its the mom

I believe there all different reasons for people making changes in their careers. As for Simon Wexler, TBT is an unranked company. Yes, he was dancing principal roles, but I think the chance of a "title" makes going to a ranked company more attractive. As for Whiteside, if you go back to one of his initial interviews with ABT, he said he had the best of both worlds, having danced Forsythe, Kylian, Balanchine, etc. at Boston, and going to ABT to dance the classics. He also states that ABT was always a dream of his. I think it might be similar for Cirio, in addition to getting too comfortable: http://pointemagazine.com/inside-pt/should-i-stay-or-should-i-go/

I agree. I was there last night to see Bolle. Although a 40-year old dancer, he still performed all of the choreography and he was an amazing partner. No problem whatsoever with the kneeling lift referenced above. And, it does not hurt that he is still so physically beautiful. However, in the interview/article below, he talks about continuing to dance. I am not sure I want to see him at 50 performing Romeo. http://www.gramilano.com/2015/03/roberto-bolle-on-not-retiring-at-forty/

Yes, different strokes. My only comment is that there are complaints that young dancers do not get a chance to dance and develop, and then end up leaving the company (or even worse end up languishing in the corps). Bringing in stars over the past number of years has severely hampered the development and chances of certain talented dancers. If the company starts bringing back retirees or begins keeping dancers into their forties, what does that mean for the younger dancers and their development? I was of the opinion that Julie stayed a season or two too long.

Although I am happy this young man is able to transition to a new endeavor, this is sad. http://www.philly.com/philly/blogs/the-arts/A-young-dancer-chooses-life-without-ballet.html

Thanks, Syrene. I did notice that he was "just" doing a variation in Napoli, and that thought had occurred to me.

I wonder if his "comeback" having been with RDB (instead of ABT's Met season as planned) is a signal that he will be staying at RDB.

Interesting, bingham. So, is Lendorf doing a dual contract, like Masha? He was slated to dance with ABT for the Met season, was he not?

According to Macaulay: "This Thursday, at age 53, Ms. Ferri returns to Juliet. This breaks no records: Margot Fonteyn, who danced the premiere of MacMillan’s version, was still a memorable Juliet (with Rudolf Nureyev’s Romeo) at 56."

Agreed. I have only caught her a few times, but she I have enjoyed her performances.

Sincerely hoping this changes with the addition of Armand as the School Director and the faculty they now have in place: http://school.sfballet.org/staff

Boston fan here. Cirio did Swan Lake several years ago, probably at the age of 22 (?). I actually think because of an injury in Boston at the time, they did 5 or 6 shows in the run. Here's their white swan pas: More telling of his technique is this Sleeping Beauty video: Interestingly, both Gorak and Cirio were partially trained by Peter Stark. Gorak started in Texas, I believe, and Cirio at CPYB. If you look at their resumes as students, there are a lot of similarities. YAGP medals, Helsinki medals, NFAA winners, Princess Grace awardees. While Gorak has an unmatched classical line, Cirio is probably a little more of a bravura dancer. Edit: I realize you now you were speaking of Purple Rothbart role. That would be amazing to see Gorak or Cirio do that. I have probably said this elsewhere, but I am actually excited for ABT because it appears as though they may be trying to develop their own dancers, rather than bring in "stars." I see great possibilities with Trenary, Brandt, Schevchenko, Cirio, Gorak, Royal and Scott (most of them except for Scott in the 24-25 year age range.) Boylston is still not even 30 years old and Kotchetkova is around 32. Additionally, there are numerous even younger dancers who show great promise.

And another departure from PA Ballet: http://www.philly.com/philly/entertainment/20160615_Another_at_Pennsylvania_Ballet_leaves_the_company.html

mussel, that is true. But, from what I understand, some of the European companies allow dancers to go for a year or two before having to give up their lifetime contract. I know of one dancer currently at Boston who will only be staying through Nutcracker, in order to go back to a lifetime contract in Europe. Maybe someone with more European contract experience could confirm that this happens in other European companies.

Well, we will be happy to have him! The one thing I can say about the Boston audience is they are very welcoming!

My only fear for him is the amount they dance in Boston. I was trying to see his casting this past year and it didn't not appear to be too heavy. The soloist and principal men carry a lot in Boston.

Thanks, Olga! I am going to try. I live far enough away that I must plan, but it's not out of the question.

