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About Olga

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    Bronze Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    New York

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  1. Many thanks to Fiddleback for alerting us to this and the other Arizona streams! Wonderful to see, and to learn about the company.
  2. Her mother was an English teacher but then stayed home to raise children. Her instagram is in fluent English. I have wondered if her English fluency is partly responsible for her freuquent pairing with Parish.
  3. I don’t think so. It’s a pretty obvious omission given that it’s a premiere of a ballet. And she knows and has worked with the choreographer. Strikes me as another one of her weird, indirectly hostile posts. I love her dancing but I’m getting turned off to her.
  4. Thanks for posting, California.
  5. It was a treat to watch Boris Akimov. Fabulous. I didn’t see Maria Allash.
  6. My comment had nothing to do with my or anyone else’s viewing pleasure. It was a point made about the way Lane may POSSIBLY be managing her career.
  7. There are many kinds of jobs, many kinds of dangers, many kinds of intimacy, and many kinds of oppression. Some of them are far worse than ballet. We don’t know the facts here. Lane has a history of being impolitic. Just possibly (quoting myself) this was another instance. Maybe not.
  8. Just possibly someone in Lane’s position with the company should have done whatever it took to keep her partnership with Cornejo alive. There is nothing that suggests he is such an ogre that it would have entailed something truly odious. I too think Lane is one of the best female dancers on the ABT roster and we don’t know the facts but you have to wonder. Most people put up with a lot in their jobs.
  9. Practice waa a flippant and unfortunate choice of words, reflecting perhaps my skepticism and frustration with the company — and how far from performance ready I found the 2017 foray into Balanchine. But I will be seeing both Balanchine ballets. I look forward to Cornejo’s Apollo and I hope Theme and Variations is better than the Balanchine performances I saw two years ago.
  10. Agree, of course they have a right. Too bad they don’t have the caliber of dancers they had for the premiere of Theme and Variations (relative to the respective time periods). Sure they might get better with practice but I would rather not watch and pay for the practice period. And as you said in your first paragraph, there are many other ballets which could have been programmed and would have made better use of the limited run. My guess is that ABT is so out of it they actually think programming Balanchine in NY will increase their audience. But I agree with others rhat many of the oth
  11. ABT’s performance in 2017 of Balanchine’s Tchaikovsky Pas de Deux was cringeworthy and the Mozartiana they did the same season was off the mark. I think Cornejo may have wanted to do Apollo, I think he will do well, and I plan to be there. But two Balanchines? I agree they are tone-deaf. And they have a major vision problem.
  12. McKenzie needs to go before the company is run so far into the ground that it can’t recoup. There may be others in top management who also need to go. Don’t they see from the half empty theater and the barebone male principal roster that something is very wrong? Adding a costume fee is foolishness. They need to be building good will, not destroying it. These sorts of charges are like regressive taxation in that they are borne in the same amount by expensive and cheap ticket holders. But in the end the costume fee, while indicative of their problems, is actually the least of them. There are oth
  13. A memorable Lane/Cornejo performance in Manon last night. I agree another Giselle and Swan Lake would be great.
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