Olga

Sent them something.

They do have some interesting, in depth articles. Thanks for reminding me about the email. I deleted it without reading very much in it. Now I think I will send them a small contribution.

👏🏻 Funny.

Thank you. Sounds like a substantial tour and a lot of it in New York. Also some interesting choreographers. I guess the precise dates are still unknown.

Thanks Silvermash. It is very far off I know.

Does anyone know the dates POB will be in New York in Summer 2018? I couldn't find anything on their website.

Truth.

Yes! Before De Luz retires.

Also I think it's a question of professionalism. This kind of sloppiness doesn't speak well for the company. They can't even get their programs right. They have a lot of wealthy successful people on their Board, a large staff and what seems like constant fundraising efforts. It's an embarrassment.

The Met's language is more problematic, I agree. I don't know the details of who there is writing what. I've observed some sloppiness in ABTs playbills. One night it said three Pauses and one Intermission but were two intermissions and two pauses. Personally I don't read the descriptions on the Met website very much. The press releases look very carefully written, at least on this subject.

Well, the first release may not be all that clear but yes I think it was saying those two diverts were originally choreographed by Nijinska. Note the comma. It credits Nijinska with creating those diverts. It left open the question of what precise choreo would be used. By June, the press release answers that extremely clearly. My guess, and it is a guess, is that Ratmansky concluded he didn't have enough info to do Nijinska's choreo.

I've reread both the October 2016 press release and the June 16 2017 release. The latter clearly states it will add Three Ivans with choreography by Nanette de Valois and that it will add the Porcelain Trio with choreography by Bronislava Nijinska. The earlier release doesn't say that but neither does it actually claim it will use Nijinska's actual choreo for Three Ivan's. It says it will "add ThePorcelain Trio and Three Ivans, divertissements originally choreographed by Bronislava Nijinska."

The generally accepted notion, at least in NYC, is that Board members of not for profits make special contributions, frequently in the form of money, and/or in the form of publicity or expertise (for example, investment, financial, fashion). The direct sponsorship of artists however is another matter. I think there is something amateurish about ABT and it shows up in different places. This is one of them. So was the Tchaikovsky Pas De Deux on Monday night.

Me too.

I think ABT needs to beef up its website in general. It's not just the running times that are missing. There is very little information about the ballets.

Yes, thank you Birdsall for posting. Also thanks to Peruanka for the Russian Seasons video.

My reference to Martins was by way of contrast, but actually in fact he has cast new corps members as leads in full lengths. Not suggesting McKenzie should do exactly that. I totally agree NYCB is a different animal. That relates to what I described about structural issues, not just the AD.

I don't disagree. While it's hypothetical to know what Abrera would be like today under different circumstances, certainly promoting dancers to principal when they are in their mid to late 30's is no way to build a company. Contrast this with Martins (and here I know I'm treading on a thin ice) who casts apprentices in lead roles of iconic ballets. I think the problems at ABT are somewhat structural, even larger than the AD. Bringing Ratmansky in is a big step forward in my opinion, and we'll see what happens. As to foreign but not necessarily Russian dancers, seems to me ABT has relied on them for many years. It's not easy to turn a ship around, and I wish them the best of luck. I would be very happy if the soloists turned into stars. Thank you for listening. I don't plan to say more on this topic until there is a new development.

I don't think Macaulay would have much that is positive to say about either Corsaire or Onegin. I have my own issues with Macaulay, but from a larger dance perspective, the Isadora Duncan benefit at the Joyce and Sara Mearns' participation in it, as well as the stunning rise of Miami City Ballet, whose Jacobs Pillow performance this week he reviewed, are probably more significant, and certainly more interesting to him.I hope that doesn't raise too many hackles in this board. The Times did a big feature on Vishneva, and Macaulay has just done an article on Ratmansky's Aurora and will likely review it. He is a huge Ratmansky fan. As I said I have my own issues with him, so I'm surprised to find myself writing this. I am sometimes surprised by his lack of coverage of other ballet performances.

I'm one person who agrees with you (but I don't post much on this board). For some time now I have been trying to understand the attachment and raves about Abrera. I think she is competent and lovely (if a bit stiff) but I wouldn't go out of my way to see her, or for that matter any other of ABT's female principal roster. Not a single one takes the breath away. Count me as one person who thinks relying solely on the in house dancers is a mistake for ABT. As for the soloists, there are some intersting dancers coming up but time will tell if they can hold my interest.

https://beta.theglobeandmail.com/globe-investor/woodbridge-selects-long-time-executive-david-binet-as-president/article5817126/?ref=https://www.theglobeandmail.com&service=mobile Profile of David Binet, Chairman of National Ballet of Canada and father of young Robert Binet. He manages $20 billion for Canada's wealthiest family.

The contrasting videos of Nina and Boylston: graphic illustration of what separates a great ballerina from the rest.

Yes - Agree. Balanchine was making Broadway and Hollywood musicals at the same time as Busby. The influence of musicals on Balanchine is pretty significant. And I like that hypothetical image of Balanchine and Rainier.

Odessa premiered at the gala last night. Utterly marvelous. Everything about it.

Balanchine was not afraid to experiment or even to program untried choreographers, dancers who had not choreographed before. He even had Martins choreographing. Balanchine may be the greatest of all choreographers and we are humbled and grateful for his legacy, buy I do believe that includes new programming, new choreography. And some of the ballets in this festival are quite good, even brilliant and add to NYCB's rep. I have also noticed that Peck has a very enthusiastic and YOUNG following. I think you are missing something if you stay away from this festival. I see very little comment in this thread about the actual ballets being performed. As DC Export has suggested, these issues are not unique to NYCB. There are people complaining about the lack of Ashton at the Royal Ballet. There is controversy about the direction of both POB and RDB. The Mariinsky and Bolshoi are going to some length to show and foster new choreography. That said, I too would like to see more, and broader, Balanchine programming. And I am looking forward to next Spring's Robbins festival -- a great choreographer for whom Balanchine made room.