Emma

The website has been updated to include the recently promoted apprentices.  Congratulations to Christopher Grant, Rachel Hutsell, Sasonah Huttenbach, and Alston MacGill!

And Stephanie Chrosniak: https://www.instagram.com/p/BH8T2HgB7Vo/?taken-by=stephchrozzo

Anyone know who the blonde demi, stage left, in First Movement Bizet is? I thought perhaps Laracey but it doesn't quite look like her....?

Kretzschmar I believe.

I don't think that's her real profile -- it still lists that she's married. I found a second Megan Fairchild whose profile seems more legitimate (non-professional photos of her and Robbie, friends with other dancers).

Where can we see Walpurgistnatch ballet?

http://concert.arte....tre-du-chatelet. Zobeide's Cloak VPN suggestion worked well for me (setting the network to France).

Also I didn't note earlier, but I was so impressed with Lovette's Faust performance and her overall growth this past year. I saw her and Mearns in their respective Faust rolls a few years ago and thought both had very charismatic stage presences, but Lovette seems even stronger and more technically secure now. Mearns is always exceptional. I feel like that goes without saying.

I agree it wasn't a perfect performance -- certainly there were partnering issues that I thought Anthony covered well, but I don't have the highest expectations from the youngins. Nevertheless I was very impressed by her energy and enthusiasm (and that's what I like seeing!)

What a wonderful performance! To note, apprentice Alston Macgill danced the third movement of Symphony in C. Such a lovely ball of energy!

I've never seen Stella dance before but OMG WOW I'M IN LOVE. She was so fantastic! As was Whiteside and Gomes, the latter of which can clearly do anything! (sexiest man alive in the Car Man, Prince Desiré, Widow Simone).

I saw Andie Veyette both Tuesday and Friday. Tuesday was an off night. His performance on Friday was technically much stronger (no sloppiness at all) and his acting was, as always, excellent.

I've been underwhelmed by Veyette lately. He seemed to struggle through T&V (although perhaps only compared to Tiler Peck, who is always exquisite). Recently, I just didn't notice him much in Western Symphony and thought Christopher Grant in the PBS SAB Workshop more impressive jumps. He seems like a wonderful partner but these bravura roles may be eluding him lately. But it's good if he was stronger on Friday! On another note, so happy about Stanley's promotion. I find he's such a fluid dancer and can't wait to see him more!

Indiana Woodward was Butterfly. She seemed a bit unrefined in some lines and movement but danced with a wonderfully juicy muscularity and for the most part was technically secure. It would seem she has soloist in her future (IMO along with Unity Phelan, Miriam Miller and particularly Alexa Maxwell.)

I have been so impressed with Woodward this entire season -- from her Sylph in DC to Belles Lettres and even corps roles, her energy always stands out. Segin also has a lovely sweetness and seems to be used more and more (she also stood out in Serenade.)

What a fascinating article, Its the Mom. I'm impressed at how much Balanchine thought and re-thought Serenade throughout his life. It seems like some(?) (many?) modern choreographers do not revise their work when it returns. Is this true? I've seen Justin Peck's Everywhere We Go multiple times and while it has such high energy(!), each time I see it I wish he would edit it down and refine it.

Bought tickets to Stella's La Fille last week on TDF. I think more dates are available on TDF but I've never seen Stella and have heard such great things about her =)

Week 6 Midsummer's Casting Posted: http://www.nycballet.com/casting/

Lovette debuting divert. Catazaro and Farley Cavalier. Maxwell Butterfly and Ball Puck. Miriam Miller has 2 Titanias. Has Megan Fairchild ever done divert? She's not cast (Hyltin, Peck, and Stafford are)

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I am technologically challenged. Was trying to repost Adrian DW's Instagram post from this morning. We don't give these dancers enough credit in my opinion.

Attempting technology: https://www.instagram.com/p/BFG2M2Ogt-7/?taken-by=adrianclay

"Last night NYCB performed Balanchine's Vienna Waltzes. Many of the dancers, new to the ballet, finished learning the "Last Waltz" the day before the show: this is just a reality of our current rehearsal schedule- it's too full to afford anyone greater preparation than this. On top of that, a slew of injuries and illnesses took several dancers down in the hours leading up to the performance. They were dropping like flies! So, Soloist dancers went in to Corps de Ballet roles. Emergency rehearsals were called at half-hour. The show went on. Beautifully... I stand in awe of these incredible dancers: their grace and grit and fierce intelligence. Every day I am inspired by this weird, warm, and utterly dysfunctional family."

