Marta

I agree wholeheartedly. Yes, the acoustics in FC are great for opera. But you can't see ballet well from the FC. High quality binoculars are terrific for watching ballet.

I've seen the free 2011 version on YouTube, and I have Khan's Giselle on the agenda too.

ABT Fan said: Thanks for this link! I just started a one week free trial with Marquee TV, but you have to pay extra ($20!) to rent NYCB’s Nut from 2 years ago. Which I didn’t realize before subscribing, which was the whole point! 😕 Ha ha, I had the same intention but I don't mind ending up paying for Nutcracker. What I really liked on this site was the doc on Osipova "Force of Nature: Natalia"

I won't see it either so I'm hoping for many vivid reviews.

I think he's still alive. There's a fair amount of info about him in Lobenthal's book on Osipenko, which is fascinating..

Yes, thanks, that was a great reprise of Dancers. Despite the dipsoid plot, I've seen the film several times. Baryshnikov is so stellar and I enjoyed Ferri' very much.

I second that thank you. I really wanted to be there but could not. All of your detailed knowledgeable reviews helped to create an imagery of that performance. .

I saw a Giselle with Osipova & Hallberg in about 2013. I think he did 24 entrechats. I have to admit that after seeing a few, entrechats put me to sleep.

Yes, this Giselle was filmed at the Met.

You're so right! Baryshnikov's brises were beautiful as well as dramatically potent. I believe I saw Corella do them at his last Giselle with Vishneva.

I also saw Villella in the lobby. I thought I saw Watts appear on stage. Was Wheeldon there also?

I hope to see Peck in OD! Sorry if Bouder is injured. I was so disappointed to see Bouder cast in OD this week. I don't think she has the ethereal introspective quality that's under the surface in this ballet.

I agree, Watermill is very unusual. I saw it with Villella back in the day.

sappho said: 9 hours ago, Marta said: I find Peck and Ratmansky works inventive and witty enough to fit into the City Ballet repertoire and hold up their end of the evening programs. I think it was Quiggin who said that. I do agree.

I saw Dusty Button dance several times at BB and was impressed by her in Balanchine and contemporary works. Never understood why she left the company. I was shocked by the allegations against Button's husband earlier this year and even more disgusted by the recent news of Button also being named as defendant. To say I feel sick to my stomach is an understatement. I also am encouraged by Boston Ballet's support of the company dancer who was abused by the Buttons.

VIPA said: An interesting discussion. In recent years, a couple of things have come to my mind when seeing new works at NYCB. First - did the choreographer use the abilities of these particular dancers to the max? Second - Do I need to see NYCB do this work? I don't want to see up and coming choreographers doing work on NYCB, that they'd do on any company. Works that look the same company to company. Personally, I don't want the further homogenization of ballet/dance companies so that where ever you go you see the same choreography done pretty much the same way. The last Pam Tanowitz ballet I saw at NYCB (pre-pandemic) would have looked the same on any company IMO - ballet or modern. Seeing that same work done by a little known company, at the Joyce Theater would have been fine. I relish seeing Balanchine and Robbins at NYCB because the company does those works like no other. I'm not a great Ratmansky fan, but when I watch the works he choreographed on NYCB I can see the company in those works. If I was hiring choreographers I'd definitely want to know - what about this company and these dancers makes you think different. Great point made by Vipa about new works by choreographers that "fit" the dancers of NYCB. I do agree with everything Quiggin says about Tanowitz and Ratmansky. I AM a great fan of Ratmansky yet the point about "seeing the company" in his works for City Ballet is very true. About Balanchine's dislike of ballets on Onegin, somewhere there's a quote about the music; it may be that he complained that Cranko didn't use a note from the opera.

FPF said Why would it be more distracting to see women with different hairstyles than men with different hairstyles? Maybe it wouldn't be more distracting. I only say that because there seem to be more variations in hair for women than for men. Maybe in the corps de ballet women, 24 variations in hair would not look as lovely as 24 bunheads. Don't know. But I'm open! True about the short haired women you mention, and Makarova with Baryshnikov in Other Dances has short hair.

