its the mom

Funny, Agon was probably best received as a whole that first evening. I think the blonde was Dawn Atkins the second evening, but I do believe that the casting for Agon was correct in the program. I could be wrong. The two men in the pas de trois are probably a little more inexperienced, hence the toss not quite as successful as the previous night. You are so right about the movement quality in Agon - that’s a great way to put it. “Not punched or muddled.”
 

On another note, I am sad that PA ballet has changed rather drastically. I know there are those who prefer it now, but I miss the days of gorgeous Balanchine work without having to drive to NYC.  

I saw opening night and Friday night. Glass Pieces is one of my favorites, and paired with Balanchine and Forsythe ... well, for me, it does not get much better. The first night of Glass Pieces felt a little under rehearsed, but the second evening did not disappoint. I could watch that ballet time and again and not tire of it.  I love the patterns and that music!  It was also good to see John Lam dance the central pas. 
 

Agon was beautifully danced on opening night. Cirio and Arrais (back on stage after a long injury recovery) danced the pas. There was audible gasping in the audience while they danced, and enthusiastic applause when they finished the pas and during bows. Both Cirio and Ji Young Chae seem to be very highlighted in this run of shows. 
 

In the Middle felt a little odd on opening night. I have seen this ballet several times, and I felt almost on Thursday as if the ballet was outdated (strange because the other works are older, but feel timeless.) Paul Craig seemed to be the most at home in the movement the first evening.  He is such a musical dancer anyway. Friday night’s cast with Cirio and Fentroy, Yocum, Rines and Silva brought a whole different feel. The ballet suddenly felt contemporary again. 

This is probably one of my favorite programs Boston has done. If you can get there, do so. I am seeing one more because I am sure they will not repeat Glass Pieces any time soon! 

One very major difference is ABT’s large lay-off period which enables the dancers to pursue other projects. In most other companies, these larger periods of lay-off are not common. With class, and six-hour rehearsal days, and with some companies working 5-1/2 to 6 days a week, pursuing outside coaching would be a challenge. During the summer, when most companies are on lay-off or holiday, there would obviously be more time to pursue outside coaching. However, most dancers are working other jobs - summer projects, teaching, etc. Brandt is blessed with that luxury. Good for her, but I don’t believe most dancers have that luxury. I also know that several of the directors Helene lists (in her post above of the major companies) do not look kindly on even taking class elsewhere, let alone coaching. 

11 hours ago, canbelto said:

This is a pretty typical promotional piece for a ballerina done ahead of a big debut. It gives you a slight peak into company politics but mostly tells ppl to buy tickets. Theres nothing really remarkable about this article. 

I don’t think it’s typical for a dancer to float possibilities of leaving a company in a promotional piece for her debut of an iconic role. This tells me a lot about McKenzie’s management style. Obviously, he has to balance casting between his principals and up and coming soloists. He told her to keep her eye on Giselle, she gets no help at company to do that, so she gets outside coaching, and then she basically has to plead for one show. That’s ridiculous. If she had not gotten outside coaching, she would not be performing that role most likely. She is obviously paying for this coaching, something that other dancers might not be able to do. What does that mean for less fortunate dancers? 
 

P.S. I am not putting her down in any way. She deserves the chance at this role. I would much rather watch her than some of the principal dancers. But I also would not blame her one bit for moving on. 

59 minutes ago, Helene said:

Who knew that social media audit trails would need Soviet level skills to keep track of?

This weekend, it's been interesting to binge watch Napoli, one of whose themes is the power and damage of gossip and speculation.

Thank you!

On 10/4/2019 at 4:41 AM, Petso said:

I follow Boston Ballet on instagram since a while. One of the last posts has been about the beginnings of nutcracker rehearsals. A user asked the question, how BB is dealing with the racism in the ballet, she is curious to see - in a polite way I would say. Next day the question was deleted. The user tried it again the next days. Again just deleted. I think I remember that someone asked the same question Kathryn Morgan (I think on her YouTube channel). It wasn´t deletet but never answered (even she seems to read an answer questions in general).

Is it really such a big deal in the year 2019 for companies to face that!?! To talk about it? To say "yes there were done mistakes in the past but we will change that"? I can´t understand that. I won´t understand that. It brings the dancers in very uncomfortable positions. I just watched a documentary about dancers growing up  at  the Paris Opera. They talk EXACTLY about that. That it´s wrong, that they have still to dance sexist and racist roles (one of them for example a male dancer from asia, who explains the "ideal ballet couple" is  still white, young, goood looking...).  So they can leave or they can go on with a shrug  - knowing they know better inside. 