For me, this speaks volumes about the Balanchine sensibility. How can this be permitted? (By the way, this is a Dark Angel rehearsal.)

https://www.instagram.com/p/BE_o1QgyQf6/?taken-by=maslovaoxy

Oh my -- ballet is not rhythmic gymnastics! Nothing against rhythmic gymnastics -- I enjoy watching it, but these hyperextensions to my knowledge have no place in Balanchine choreography.

I think the Balanchine Trust is so leary of youtube videos because they don't want anyone or any compmay to copy the choreography and perform it without permission (or coaching from someone in the Trust). Since youtube is international, it wouldn't be at all easy to monitor every little company all over the world, so though I regret not being able to see things, I think they are right.

That's reasonable -- I hadn't considered the international element. I just assumed that the Trust would be aware of any and all American versions. Nevertheless, I also don't understand the problem with an underfunded college student group staging Balanchine without the Trust's permission (we're not all Harvard/Columbia), but I digress.

I am very confused about NYCB/The Balanchine Trust's media strategy. While it's one of the best I've seen, it could still be significantly better.

First, I don't know whether any of you follow Devin Alberda's instagram account, but it's filled with gorgeous photos of the dancers in class and backstage. Apparently something went down (compensation negotiation failures perhaps?) and his backstage photography privileges have been suspended. I personally thought this was great marketing that NYCB should have taken advantage of.

Second, I don't understand why The Balanchine Trust is so aggressive against YouTube videos featuring Balanchine choreography. I much prefer to see a performance on YouTube and get a sense of whether or not I'd enjoy it before purchasing tickets. Therefore, I am much more likely to purchase tickets for ballets I've seen at least clips of, and these clips make me more excited to see the performance live.

Just ranting -- thanks for listening.

I'm puzzled by the repetitiveness of the Winter Season programming. So many Sleeping Beauties, and only a few mixed bills. I mean, the Allegro Brillante/Swan Lake/4T's mixed bill and Sonnambula/Prodigal Son/Firebird is good, but do we need it to see each of them a staggering 6 times? There are also 14 total performances of Sleeping Beauty.

The spring season is a huge financial risk. 3 straight weeks of Peck/Ratmansky/Wheeldon/Martins/other new choreographers is IMO sorely testing the NYCB base audience's love for contemporary ballet.

Good points. I wonder if they're using winter season shows guaranteed to sell (swan lake, sleeping beauty, maybe firebird?) to hedge against the risker spring season.

Have they abandoned the program where they sell every seat in the house for $30 during certain dates (usually during the Winter season) to attract "new audiences". I don't see any info on it, but I didn't exactly do an exhaustive search either.

My subscriptions are available email says that subscription tickets can't be exchanged into 1/28, 2/3, or 2/23 so I'm assuming those are the Art Series dates.

I wouldn't characterize McBride's version as simple or safe. Personally, I find it more interesting than a straight sequence of fouettés.

I completely agree -- McBride's version is so beautiful, musical, and interesting. Haven't seen Isaacs but am happy she received the opportunity -- she's such a strong and exciting dancer.

Week 3: http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_May-3-8,-2016_lobby.pdf

Although Lovette and Huxley are listed for debuts in Rubies, I think they did the main pdd at an NYCB gala a few years ago. I think it was the Valentino gala.

I've also definitely seen Lovette do the Rubies pdd at a YAGP gala with Cornejo, and neither was very good at that performance.

Giving Lovette Emeralds and Scheller Rubies would make more sense to me.

I don't know what this is, but I'm making a big assumption that it's some kind of featured or subsidized ticking -- if so, ask the presenter. They likely would answer your question.

KC's 18-30 program (like NYCB's 29 for 29). It offers tickets for all the national/international ballet companies touring KC.

Assuming similar sales for the first 5 performances of Hamlet (and more than 54 percent of the orchestra seats were occupied at the performances that I attended), Hamlet would outdraw CB, though there are likely to be further sales for CB before the run starts. The low sales for both Sunday matinees is a little surprising.

I don't know why Washington Ballet performances never make it into Kennedy Center's MyTix program -- I'd certainly love to go if I could afford to!

So excited for debuts by female choreographers, including Lauren Lovette!