Olga

So sorry to read all of the mostly-negative reviews of COQ D'OR. When I saw the Copenhagen version, the thought of "not enough dancing" didn't occur to me, perhaps because miming and story-telling are like a second skin to the Danes. It was, to me, a perfect ballet with perfect designs, music, movement, and performers, such as Thomas Lund's Dodon and Gudrun Bojesen's Queen.

Extremely interesting. I hadn't though of it that way.

So sorry to read all of the mostly-negative reviews of COQ D'OR. When I saw the Copenhagen version, the thought of "not enough dancing" didn't occur to me, perhaps because miming and story-telling are like a second skin to the Danes. It was, to me, a perfect ballet with perfect designs, music, movement, and performers, such as Thomas Lund's Dodon and Gudrun Bojesen's Queen.

So sorry to read all of the mostly-negative reviews of COQ D'OR. When I saw the Copenhagen version, the thought of "not enough dancing" didn't occur to me, perhaps because miming and story-telling are like a second skin to the Danes. It was, to me, a perfect ballet with perfect designs, music, movement, and performers, such as Thomas Lund's Dodon and Gudrun Bojesen's Queen.

If you look at the whole of Fokine's repertory, the absolute dance projects like Chopiniana and Dying Swan are, if not in the minority, then even with the more elaborate, multi-media works like Cockerel.

Yes! I think Ratmansky's Cockerel is true to the Fokine/Diaghilev/Goncharova effort and I find it quite marvelous that he has brought it alive.

Yes, you should get tickets. The ballet isn't perfect but it's quite amazing in its way and I can't imagine living in or very near New York City and not taking the opportunity to see it, for the historical aspects, the costumes, some of the scenery and yes, the choreography, particularly in the first act. And I would add most of the dancing, mine, characterization a are first rate. We are blessed to have a ballet mind like Ratmansky living and working in our city.

I don't know if it's the best part, but the great performance Ratmansky got out of the dancers for both Serenade and Trilogy is definitely one of the best parts and I thought it quite amazing. The energy level and enthusiasm on stage in both of those ballets was on a different plane from the two Ashton's I saw. Looking forward to Cockerel.

Yes, the Serenade is brilliant and Drew summed it up. I saw the first cast and am glad to hear the second was wonderful as well. The Shostakovich Trilogy is also looking powerful, and wonderful. Wow, maybe Ratmansky can really turn ABt around. He has certainly brought something special out of the dancers. Very, very happy with these ballets.

Interesting. Thanks for posting.

Sylvia was actually on Goldstar for a couple of WEEKS before it opened. I was at both theaters this week, and NYCB was buzzing. The audience and the dancers over at the Met seemed "flat" to me. It's a shame because the ballet is fabulous, choreographically speaking.

Love this. Thank you.

I thought the Ratmansky Sleeping Beauty costumes were based on the Ballet Russes designs, combined with Ratmansky's desire to make the skirts lower ( his comment: "you don't show your underwear to the Czar").

Agree with your assessment. I think Wheeldon would have given him flashier choreography if Fairchild could have done it.

I wonder if Robbie's difficulties were a drag on TilePeck's dancing in that ballet. Some of her step sequences were difficult and well executed but her performance lacked punch. Something not very good happening w R Fairchild.

Totally agree w Canbelto's blog! In fact "pointless" is the adjective I also used to describe the Wheeldon ballet. But I agree w all the points made. Tyler Angle was magnificent - in particular, two of the lifts were shockingly strong: the one where he holds Sara very high above his head and turns, and the one where he lifts her from a low position. I like him in general, but his performances this Spring have been just that much better. Belle Lettres is a nice piece - love the music,costumes, steps - but you are so right there is not enough development in the piece.

The corporate part (Travelers) is reminiscent of ABT's gala, which I've decided to skip. The music lessons seem to be a new thing which we're going to have more of. Sometimes it feels NYCB is trying too hard and is off base w the ancillary stuff, but check out the piece in today's Times about the Met Opera -- I'm feeling good that NYCB is able to pack the house many nights.

ABATT makes a very good point about NYCB. I think it's the central point but I would like to add it is a tribute to City Ballet that they can field so many dancers that can provide totally satisfying performances. There is also the historical fact that many City Ballet fans came of age years under Mr Balanchine's policy of no advance casting releases. And we became and still are ballet fans!

For me, comparing casting issues at NYCB and ABT is an apples to oranges situation.

The no- advance -casting rule works very fine at NYCB because they do rep shows, with 3 or more ballets presented on a single night. On any given night you are likely to see numerous different principals. Even if you get 2 or 3 principals you dislike, you will also get at least as many that you adore on that same program.

With ABT the situation is completely different. They are presenting full length ballets where you are watching only 2 (sometimees 3, but rarely more than that) people dance the lead roles for a 2 1/2 hour production. I will always buy my NYCB tixs without knowing any casting, but I would never buy ABT tickets in advance without knowing casting for this reason. ABT is well aware of this, and that is why they publish the spring casting in October. Otherwise, they would never be able to bank large amounts of advance payments for subscriptions and single ticket orders months before the curtain ever rises at the Met.

I completely agree -- McBride's version is so beautiful, musical, and interesting. Haven't seen Isaacs but am happy she received the opportunity -- she's such a strong and exciting dancer.

McBride is stunning in that clip. I love the abandon at the end. Aint nothing wrong with that performance.

I couldn't agree more about Villella. What a fantastic company!

Abatt, that is the conclusion I've reached. No significant advantage to a subscription. I like to pick my own seats. I also don't like the ambiguous wording they used regarding the availability of early purchase for single seats, just like I don't like how they have worded rehearsal benefits for members. And when you compare ABT to how City Ballet runs things, it's even starker. If I have extra money, I would rather raise my membership level at NYCB. Frankly, given the Board and contributors to ABT and their sponsored dancers, it doesn't seem to me ABT needs money from me or anyone else with a net worth below $10 million.

Thanks, Helene. They were both cast, but It's impossible to tell which one she was though, because the program doesn't give anything other than one large group credit. I was very impressed with the company. They have received a great reception here in New York.

Does anyone know the name of the female dancer who started Emergence off when the curtain came up last night?

Thank you for your review Canbelto, and for the clip of Zero Mostel. A very rich performance for a poor man!

I second ABT Fan's thoughts.I also studied with him and others at his school. He was a great dancer and teacher and he and Nikolais made an important contribution to the Lower East Side. Indeed, another one of the modern dance greats.

I like Sterling Hyltin very much and am curious to see her Symphony in C but I wouldnt expect an Allegra Kent performance. Allegra Kent is a goddess, a Balanchine goddess.