Dreamer

The dismal ticket sale in Milan could be explained by the fact that in early September Milanese were still enjoying their summer vacation. And yet La Bayadere sold much better than the Shrew. Interesting that the proximity of Monte Carlo to Northern Italy didn’t make Maillot any more popular with Milanese. At each performance there was plenty of folks with free tickets. Students from La Scala school were given tickets in the Orchestra section.

Call me a conservative but I take Spartacus and Don Quixote any time over Taming if the Shrew or A Hero of Our Times, the two Bolshoi’s exclusive ballets. I saw The Shrew for the first time during the cinema broadcast and didn’t like it. I thought seeing it live in Milan would change my perception. I liked it even less. Besides what seemed like constant slapping, smacking and spanking Maillot totally ran out of steam and ideas by the second act. Such a waste of grand Schostakovich’s score to accompany an absolutely dull, unimaginative choreography. Only the energy and abandon of Bolshoi’s dancers made this ballet watchable.

On Sunday, after the last performance of Balanchine Festival I trotted to the Koch Theater to catch the gala performance of the Hungarian State Opera and National Ballet. It was a long night with a lot of self-aggrandizing speeches by various Hungarian dignitaries and quite a display of nationalistic pride that at times looked desperate and pitiful. Instead of being a celebration of Hungarian culture, the night quickly turned into a propaganda event. There were some interesting facts to learn; for example, that Hungarians were “ the finest group of immigrants this country ever had.”🙄 I was attracted to this gala because of its program’s ballet offering that consisted of Van Manen’s Tiois Gnossiennes, Andras Lukacs’s Whirling (set to the music of Philip Glass) and Pas de Trois from Le Corsaire. It was such a huge meh! I probably should have tamed my expectations after having experienced five days of mostly exquisite dancing at the City Center. With the exception of two principal ballerinas—Tatiana Melnik as Medora and Lili Felmery feautured in Van Manen’s piece— all other dancers looked mediocre at best. Their bodies and the style of dancing had a look and feel of a semi-professional contemporary dance company. Unless the Hungarian National Ballet has two companies, one for classical repertory and another one for contemporary pieces, I don’t see how they’ll be able to pull off Swan Lake and Don Q.

I thought Sara’s stumble was quite bad—it made me worried that she might have been in pain for the remainder of the performance. Or maybe it was something else but she did look strained. There were also some space issues throughout Symphony in C as the City Center stage is too small for such high density, big movements ballet.

I thought it was a very pleasant evening overalll, with enthusiastic and appreciative audience. It was my first time seeing Miami City Ballet dance Serenade; my live experiences of this ballet are limited to NYCB and SFB. As much as I enjoyed Janet Delgado, she alone couldn’t create that magic I always feel when watching it. I guess one needs to seat further away to fully experience the beauty of Serenade. The fifth raw in the orchestra was just way too close. I wanted so much to enjoy Tchaikovsky Pas but I couldn’t. Throughout the entire piece I felt I was watching a preview of Le Corsaire which I very much look forward to next April in DC. Marcelino Sambe in Tarantella rivaled Kimin Kim’s buyonacy. Did anyone else find any semblance between Marcelino and Edward Villella in energy and gusto? Symphony in C had a few minor mishaps but it was such a powerful demonstration of how Balanchine’s choreography needs to be danced. ETA: My comments were about the opening night performance on October 31.

Thank you. I decided to keep my Friday subscription ticket.

Thanks for your feedback, FauxPas. It’s good to know that Copeland may not necessarily be a deal breaker in this role.

Thank you everyone for keeping this thread updated. I am glad I haven’t booked my airfare yet. As much as I love Sarah Lane I wouldn’t be able to sit through another Copeland’s performance after her disastrous Gamzatti in Los Angeles this past summer. This latest cast change is going to keep my attendance to only two performances.

