Marta

5 minutes ago, Kathleen O'Connell said:

I wonder if NYCB will decide to revise its policy in light of 1) rising Covid-19 case rates at both the local and national level; 2) revised CDC guidance re indoor masking; 3) more and more organizations in the for-profit, non-profit, health care, and government sectors requiring vaccinations of both employees and customers; and 4) the number of public figures now urging everyone to get vaccinated. 

Surely headlines like "All NYC Counties Fall Under CDC's New Recommendation For Universal Indoor Masking" has to prompt a NYC performing arts organization to re-think its re-opening policies. (Or this one, as Nutcracker season approaches: "Arkansas Children’s hospitals report record high number of children hospitalized with Covid-19"—it certainly got my attention.)

Frankly, it might be easier for a venue to require vaccines for admission than to try to enforce a masking requirement. You just know that there will be audience members who will kick up a prolonged and noisy ruckus when an usher politely requests that they put their masks back on. 

 

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.

Canbelto, thanks for that photo of young Osipova.  Her pointe shoes are always super grungy.

I have read that Osipova uses them but have never noticed it either in person or in photos.  Lamb's  pix above look  particularly strange.

YES to Mejia too, forgot to mention him.

23 minutes ago, cobweb said:

So that's five upcoming retirements - Kowroski, Lovette, Garcia, la Cour, and Ramasar. Probably Jared Angle, and possibly Andrew Veyette and Abi Stafford, are not far behind. Time to think about promotions. For men, Jovani Furlan and Harrison Ball would seem no-brainer for principal. Not sure Peter Walker, Aaron Sanz, or Sebastian Villarini-Velez are ready for principal status, but they are all needed. When Daniel Applebaum was promoted to soloist I envisioned him as a "flagship soloist," but now I could see him as a principal. Harrison Coll was out for so long, even before the pandemic, that I have no idea what his readiness might be. I could see Andrew Scordato and Alec Knight to soloist. Too bad Silas Farley left, this would be an obvious choice. For women, I think the main candidates for principal are Phelan, Gerrity, and Woodward. There are quite a number of choices of women who could go from corps to soloist, my top choice is Emily Kikta. 

I agree on Furlan and  Ball, haven't seen enough of the other men named to say though.  The 3 women should be principals too, especially Woodward.  I'd like to see Spartak Hoxha become soloist.

18 minutes ago, Kathleen O'Connell said:

Leaving the veracity of her claim aside, in the real world of a male-run, tradition-bound, hierarchical organization eager to coddle its stars, neither option would likely have gotten Pazcoguin anywhere. I can imagine any range of bad outcomes for Pazcoguin and none for her harasser; she was on the wrong side of any number of power imbalances in that situation. 

For a chilling depiction of how a credible allegation of abuse and exploitation can be turned back against the person reporting it by an HR department operating under the thumb of a powerful male executive, I recommend Kitty Green's excellent 2019 film, The Assistant. (If you haven't seen the film and don't mind a little spoiling, you can watch one of the central, telling scenes from the film on YouTube here: https://www.youtube.com/watch?v=972P9XLWyoE. Jane, a young production assistant for a powerful film executive is party to a very young, very inexperienced woman being set up for sexual exploitation on the pretext of being given a job at the firm. The executive's habit of sexual predation is an open secret; part of Jane's job is literally cleaning up after his exploits and facilitating them in other ways, including installing the new hire in a high-end hotel. She decides to report the situation to HR. It does not go well.)

 

Your summary of the Pazcoguin issue is right on.  It's so easy for people to be skeptical about claims that don't seem "credible".  I also saw  The Assistant and agree that it's a terrific and  accurate observation about power imbalance in the work world.

Buddy said:

As sort of an aside, I remember Veronika Part dancing one of her exceptional Swan Lakes with a partner that was relatively new to it. For me, she commands the stage completely, but this evening it seemed that she stood back somewhat in order to let him shine a bit more. I thought that it was a fine gesture, if in fact it was her intent.

I was curious about the partner in the Swan Lake you mention.  I  loved Veronika Part and saw her In SL several times. I recall Stearns and Whiteside, neither of whom I liked.  Can't remember the other partner though.

