Marta

Just the dearth of stellar principal males casts a mediocre aspect on ABT. Aside from Cornejo and Simkin, maybe Camargo, most of the males are lackluster. The loss of Ratmansky is significant. What is ABT going to do to become more attractive?

I also agree with both Drew and Vipa. I'm a long time fan of Lane's even though I didn't see her that many times at ABT. I especially loved her Giselle with Simkin and her SB with Cornejo. Veronika Part, another great dancer badly treated by ABT,, didn't continue to dance after she left ABT. At least it's encouraging that Lane is still dancing, although it doesn't look as though her career is going to flourish again.

Jerome Robbins' Brandenburg will now be performed on the spring's Masters at Work: Balanchine & Robbins III program on the following dates: Sat, May 27 at 2 PM Sat, May 27 at 8 PM Argh. Don't hate me for saying it . I think Brandenburg is a masterpiece, but I don't want to see it that night!

I was a bit skeptical. The explanation was attributed to Doug Fullington, but there were other "theories".

2 hours ago, Balletwannabe said: What's with the finger pointing in the courage fairy choreo? Why?? It's distracting. 2 replies Yes, as volcanohunter said, it symbolizes electricity. If you google that question, it says the finger pointing was first seen at the Paris Opera, after the opera house had just been electrified.

And how! I only know how good the first ring is because I sat there twice to see Paul Taylor. Price was much lower for PT!

The first ring center is the best. Second ring center is very good, especially in the front. My seats are in E, the last row. Right next to the exit and nobody behind you kicking your seat.

I'd love to see the chart too. Great idea! Agree that Davide Riccardo is a strong dancer.

Agree, I would have guessed the same, and for Fugate about 5'4". The only Auroras I saw at NYCB were Kathryn Morgan and Hyltin both of whom were probably 5'5. Sarah Lane in Ratmansky's production at ABT is also a short dancer.

I'd go for Peck or Fairchild. Hard to choose which!

I saw these two ballets two weeks ago and loved Fairchild in Allegro. As others have said, in the past I didn't seek her out. But in recent years her dancing, always technically impeccable, has become much more expressive. Based on some comments here about Tyler Angle, I had low expectations. He danced well although is clearly not in his prime. I enjoyed seeing Liturgy, in which I had previously seen Kowroski. Sara Adams, new to me, was excellent. All the dancers in Walpurgisnacht were great. Phelan did seem restrained. Maybe this is not her role. I was so happy to finally see Emma Von Enck in a featured role. She's ready for promotion along with Nadon and Gerrity. I wonder though if Nadon would be promoted this soon to Principal after only 4 or 5 years at City Ballet. I don't love Firebird but am still always glad to see it, The Firebird has some exquisite moments. The total work is such a masterpiece: dance, music, sets, costumes together create another world. On the all Balanchine program, I loved Donizetti Variations with Tiler Peck. Some have commented that she's lost height in arabesque and back flexibility in recent years. These are not her strengths. I'd watch her in anything. Musicality, speed, precision, ballon, the personification of joy are what draw me to her. Veyette danced well. I really liked Valse Fantaisie and can't say enough positive comment about Woodward and Mejia. They were fabulous. For me, the highlight of the evening was Stravinsky Violin Concerto. in which there were stellar performances by everyone. All of the principals, and especially Nadon and Gordon, were just wonderful. The all Balanchine program was one of the best I've seen in terms of variety since the start of the Stafford/Whelan team.

I was just thinking about the Balanchine birthday toasts last night. I remember especially the 100th birthday celebration when Baryshnikov walked onstage with glasses and vodka on a tray. What is going on with the administration at NYCB that they can't manage more than a program note? Also, regarding Tyler Angle, I haven't seen him in a long time. I'm embarassed to say that the double standard wasn't prominent in my mind. You're so right.

brokenwing said: I would kill to see Mira in the Farrell role, but you're right that it's a tricky work to cast. Mearns is fantastic in Karin's part, Russell had a major breakthrough in the Luders role. Perhaps Miller would be good in Karin with some coaching? Laracey has done Kay's role before and I think many of the men (Chun, Gordon, Furlan, Sanz, Walker) would be elegant in it. abatt said: Davidsbundertanze sadly has become a neglected masterpiece. NYCB hasn't done it for at least a decade. I looked up when I had seen Davidsbundlertanze and was shocked to find it was in 2003. Maybe there has been another performance since then. The dancers were Kistler, Somogyi, Kyra Nichols, Miranda Weese, Askegard, Nilas Martins, Nikolai Hubbe and Jock Soto. I made a note next to Nichols, Weese and Hubbe: "fantastic!". I agree that this ballet is a neglected masterpiece and should come back! It is flawed and melodramatic but unique in Balanchine. I can't think of any other "Balanchine short story" [Prodigal] or "Balanchine Gothic" [La Sonnambula, La Valse] that it resembles. Nadon in the Farrell role would be fascinating; Gordon and Furlan also sound great.

UGH. The 30 second visual doesn't evoke SB in the slightest. Does NYCB have a new designer/photographer for visuals? They are so unsatisfying.

Looks like Miller. Is the man Gilbert Bolden? I also was underwhelmed by the teaser. It did not make me want to see the ballet

However, hasn't he made more ballets for ABT than for CB?

Wonderful news that Ratmansky is going to NYCB!!!

Helene said: I think they shouldn't be in a hurry to fill the spot until/unless they find the right person. They didn't always have a resident choreographer, and there was a reason at the time to hire Ratmansky. I also think they should be looking for additions to their coaching staff, independent from the RC role. May she live a much, much longer life, but Irina Kolpakova will be 90 next May. I agree with what you say. It is a huge loss for ABT and also for his "fans". I'm very curious about where Ratmansky is going, or if he is going anywhere.

On 12/4/2022 at 10:58 PM, canbelto said: I was there. I wrote up an appreciation of her: https://humbledandoverwhelmed.blogspot.com/2022/12/farewell-sterling.html Thanks, canbelto, for this terrific appreciation of Hyltin. The video was great too!

Thanks for that info.

@ Helene: Harss is a terrific writer. I've been reading her reviews and articles for many years. A few months ago on her Instagram, I think she said the Ratmansky book was being published in spring of 2023. I did see her interview Lynn Garafola - somewhere, but not on Facebook.

That was my first thought too. I wondered if the NYT would ever lay off their critic[s]. I do like Marina Harss very much but she usually writes articles rather than reviews.

Welcome to Ballet Alert! I just returned from Spain. Although I missed the national ballet company in Madrid, I did see a lot of fabulous flamenco. Thanks for mentioning your blog.

Lopatin and Stashkevich, Bolshoi 2014. I especially love Lopatin. https://www.youtube.com/watch?v=0R04EBmjnCQ&t=23s

The documentary is excellen; I watched it twice. Some of the contemporary material was interesting. However, the costly tickets and potential dud factor of this performance are turning me off.