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About Emma

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    New York/DC
  • State (US only)**, Country (Outside US only)**
    New York

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  1. As someone on a limited budget, I'm much more likely to buy a ticket for a performance where I've already seen at least a snippet of the dance. Nothing worse than shelling out $60+ for a program of unknown (to me) choreography that I end up completely hating.
  2. It's fascinating how much movement regularly happens in the European companies.
  3. Putting in a plug for Brahms. I've only seen clips from it and would love to see the full piece! Not to get too greedy though: City Ballet's spring season is the highlight of my quarantine.
  4. Hurlin does have an extensive presence in traditional dance media: she's had multiple covers in Pointe Magazine (one solo, one with Aran Bell) and was recently featured in a NY Times piece. Her mother was also a Paul Taylor dancer and runs Dancers Responding to AIDS. Not that that should detract from how outstanding a dancer she is! But she is connected.
  5. Nina Fernandez danced Firebird in the second cast (per MCB casting). I greatly appreciated Morgan's video, and although I thought she walked a find line, didn't find her to be complaining or resentful, just disappointed.
  6. Megan Fairchild has said that her early promotion was mentally tough even though she didn't have injuries, but then Tiler Peck seems to have been perfectly ready at age 19 to handle a principal spot. Well, she did have a pretty terrible injury not too much later so scratch that. But that's still no reason to hold back Woodward or Kikta, who IMO have both been overdue for months if not years.
  7. As of the 2005 contract, there were various hourly rates a dancer would be paid based on how many hours they already worked that day, and whether the rehearsal hours were consecutive or not, on top of base salary.
  8. Back in 2005 (the only publicly available AGMA contract for NYCB I could find a few years back), the base principal level performance week salary was $200/week higher than the base soloist level.
  9. She also posted on instagram about "humility" on the night of Cornejo's 20th anniversary performance, so I'm less surprised by the "shade" than the Hope Hicks quote since so many of her colleagues are members of groups targeted by the current administration. I'll try to find that post when my wifi connection is better.
  10. I appreciate your insight as well! From the article, I also understood that Tiler would only perform 10 fouttées and then do something else for the remainder of the music, even in performance. Your explanation makes more sense.
  11. From my understanding, the Lakeside scenes are adapted from Balanchine's one act version. Has there been further changes from that?
  12. Swan Lake Week 2 casting has been posted, and week 1 casting updated. Still no pas de quatre.
  13. I'm a bit late, but I thought I'd share my impressions from a few weeks ago. All in all a great night at the ballet. I’m Old Fashioned: This was fine. It was a long piece, repetitive, and reminded me so much of Tharp’s Nine Sinatra Songs, which incidentally MCB will dance in the upcoming program, and Martins’ Thou Swell. My grandma loved it—it was far and away her favorite piece of the night, so I gather MCB knows its demographic. A red headed man in a principal role really got the style, perhaps Alexander Peters. This piece reminded my grandma of a scene in the movie Flying Down to R
  14. Swan Lake casting now posted. A Cote, I assume Guillaume from National Ballet of Canada but (?), is guest starring as Siegfried for Sara Mearns' Odette. Also the pas de quatre casting was omitted—I do enjoy that section so I hope it was omitted in error and not cut from the production. https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_February-11-16-2020_lobby.pdf
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