12 minutes ago, canbelto said:

depends on whether you set ballo in sweden or boston

You're right. I just associated the name of Ulrica with American version of Ballo. Probably because in Sweden the character is called Madame Arvidson, but I think her first name is still Ulrica.

I have never read the libretto of the Sweden version. Does it say "sangue de' negri"?

12 hours ago, On Pointe said:

the only representations of black Americans on the opera stage.

 

Ulrica, from Un ballo in maschera, is black. It is not clear enough whether she's American.

On 8/31/2019 at 8:55 PM, miliosr said:

Does anyone know when single tickets go on sale? I couldn't find that information on the Web site.

According to the website, November 12: https://www.sfballet.org/visit/2020-season-tickets 

👉

Single Tickets

Tickets for Individual Performances

—

On Sale November 12, 2019

19 hours ago, BalanchineFan said:

I'm curious, what are your top five favorite Balanchine ballets? I enjoyed Union Jack immensely (it wasn't terribly different from what I expected) but I'd probably place it somewhere in my top twenty.

Disclaimer: I am also a Balanchine fan, despite the fact that I'm far from having seen all of his ballets.

So far, in this order: The four temperaments (that's what I'd bring to the desert island), closely followed by Serenade. After those I love Monumentum/Movements, Agon and the fifth place probably goes to Stars & Stripes.

8 hours ago, cobweb said:

I was very up front orchestra. A phone went off and rang incessantly and took awhile to be turned off during Porte et soupir. 

I do understand that you may forget to turn off your mobile. It can happen to anyone for several reasons. But texting or talking during a performance or concert is something I really don't  get. In the first place, why are you attending if you are more interested in something else? And in case it's an emergency, just leave the place and talk/text as much as needed. Not to mention how much you disturb those people around you.

2 hours ago, pherank said:

Thanks for that information, Eduardo. She's definitely been focusing on traditional ballet roles, and doesn't seem particularly interested in creating new roles or dancing contemporary works. At least not at present. I think she's reached the 'dancer contemplating the end of her career' stage. Scheller seemingly wants to dance famous roles while she still has a chance to do so.

My pleasure. I think you're spot on, since she says something like "A couple of years ago I said to myself: I'm thirty; if I don't dance the repertoire ballets now, it will never happen" (free translation by myself).

Here's the link to the short interview. Of course, Spanish only: https://www.clarin.com/espectaculos/teatro/ana-sophia-scheller-retrato-bailarina-itinerante_0_WHDP8J4Zp.html

1 hour ago, pherank said:

FYI:

Ana Sophia Scheller is dancing again - she recently participated in the Gala Internacional de Ballet de Buenos Aires 2019, and, she will be dancing Odette/Odile again with the National Ballet of Ukraine, Sept. 20th 2019.

From what I read in a local newspaper here in Buenos Aires, she's joining the National Ballet of Ukraine. One of her goals is to dance the "big classics of the repertoire". I guess she plans to do so there.

On 8/21/2019 at 4:43 PM, abatt said:

In view of the news on another thread that Copeland has withdrawn from her appearances this month in Argentina in La Sylphide with Cornejo, I'm keeping my eye on the casting for the fall season.  So far there is no info on the nature of her injury as far as I can tell.

 

This article https://www.lanacion.com.ar/espectaculos/danza/misty-copeland-no-bailara-teatro-colon-nid2278741 mentions "an old injury in her tibia". No further details.

I guess this is a very basic question, but honestly I have no idea about how this works in the ballet world. Is it usual that a guest dancer should know the part he/she will have to perform? Or is it possible that he/she just joins the company and learns the role with the choreographer or ballet master? Perhaps there are different possibilities and that's part of the contract they sign?

Of course, I'm not thinking of every little detail, but the choreography/steps, generally speaking.

It may be important in cases like this, since I understand that the Schneitzhoeffer-Lacotte Sylphide is not a staple in the usual repertoire, at least not as much as the Lovenskjold-Bournonville

22 minutes ago, California said:

 The Sylph doesn't have the sort of technical demands of Odile and it seemed like a good role for her to try. 

I can't seriously say anything about the technical demands of different roles since I lack the necessary knowledge. But imho this sylph is a lot of work. Pas de trois, including variation and coda, in Act I; pas de deux and two variations in Act II and more dancing along both acts.