On 5/29/2021 at 10:33 PM, cobweb said:

After reading this interview, I conclude that we still have no idea of the whole story. The only thing that seems clear to me is that the partnership between Lane and Cornejo broke down for some reason that remains unknown, and for the audience that was very unfortunate because they were great together.  Also I conclude that she had an illustrious career that could have been even more successful but was mismanaged, probably both by herself (i.e., refusing to dance with the company's main star) and by management. I loved the fleetness and delicacy of her dancing but found myself often distracted by her being too smiley, as vipa noted above, and/or with a flat and frozen facial expression, like the feedback she says she got. She says she took that feedback "to heart." Does that mean she understood the issue and worked on it? Or that she rejected the feedback? I find myself dubious about other implications she makes. Was the offer of a final performance of R&J really connected with the promise that she not speak publicly about her departure from the company? Ultimately, I just agree with canbelto. 

 

I feel sad that I'll probably never see Lane dance again.  The departure of Veronika Part, while very different, was equally sad.  Those who aren't in KM's magic circle don't  last at ABT.  I think there are holes in the interview too, and don't expect to be enlightened unless Lane writes an autobiography. In the final analysis it was Lane against KM.  She was never favored by him and that was never going to change.  Her request to not be partnered with Cornejo was a surprise to me.  I thought their parting was connected to his not choosing her to be in his anniversary performance.  Ultimately I also agree with canbelto.

1 hour ago, cobweb said:

I'm with you, vipa! I did subscribe, but when I look through the offerings I'm disappointed... not a good way to feel when heading back after a year and a half. Where are the Balanchine specialties, rarities, and delights? Isn't that what most of the audience has been pining for?

I'm with Vipa too.  I want more Balanchine, more Robbins, more Ratmansky.  Don't hate me but I don't want more Peck for a while.

Lovely image.  Thank you.

On 1/20/2021 at 9:53 PM, canbelto said:

Many good performances throughout the ceremony and the virtual concert tonight Lady Gaga's rendition of Star Spangled Banner has to stand out. One of the best renditions I've ever heard of this difficult song.

 

I agree completely.  I watched it several times. She was phenomenal both technically and expressively.

Thanks.  I do remember reading that.  

9 minutes ago, pherank said:

Don Quixote is one of the Balanchine ballets that Suzanne Farrell controls the rights to, and she presided over the 2005 revival using dancers from her own company and National Ballet of Canada. I don't think NYCB has taken this on since the 1970's. Does anyone know different?

1 hour ago, canbelto said:

More footage:

 

Wonderful.  I watched it earlier and just watched again.   Has NYCB ever revived it after Balanchine's death?

2 minutes ago, cobweb said:

"Thank you New York" has actual dancing, which some of the other new works completely lack. So thumbs up for that. But I don't know about Jonathan Stafford's new look. I didn't recognize him at first. Has he lost weight? Downvote on the mustache.  

Agree that Thank You NY has actual dancing, more movement in space.  It seems trivial but as soon as I saw Stafford, I thought "lose that mustache".   He looks completely different.

On 10/30/2020 at 3:11 AM, Drew said:

Have only been able to watch a few fragments --all very enjoyable (including the excerpts of the Gracheva company class at the Bolshoi and a bit of Vetrov's.) I also found Lantratov and Turazashvilli's interview with Denis Savin quite charming. (As dazzling as it has been to watch the very professional Novikova year after year play interpreter to the dancers and their coaches etc. seeing a soloist with the company able to play that role was pretty dazzling in itself.) I also enjoyed the rehearsal footage of Tereshkina with Kunakova -- a ballerina I remember from the Kirov tours of the Reagan era and into the eighties...

I enjoyed everyone in this same interview very much, and Turazashvili's English was so impressive!  Tereshkina is one of my favorite Mariinsky dancers, and it was also easy  to see her in Fateyev's class.

2 hours ago, nanushka said:

Perfectly said, @vipa.

I agree ... but also ...

canbelto said:  Think the "new works" in recent years that will be a permanent part of the rep:

Alexei Ratmansky's Russian Seasons, Namouna, Concerto DSCH, Pictures at an Exhibition

Justin Peck's In Creases, Times Are Racing, Rodeo, Belles Lettres, Pulcinella Variations

Wheeldon's After the Rain, This Bitter Earth, Carousel, DGV

Forsythe's Herman Schmermann

Kyle Abraham's Runaway

    Yes to all. 

3 hours ago, canbelto said:

If you read Repertory in Review Mr. B's works didn't dominate the seasons in his day either. He was into giving dancers a chance at dabbling with choreography. He was also a busy man -- he frequently flew to Europe for commissions in doing choreography for opera productions. A Balanchine premiere was a big thing in his day as well.