This kind of elimination of this topic  in 2019 really bothers me at the moment. Arts are so powerful. And free - especially in the way of seeing the world and show it. So they should be able to make a change - aren´t they? 

I just checked and the questions are there. They just did not reply. And I doubt they would on Instagram, as others have indicated. Additionally, the person who asked the question follows nobody and has no followers. Take what you will from that. 

I rarely get to NY to see this company. They do not perform much that interests me, although I am hoping to catch Jane Eyre this time around. I am astonished, like many, at casting.  Blaine Hoven deserves better. And does Sarah Lane. Both would be welcome additions to any company. And both have years of dancing left if they so choose. I wish they would go elsewhere. Sarah could do well in Europe. I would love to see her in Berlin or London (with Simkin or Cirio respectively.)

Just a couple of responses, Amy (and in no particular order)

I saw several shows of this at Boston.  The costumes and sets were borrowed from Pittsburgh Ballet Theatre.  I agree with some of your complaints about the props, but shouldn't Ponomarenko (who adapted it for the company) have changed some of this?  I didn't know whether Myrtha's "sprig" was rosemary or asphodel, but whatever it was supposed to be, it was way too large and cumbersome.  Additionally, the lilies were too loud as they hit the ground (I am assuming they were plastic.)  As you said, Amy, it was just a number of little things that didn't seem thought out.  My feeling on the whole production was that there was just not enough time to bring the whole company up to speed on the intricacies of this ballet.  With so many new corps members (I recognized so few of them, and I see this company pretty regularly), there was no way to set this ballet to perfection in a little over a month.  (The dancers returned in August and had to perform a full program at Jacob's Pillow prior to this performance.)  Their reactions and/or non-reactions in Act I were obvious.  

About the conductor - he is fairly new.  My only comment is that I sorely miss Jonathan McPhee.  

The two Hilarions that stood out were Paul Craig and Isaac Akiba, both veterans.  Craig was so good as Hilarion that I was very disappointed not to see him cast as Albrecht.  It makes no sense to me to not cast a perfectly capable and seasoned Principal in the role.

I felt that Act II was missing something and then I remembered that when Maina Gielgud set Giselle on the company, the Willis' entered with veils over their heads.  I don't remember how long they kept them on, so perhaps someone can remind me.  But I do remember feeling the scene was much more "other-worldly."

The Peasant pas was much better danced in other performances.  Ji Young Chae had the task of performing the peasant pas, Myrtha, and Giselle.  She is quite the machine, and her jumps are unbelievable.  I hope she develops more in her acting skills.  

I thought each of the principal couples I saw brought something different to their respective roles.  Interestingly, Oga and Dunn were my least favorite, and they were the couple specifically coached by Ponomarenko.  And this brings me back to the time given in bringing this ballet to the stage. There was just not enough time for Ponomarenko to put her finishing touches on everyone and every scene.  Luckily, several of the Principal dancers had danced the ballet before, which became obvious in seeing several of the shows.  

If, Amy, your line of thinking is to follow, then Dunn (as an aristocrat) is too short.  I felt as though I should be watching Coppelia or La Fille in seeing Oga and Dunn on stage, and this is probably why their pre-mad scene was appealing.  His technique is surely beautiful, but I didn't see Albrecht.  Oga was fine, and as you say, she is young.  I think the company is hoping for a "Kuranaga" in her.  This ballet is a soulful story to be told, and while technique is obviously at the centre of it, there is so much more to it.  In their defense, it was their first time together in a full-length. Kapitonova/Yocum and Cirio/Khozashvili have danced together before, and, again, it was evident.  I think it may have been a better choice to have Oga and Dunn do the peasant pas before throwing them into the title roles.  But, I am sure we will be seeing them do a lot more together.  

All in all, I am glad the company finally (after 10 years) brought the ballet back.  I hope that they do it again soon, but spend more time in coaching it.  With so many recent departures, it will take time to bring the new crop of dancers up to the level of the past few years or prior.  

On September 7, 2019 at 11:23 PM, Amy Reusch said:

I'm looking forward to seeing Chisako Oga debut in Giselle.  I was worried about a Saturday Matinee cast, the only time I could make it, but I am quite looking forward to seeing her take on the role... she is young but charming and promising in what I could find of her online.