Casting for the Kennedy Center engagement: Tuesday, October 23, 2018 at 7:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Sasha De Sola, Jennifer Stahl, Lonnie Weeks Alexandre Cagnat, Esteban Hernandez Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Wednesday, October 24, 2018 at 7:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Jennifer Stahl, Lonnie Weeks, WanTing Zhao Alexandre Cagnat, Davide Occhipinti Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Thursday, October 25, 2018 at 7:30 p.m. | Program B The Infinite Ocean Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Jahna Frantziskonis, Julia Rowe, Natasha Sheehan, Lauren Strongin Sean Bennett, Max Cauthorn, Cavan Conley, Myles Thatcher Snowblind Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Conductor: Martin West Piano: Mungunchimeg Buriad Kennedy Center Opera House Orchestra Ethan Frome: Ulrik Birkkjaer Zeena Frome: Sarah Van Patten Mattie Silver: Mathilde Froustey The Snow/Neighbors/Farmhands: Ludmila Bizalion, Gabriela Gonzalez, Anatalia Hordov, Ellen Rose Hummel, Norika Matsuyama, Lauren Parrott, Elizabeth Powell, Miranda Silveira Nathaniel Remez, Alexander Reneff-Olson, Henry Sidford, John-Paul Simoens, Hansuke Yamamoto Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Dores André, Joseph Walsh Sarah Van Patten, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Kamryn Baldwin, Norika Matsuyama, Elizabeth Powell, Ami Yuki Diego Cruz, Daniel Deivison-Oliveira, Henry Sidford, Wei Wang Friday, October 26, 2018 at 7:30 p.m. | Program B The Infinite Ocean Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Jahna Frantziskonis, Julia Rowe, Natasha Sheehan, Lauren Strongin Sean Bennett, Max Cauthorn, Cavan Conley, Myles Thatcher Snowblind Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Conductor: Martin West Piano: Mungunchimeg Buriad Kennedy Center Opera House Orchestra Ethan Frome: Ulrik Birkkjaer Zeena Frome: Sarah Van Patten Mattie Silver: Mathilde Froustey The Snow/Neighbors/Farmhands: Ludmila Bizalion, Gabriela Gonzalez, Anatalia Hordov, Ellen Rose Hummel, Norika Matsuyama, Lauren Parrott, Elizabeth Powell, Miranda Silveira Nathaniel Remez, Alexander Reneff-Olson, Henry Sidford, John-Paul Simoens, Hansuke Yamamoto Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Dores André, Joseph Walsh Sarah Van Patten, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Kamryn Baldwin, Norika Matsuyama, Elizabeth Powell, Ami Yuki Diego Cruz, Daniel Deivison-Oliveira, Henry Sidford, Wei Wang Saturday, October 27, 2018 at 1:30 p.m. | Program B The Infinite Ocean Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Ana Sophia Scheller, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Jahna Frantziskonis, Julia Rowe, Natasha Sheehan, Lauren Strongin Sean Bennett, Max Cauthorn, Cavan Conley, Myles Thatcher Snowblind Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Conductor: Martin West Piano: Mungunchimeg Buriad Kennedy Center Opera House Orchestra Ethan Frome: Ulrik Birkkjaer Zeena Frome: Sarah Van Patten Mattie Silver: Mathilde Froustey The Snow/Neighbors/Farmhands: Ludmila Bizalion, Gabriela Gonzalez, Anatalia Hordov, Ellen Rose Hummel, Norika Matsuyama, Lauren Parrott, Elizabeth Powell, Miranda Silveira Nathaniel Remez, Alexander Reneff-Olson, Henry Sidford, John-Paul Simoens, Hansuke Yamamoto Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Dores André, Joseph Walsh Sarah Van Patten, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Kamryn Baldwin, Norika Matsuyama, Elizabeth Powell, Ami Yuki Diego Cruz, Daniel Deivison-Oliveira, Henry Sidford, Wei Wang Saturday, October 27, 2018 at 7:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Jennifer Stahl, Sasha De Sola, Lonnie Weeks Alexandre Cagnat, Esteban Hernandez Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Sunday, October 28, 2018 at 1:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Jennifer Stahl, Lonnie Weeks, WanTing Zhao Alexandre Cagnat, Davide Occhipinti Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Ming Luke Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter

Thanks for posting it, nysusan. I am very happy with most of the cast. SFB is definitely bringing its best dancers. Other American companies didn’t disappoint either. Excited to see Tiler Peck, Ashley Bouder, Maria Kowrowski, Sara Mearns, Simone Messmer, Jeanette Delgado, Rory Hohenstein, as well as Viktoria Tereshkina and Kimin Kim. Couldn’t be happier with Shevchenko and Teusher in Symphonie Concertante. I would prefer someone else as Mariinsky’s Apollo and am disappointed that Fabrice Calmels is not part of the tour. But otherwise, it should be quite thrilling to see eight different companies perform Balanchine.

Discovery goes both way and production of documents will be required not only from the defendants but from the plaintiff as well. Ms. Waterbury would need to back up those claims by producing supporting documents and filling out interrogatories: How she knew about those alleged incidents at NYCB (by witnessing or through hearsay) and when she learned about them.

Drew, you probably did not mean it this way but this comment sends shiver down my spine reminding of how prophetic Philip K. Dick was. Have we reached the state where pre-crime no is longer a science-fiction but a reality?