I know there were mixed reviews on Le Corsaire and opening night. Danceviewtimes has several reviews of the ballet. The one of opening night is below. I like his final paragraph, as I felt the same way. "So thus, at the end of the performance, one asked oneself once again whether this ballet, so denigrated as mere entertainment and a fouetté-fest over the years, might even be real art? The circus-like atmosphere that so often surrounds the presentation of Petipa’s variations (with which this work is packed) in general as gala and competition fare makes it difficult to see it that way. The entire modern development of classical ballet in New York since the 1950’s with its Balanchine triumphant historical narrative also makes seriously arguing for this conclusion nearly heresy. But on this night, the sheer power of the dancing, restraint of technique, and dramatic viability of “Corsaire” indicated that the answer to the question is yes: an artistic pleasure nearly different in kind and quality from that of, say Balanchine’s “Agon” on the one hand or “Raymonda Variations” on the other, but truly an artistic pleasure nonetheless." http://www.danceviewtimes.com/2016/06/chestnut-parfait-no-nutcracker-required.html

Marina Harss over at Dancetabs gives it a decent review. "But as long as you don’t come expecting Le Corsaire, you’ll have a good time. Bring your kids." http://dancetabs.com/2016/06/american-ballet-theatre-the-golden-cockerel-new-york/ I did not get tickets for this one. Maybe I should?

I definitely do not underestimate the work by regional companies. I am a long time PA Ballet fan, and because of my travel, I am able to attend every Boston Ballet production. Although I consider Boston Ballet to be a step above the label of "regional," with over 50 dancers and 10-15 in the second company, I have seen the toll that large-scale productions can take on the principals and soloists who do double and triple duty.

I think this is subjective. "Bigger elsewhere?" He is going to a regional company a third the size of ABT. I agree that he will get some great experience, but I would wager that unless Corella can come up with some money to grow the company, Baca will move on. I am a bit concerned as to how a company of 32 dancers will do a run of nine shows of this ballet. Obviously, the second company and school will be used. It should be interesting.

Just a few comments. I agree with you, sz, that there was still some visible partnering tension between Daniil and Sarah. I was sitting center orchestra and could see it. Also, I do not think any of the men on stage had a problem sharing the stage or following Daniil. I thought they all were beautiful and strong in their own way. Herman did a nice job of partnering Masha, especially in light of the fact that they probably had very little rehearsal time (with Masha's SF duties and being in Iceland). And, at this point, they have danced enough together that it should not be much of a problem. As others have said, they felt that Herman may have not been jumping as high as usual, but I do not think it took away from his performance. I felt that the performance was less "circus-like" which is what I always think of when I think of "Le Corsaire," and, dare I say, when I think of Mr. Vasiliev. The most circus-like aspects were Daniil's 540's and Cirio's triple saut de basque at the end of his variation. But both were tasteful and well-executed. For me, both Masha and Sarah were lovely. They are very different dancers, and each brings something special to the stage. Shevchenko did a nice job as well. My only comment would be for her to not change her face in anticipation of her turns. However, I know how stressful that diagonal can be, so I understand. It was a very entertaining evening!

He is still doing his NY Times reviews, but he seems to be posting at each of the shows he attends.

Sorry about that. Here is what he says, "In the nuptial pas de deux of "La Fille mal gardée", Colas twice goes down a diagonal with a big gesture as if he's preparing to partner Lise in a spectacular fish dive. Instead, however, she simply nestles into the crook of his arm: it's the most poetically render anti-climax in ballet. Here is Frederick Ashton rehearsing Nadia Nerina and Davjd Blair in this exact moment before the 1960 premiere. Photo: Zoë Dominic. In the forty-one years I've been watching this ballet i've never known this moment so well realised as it has been this week by American Ballet Theatre. (At the Royal they tend to get the heads and arms all wrong.)"

So glad you got there, PAmom.

I do love the traditional Cuban pas de deux of La Fille, which I have seen performed at various competitions and galas. But I love those chickens in the Ashton version, and Roman Zhurbin as Widow Simone! I saw this comment from Macaulay on his instagram which I thought was interesting: https://www.instagram.com/p/BF9F57jFFG8_EFD1Ns9aLZn2GyeLqgN9zkZhZE0/?taken-by=alastair.macaulay