler Peck were successful in musicals, so why not? The last cast of Cats had people gainfully employed for 15 or 20 years. If she does well, she can transition to other Broadway musicals in the future. Good for you, Georgina, and best of luck!

And so the "principal dancer shuffling" starts and who knows where all the shuffled roles will eventually land. Sorry for Semionova's injury or illness--more pressure and fatigue for her replacements.

Sorry Ethan Steifel did not get the job. I've been rooting for him to get a plum job with one of the major US companies.

Yes you have to use your computer to select your own seats. You can't do it on an iPad.

You are sending me on a trip back to my first immersion in ballet as a teenager seeing NYCB. Those ballets that left indelible memories are always associated for me with specific dancers who gave them life. So for anyone who is interested, here's my list: 1. La Sonnambula with Allegra Kent 2. Apollo with Jacques D'Amboise 3. Prodigal Son with Edward Villella 4. Afternoon of a Faun with Arthur Mitchell and I'm not sure but maybe Diana Adams And 5. My first grownup ballet (plotless) and still my favorite ballet of all time, Jewels. Looking forward to seeing it for the umpteenth time this spring. Thanks for the trip down memory lane.

So who will get Victor Barbee's job? Would that be a good fit for Ethan Stiefel?