Does the updated complaint specify whether all of the “intimate, explicit and sexual” images of Ms. Waterbury were taken by Finlay? Could it be that some of the nude images of her that he shared were taken by someone else? I am not questioning his actions, I am simply curious about the source of those images in question.

I am anxiously awaiting the casting announcement for SFTA. Now it’d be a good time for making travel arrangements but I am not committing until I know who dances. I don’t want to see Boylston or Seo, both of whom I find bland and boring. If they don’t bring Lane, Brandt or Shevchenko to California I might just scrape my travel plans all together.

I agree with you point. I quoted this claim to support the argument that Mr. Merson clearly views NYCB and SAB as culpable for the situation. That somehow NYCB is reponsible for the fact that Ms. Waterbury’s and Mr. Finlay’s pathes crossed.

I do. Claim #73 states: Ms. Waterbury would not have met Mr. Finlay and been subjected to the aforementioned unlawful conduct but for the NEW YORK CITY BALLET, INC.m and/or SCHOOL OF AMERCAN BALLET.

Jared Longhitano’s Linkedin page shows that he’s involved with several arts organizations in NYC. Besides being a Junoir board member at NYCB, he is a member of Young Associates Steering Committee at the Met Opera, part of the Junior Council at ABT and the scariest of all, he is the Head of Young Patrons Group at YAGP.

In many cultures people are much more open to the physical contact, be it at work or in any other setting, among friends, colleagues or even strangers. French people kissing three times is the first example that jumps to my mind. I was in Milan just last week for the performances of the Bolshoi and had an extra ticket which I offered to a complete stranger, a young male ballet student. He was so touched by my gesture that found no better way of thanking me but to hug and kiss. At first, I instinctively pulled back but composed myself a second later and reciprocated. It made me think whether we set our physical boundaries sometimes too far? Do all our interactions with fellow human beings have to be strictly verbal and without any tactile component? I am not talking about situations of aggressive and unsolicited touching.

I found Ramasar’s and Catazaro’s statements quite moving. It doesn’t necessary make me believe them but I do believe in the presumption of innocence. Let’s hope these two will follow up with their promise of giving us their side of the story.

I did not question the utility of legal system. My comment concerned the ways it operates and the emotional aspects for those involved in a law suit.

These are sad times for American arts, culture and ballet. I am not taking sides for or against any of the dancers involved. I am taking side agains the American legal system in general and Ms. Waterbury’s lawyer in particular. Being adversarial in its nature, the legal system applies a schorched earth strategy leaving no winners and destroying everyone in the process. The process of discovery alone will turn everyone’s life upside, demoralize, demean, corrupt and crush both the plaintiff and the defendants. It will leave everyone sick to their stomach and in need of recovery after the case is over. I mean no disrespect to any legal professional who contributes to this forum, but I don’t see a happy ending to this story besides for Mr. Merson who would walk away with a bigger chunk of settlement money or get great publicity out of this to become a TV personality.

By the way, the local children performing in La Bayadere wore blackfaces. So, obviously, this is not a big deal in Italy, either.

When Solor collapses on stage, he supposedly dies from broken heart. I agree with you, Birdsall, that Zakharova was a beautiful Nikiya last night but Marchenkova, in my opinion, was an average Gamzatti. She had some technical difficulties and her extremely high attitudes looked awful. But I guess this is what Vaziev expects from his ballerinas.

The casting for Don Quixote (Mikhailovsky Ballet) has been posted on SCFTA website: Friday, November 9 at 7:30 p.m.Kitri – Angelina VorontsovaBasilio – Ivan VasilievEspada – Alexander OmarStreet Dancer – Ella PerssonQueen of the Dryads – Svetlana BednenkoSaturday, November 10 at 2:00 p.m.Kitri – Anastasia SobolevaBasilio – Victor LebedevEspada – Philip HedgesStreet Dancer – Valeria ZapasnikovaQueen of the Dryads – Svetlana BednenkoSaturday, November 10 at 7:30 p.m.Kitri – Angelina VorontsovaBasilio – Ivan VasilievEspada – Alexander OmarStreet Dancer – Ella PerssonQueen of the Dryads – Andrea LaššákováSunday, November 11 at 1:00 p.m.Kitri – Anastasia SobolevaBasilio – Victor LebedevEspada – Adrian MitchellStreet Dancer – Valeria ZapasnikovaQueen of the Dryads – Svetlana Bednenko

Sasha de Sola and Vitor Luis will perform a pas des deux from Don Quixote (according to Sasha’s instagram).