I agree! I find it puzzling that there's one camp of ballet lovers who find the bald head distracting, and another who find long hair distracting. I didn't even know Angle was wearing a toupee, and the shaved head won't bother me at all if i see hin in performances in October. I know quite a lot has been written about hair since the topic appeared. Someone posted links to great long haired dancers of the 70s & 80s; that was terrific and something I had thought about doing too. I was remembering the wonderful film of Tschai PdD on YouTube with McBride & Baryshnikov, in which his hair is bountiful and flying. Then there's the question of why women are held to more rigid standards. I don't know the answer. I think it may well be distracting to see 24 women with 24 different hairstyles. Surely there have been short haired ballerinas other than Bouder & Osipova?

Me too about Gordon. I noticed him before the Coppelia with Bouder and then saw that in 2019. He is spectacular!

I received the email below yesterday, but my tickets aren't until Oct 16 & 17. HEALTH AND SAFETY PROTOCOL FOR YOUR UPCOMING VISIT In advance of your trip to Lincoln Center this fall, please be aware that the David H. Koch Theater and all of its lobby areas will open one hour prior to curtain. We strongly encourage an early arrival to avoid long entrance lines and to allow for plenty of time to use the restrooms as fall performances are being performed with pauses but no intermissions. Every audience member attending NYCB repertory season performances must be fully vaccinated and will be required to show in-person proof of vaccination, authorized by the FDA or WHO against COVID-19, upon entering the Theater. Proof includes: The free Health Pass by CLEAR to confirm identity, vaccination status, and/or negative test result. Download the free app to gain access to faster entry lanes when arriving for your performance and to avoid long lines. Please follow these detailed instructions on how to use the app. Physical/digital vaccination cards, NY State’s Excelsior Pass, or NYC COVID SAFE app (Apple) / NYC COVID SAFE app (Android) — all requiring an accompanying photo ID. A photo or hard copy of an official vaccination record for one of the following vaccines administered outside the United States: AstraZeneca/SK Bioscience, Serum Institute of India/COVISHIELD and Vaxzevria, Sinopharm, or Sinovac; along with a government-issued photo ID. As a reminder, we will not be accepting proof of a negative COVID-19 test for entry. In addition to our vaccination policy, as a tool to further try to mitigate the spread of COVID-19, NYCB will require proper mask usage. All staff and patrons in the Theater will be required to wear a mask covering both the nose and mouth at all times, except when eating or drinking, while in the David H. Koch Theater. If you are not feeling well, or are exhibiting any COVID-19 symptoms, please contact us at 212-496-0600 or email us at customercare@nycballet.com by noon on the day of your performance. We would be glad to assist you in rescheduling your tickets for another date, or provide a refund for your fall performance. If you have specific concerns about our safety protocol, please contact our Customer Care team at 212-496-0600, where associates stand by to assist you Monday-Saturday from 12-7 PM and Sunday from 12-5 PM. We look forward to seeing you at the Theater soon.

Below is the response I received on 08.16 to my question about no intermissions. They neglected to answer how intermission-less performances make audiences safer ... CustCare <customercare@nycballet.com> Mon, Aug 16 at 2:16 PM Dear Ms. We understand your concern regarding bathroom access during our intermission-less performances this fall. In an effort to alleviate this concern, we are expanding access to all levels of the theater during the hour prior to performances for our guests to use the facilities prior to curtain. Our shortened programs – most running about an hour-and-a-half – will have pauses throughout the program that will allow audiences members to leave the auditorium and return at appropriate intervals should the need arise. Regards, NYCB Customer Care

I second that! 83 copies blows my mind. The Boston Public Library has 3 print copies and 3 eBooks. . I see now that are are more than 20 reserves for the book, but several weeks ago I was #1 and the only one reserving a print copy.

Nanushka said: Again, I guess it's a matter of what one turns to particular books hoping to find. For me, the primary appeal of a dancer memoir is not in its prose style; if the prose gives pleasure, that's a bonus. I'm reading the book for the candid insights about a dancer's experience. Agree that I'm looking for candid insights and a sense of who the author is, why they dance, what they love,.

I wonder too if NYCB policy will change. About a week ago, I emailed NYCB and asked how having no intermissions protected the audience. Couldn't they close off the Promenade and only allow people on paths to the bathrooms? Couldn't they require masks or proof of vaccination instead? Yada yada yada. I didn't receive an answer.