I guess this is no news for most forum members, but just in case, you can see this ballet performed by POB (starring Aurelie Dupont) in youtube.

Misty Copeland will not dance in the current run of La Sylphide. The official announcement issued by Teatro Colón quotes Gilda Sqare as Misty's manager stating that she is injured and needs medical treatment. Herman Cornejo is still scheduled for Friday and Sunday performances partnering Macarena Giménez, a member of the Teatro Colon resident company.

Thank you Josette! Something must have gone wrong. She stayed there for just one season...

I apologize for having no idea how to reproduce an instagram post here, but this is what I just read in A.S.Scheller's instagram:

New news soon!!Former principal with San Francisco Ballet and principal with New York City Ballet 

If I understand that correctly, she already is a "former principal with San Francisco Ballet". She's not listed anymore in the SFBallet website as a principal dancer either.

Hello everyone from Buenos Aires, Argentina.

As you can imagine, we don't usually see any news about NYCB in local newspapers. For instance, I don't recall having read anything when Argentina born A.S.Scheller became a principal dancer in the company. But this issue is in the main newspapers here. The info seems to be quite unaccurate, though (compared to what I've been reading here). Did you say anything about bad publicity?

Spanish only, of course:

https://www.lanacion.com.ar/2169587-escandalo-ballet-nueva-york-exbailarina-demanda-institucion

https://www.clarin.com/sociedad/escandalo-ballet-nueva-york-bailarina-denuncio-ex-autoridades-pornovenganza_0_B1P2l1kd7.html

Thank you abatt!

Now that you mention 360 degrees I remember the Walpurgis variation, with 360 hops at the beginning, a diagonal in the middle and some more hops at the end, mixed with pirouettes.

No more off topic, I promese.

Thank you ABT Fan!

Your description is great, particularly because it points at many things I never thought of, like mantaining a relaxed upper body and not showing any strain. Great insight.

Please, excuse my lack of knowledge.

I never imagined that those hops on pointe in the first act variation were such a big deal. Is it that difficult or challenging?

I think I saw that many times and never thought it would be hard, but now I guess I'm wrong. I don't find that step particularly enjoyable or thrilling, perhaps with two exceptions (both with two legs): a variation from Raymonda and in Ballo della Regina, opening the legs from wide to wider.

6 hours ago, laurel said:

Hope you will be able to return soon to New York to experience more of our local ballet companies - next time, better weather, without a rainstorm!

Thank you so much, laurel. Actually, I visit NYC from time to time, but mostly in the Fall/Winter, so whenever possible, I head to the Koch Theatre to see as much Balanchine as possible.

Thank you for your nice comments! Agree with what laurel says about Brandt. My idea was that she has a lot of potential beyond what she could show in the peasant pas de deux. Secure technique, lovely smile and beautiful stage presence.

Perhaps not the right place to add this, but I was surprised at the limited number of female soloists in the company. Just three and of course Luciana Paris is not dancing since she just had her baby in Buenos Aires one week ago.

Just read Faux Pas post and definitely agree with her. Glad that she found better words to explain exactly what I felt, especially about Copeland (with that clear quality difference between her first and second act) and Cornejo.

Well, following the advice of several forum members, I got my ticket for the Copeland/Cornejo/Abrera Giselle.

Some formum members encouraged me to say share my thoughts, so here we go, but before that I apologize for what maybe a poor translating into words of what I experienced, since my knowledge of English is limited, and even more limited is my knowledge of steps and many other specifics of ballet.

As a whole, I enjoyed the performance. Only my third time ever with ABT (the other two were when they toured to Buenos Aires ages ago). Really liked the scenery, especially the second act, the lighting and some of the costumes. Hated the John Lanchbery orchestral score, too much sweetener added, in my opinion. I much prefer the original version, maybe less rich, but sounds more authentic, especially for the second act, which seems to improve with a more spartan orchestral approach.

As you all know, since it has been discussed here in advance, Abrera was replaced by Devon Teuscher. I liked her, but despite a good stage presence, I think she looks sort of friendly, or maybe not unfriendly enough, I didn't really see her as this being who is sending men to death with no mercy. I think she has a really beautiful face, and that probably doesn't help for that, but I imagine Myrtha more "angular"

Loved Herman Cornejo from the beginning to the end. I wouldn't split his performance as a dancer and an actor, and I say this as a great compliment. I think he was great and I even liked better his Albrecht than his recent Conrad in Buenos Aires. Bravo.