She has certainly benefitted from the fact that Kuranaga is gone.  Dunn needs a very small partner.  Additionally, many of they young dancers have benefitted from departures from the company this past year.  

Instagram and Facebook are both full of dancers’ posts about this. It’s been all day. Ms. Spencer’s instagram is filled with angry comments, as well.  

1 hour ago, Lena C. said:

I might hop on a train to DC just to see Lane/Sinkin again. Pure heaven. Lane is without a doubt the perfect interpreter of Giselle. 

 

Maybe the tba with Murphy is for Lendorf? 

I think Brandt could pull off Giselle. More likely that Trenary would get her debut first though. Just like I think Brandt would get her Don Q first. 

Lendorf is no longer listed with the company. 

Would love to have seen Hoven or Whiteside in Apollo. Both have danced Balanchine. 

Simkin is not listed for the fall season, is he?

A beautiful tribute to an even more beautiful dancer.

4 minutes ago, Balletwannabe said:

Just a note that Combs will be at *Festival*Ballet Providence.  There is an entirely different school/company with the name Providence Ballet.  Both in Providence RI, so the confusion is understandable!

Yes, sorry.  

Yes, you can see some of the departures on the other thread about Kuranaga leaving.  She is going to San Fran.  Combs is going to be Executive Director at Providence Ballet in Rhode Island.  Buriassi and Doble are both going to Les Grands.  Chalendard is leaving, but not sure where she is going.  Parrondo and Gill are both retiring.  There are other departures, but I am not sure where everyone is heading.  They have already updated the website, taking down the departures, but have not updated for promotions.  

I remember reading that he was injured back in February:  https://www.balletcoforum.com/topic/19591-staatsballett-berlin-la-sylphide-casting/

She is pretty amazing in that she danced Cinderella in London on Saturday evening, La Bayadere Shades scene in Olso on Monday, and is now back in London dancing Cinderella this evening.

He was replaced due to injury last year when they were scheduled to dance it.  I am just surprised that he did not dance it before at ABT.  Just timing, probably.

https://www.roh.org.uk/news/cast-change-manon-on-5-and-13-april-2018

Wow, debut?  That's hard to believe.

Misa will be missed.  There are other departures as well.  Kathleen Combes is retiring and taking over the Executive Directorship of Festival Ballet in Rhode Island.  Dalay Parrondo, a long-time soloist is retiring.  Corina Gill is retiring.  Rachele Buriassi is leaving.  (These were all announced on their instagrams or on Boston's instagram.)

10 hours ago, The Traveling Ballerina said:

Is this in regard to my comment about Martínez? My source is El País, one of the most circulated newspapers in Spain. These are the two articles that I have read: https://elpais.com/cultura/2019/02/04/actualidad/1549297649_613520.html and https://elpais.com/cultura/2019/02/06/actualidad/1549449729_452880.html

Thank you.  Seems to be a lot of red tape, rules to follow, and a huge misunderstanding.  

Does anyone know where Martinez is going?

A tribute in Pointe Magazine written by Julie Diana Hench.  Julie's husband, Zach Hench, and sister-in-law, Tara Hench Berdo, both trained at CPYB.  Zach and Tara's mom, Leslie Hench, was one of Marcia's first students, and taught for many years at CPYB.  

https://www.pointemagazine.com/marcia-dale-weary-2630827719.html?rebelltitem=4#rebelltitem4

If you follow Rosalie O'Connor on Facebook, she has posted a whole series of pictures capturing Marcia.  Beautiful.

Numerous students have posted today on Facebook and Instagram.  My feed has been flooded with them all day long.  Many are dancers. Ashley Bouder, Jeffrey Cirio, Lia Cirio, Ian Hussey, Carli Samuelson, Julia Rowe, just to name a few.  Many were former dancers like Deborah Wingert, Tina LeBlanc and Tracy Julias.  And  then there were teachers from all over the world sharing the news.  There were parents expressing their gratefulness.  And, finally, there were students who never went on to be professional dancers.  The recurring theme of all their posts was that she pushed them, she inspired them, she gave them work ethic, and she gave them a love for the art form and for other art forms.  She demanded excellence and she got it.  And whether they danced professionally or they didn't, what she instilled in them carried forward into their lives.  I don't know if there will be another like her.  I was blessed to witness it.