Didn't really enjoy Copeland. I liked better her first act than the second. I "believed" her more her first act, included the final scene, than the second, in which I never was able to see the character. I just saw a dancer doing the steps. She had an unpleasant fall when making a pirouette during the first act variation and I found all of her arabesques stingy, or whatever is the proper English word opposite to generous (often below 90 degrees and staying nothing on her pointe).

Liked very much Skylar Brandt in the peasant pas de deux. Not that much her partner, Arron Scott, who had an bad landing in his variation as well.

Great performance of the female corps in the second act. I also thought that Giselle friends were great and (funny enough, since they don't have a heavy duty) the male corps was stunning.

Nothing else comes to my mind right now, but if you have any questions please don't hesitate to ask.

37 minutes ago, vipa said:

That article was from 8 months ago, so maybe that has changed. Anyway, they must have found a way their way to a working relationship, because they perform together. I saw them last season in Divert 15. The corps member he's seen with in social media, was also in that performance. Talk about everyone having to separate personal life from work!

Some time ago I read (probably on instagram?) something written by her about doing something she thought she would never be able to do: dancing with her former husband. I guess vipa is right about some changes. Can you dance (and, of course, rehearse) with someone you don't talk to?

Thank you, NinaFan!

To be 100% honest, I managed to schedule my trip for that week taking into account the all Robbins performances across the plaza. So in this case, having the chance to see ABT is a bonus.

Definitely agree about the chandeliers. It's a pity that many new opera productions don't use the golden curtain anymore, and the chandeliers are up there when you enter the house.

Thank you cubanmiamiboy, NinaFan, CharlieH, angelica and canbelto. Last Thursday, immediately after making up my mind, I purchased a ticket for the Copeland-Cornejo-Abrera performance. I guess there will be pros and cons, as so often happens with most decisions in everyday life. 

angelica, I appreciate your suggestion, but I will be in NYC from Tuesday morning to Saturday evening. I can't afford having an afternoon off. 

In any case, I think it will be a great experience. In my case, it won't be just seeing Copeland's Giselle or Cornejo's Albrecht. I think the corps, especially in the second act, will be a treat!

9 hours ago, cobweb said:

Eduardo, I for one would be glad to hear your report. I hope there is room here for many voices. Hope you enjoy the performance!

Thank you, cobweb! As a reader, I do think there's room for many voices here. In my case it's just some sort of self consciousness. Just me, not the forums actually.

8 hours ago, Jayne said:

Eduardo - that cast at BsAs Teatro Colon sounds superior than your ABT options. 

Good to learn Paloma can attract top talent.  

Addendum:  skip ABT and go see New York City Ballet’s All Robbins program at 7:30pm.  

     In G Major

     Afternoon of a Faun

     Antique Epigraphs

     The Concert (or, the perils of everybody)

Agreed. Repetiteur will be Julio Bocca, so I think we can expect good performances. Paloma seems to be doing some things right. Later in the season Marianela Núñez will be dancing The Merry Widow. No more guests announced so far. I highly credit her for having settled the argument with Lady McMillan in order to bring back Romeo and Juliet. after the problem arised after the dubious (to put it mildly) choreographic version performed here a couple of years ago, signed by Maximiliano Guerra as his own.

About the NYCB, thank you for the suggestion. Actually, I'll have "my own" Robbins-NYCB festival, since I've got tickets for Thursday and Friday evenings and Saturday matinee a long time ago. On Saturday they will perform the very same program you suggest.

In fact, I thought of attending an ABT performance since I only had the chance to see them once, about thirty years ago, when they came to Buenos Aires on tour. Julio was one of the principals then and Paloma was a member of the corps. On the other hand, every time I have the chance to spend some days in NYC I try to attend any performance by the NYCB.

2 hours ago, nanushka said:

I am sure you were not the only one on here who had that experience. I wasn't at that particular performance, but I've been at others after which some on here have written about things that I just completely missed — or that I saw, but interpreted very differently. No one's perspective on here is definitive, and we all have the potential to make observations that can illuminate others' experiences.

I wouldn't let that particular sort of experience (what you described above) prevent you from sharing your thoughts here on what you've seen. That said, it can definitely be just as nice to view and appreciate and not feel the need to put into words any sort of response.

Thank you nanushka, I appreciate your support, and all the others' who have posted here.