And of course not all of his works have stood test of time. There's quite a few of his ballets that simply aren't done anymore. 

Not every work by a great painter was a great painting.  

Vipa said: Maybe dance audiences will be eager to see NYCB do a lot of new works when they return to the stage after a year and a half, but I'll be eager to be re-immersed in the Balanchine rep. I'm all in favor of giving opportunities to new choreographers, but great art is hard to come by, and I fear the emphasis on turning the page could mean ignoring the fabulous NYCB heritage. 

I'm very eager to see Balanchine next year and always.  Compared to the programs of 20 or even 10 years ago, we seem to see less of Balanchine and Robbins.

Cobweb said:  It's hard to know when to keep trying to appreciate something, like, say, this week's Bell and Tanowitz works, and when to decide it's better to spend my time on something else. If I hear a chorus of support for some of these works, I would certainly try again. 

I've watched all the new works and in this desert of live performances, it's a gift to be able to see these contemporary works.  For me the criterion is, "do I want to see it again".   So far yes,  and I plan to watch again, especially the first two.  I thought there were many unusual aspects to the ballet by Bell, the only choreographer I'd never heard of.   I liked very much the Tanowitz ballet.  I have the impression that some people were expecting more traditional "stage pictures" in these works.  What someone mentioned as "the great architectural statements"  was not distracting to me, but part of the set design.    The space, even the sky were new elements .  I also liked what the dancers said or suggested: that it was a challenge not only to move in a different way, but to participate in the process in a totally different way.

2 hours ago, California said:

Although the only date in the  liner notes is 1977, Baryshnikov didn't join NYCB until fall 1978, so his performances must have been recorded after that. There is some precious footage and text of Balanchine coaching Baryshnikov in all three. 

I've seen the McBride/Baryshnikov on YouTube. I don't know if it's still there. 

On 10/15/2020 at 11:14 PM, canbelto said:

I've been feeling under the weather all day and watched the DAAG clip again. It's such a balm for the soul.

Agree. i just love it and can't wait to see it again in person.    

balletforme said:

NYCB ballet dancers are collecting unemployment (those who can.)  Not foreign dancers. That's verified through numerous Instgram posts. They are not being offered any classes through the company.  Th

What a sad company.  They have the HIGHEST budget of ANY ballet company in the US (89 Million in 2018) and yet companies with less money are paying their dancers, using relief funds to give them classes, performing in small works and chamber pieces (SFB, MCB, PNB). 

I don't think this is completely correct.  I recall reading in March, when the spring season was canceled, that NYCB planned to pay its dancers through the end of May when the spring season would have finished.  Some dancers may be getting unemployment now.  You mention other companies, however, the rate of infection in those cities was/is not as high as it was in NY, therefore it wasn't possible to present small works.  Are you saying the companies you cite are still paying their dancers?

It was a wonderful program. I recall seeing it when it was first televised.  I loved Farrell and Andersen and saw them dance several times in the 1980s.  It's certainly worth repeated viewings.

2 hours ago, Dale said:

Yes, I wish Lincoln Center would have made an announcement like, "we're holding other offerings back to shine a brighter spotlight on black artists. Please enjoy the The Alvin Ailey American Dance Theater" etc... It would also direct people's attentions to this offering. I guess everything is moving so fast, institutions don't know which way to go. 

I agree, but also couldn't NYCB have made the announcement on their site?  It's unclear which organization decided to cancel.

I started searching the ABT 1978 performance  on Youtube on my TV at 7:45. No go, I then went to ABT.org and the LC site.  What a mystery, it's unfindable!  I finally was given a link courtesy of another ballet lover's site that required you to put your email address in and I watched it on computer

Does ABT/Lincoln Center really think people are going to copy it?  Films of a film, come on, we can see that on Youtube now.  We can see the T&V there now.  We can see better versions of Les Sylphides by ABT too. 

I loved T&V especially. What a masterpiece and what a beautiful definitive performance of it by Kirkland and Baryshnikov. It doesn't get any better than that!  I thoroughly enjoyed DQ PdD and the Firebird.  I particularly liked Tcherkassky in Les Sylphides but overall I thought it wasn't a particularly special performance of that work.

Later, after the program was over, I found this link to the Youtube site.  It is totally unclear how long ABT 1978  will be available. On the LC website it says available for a limited time on demand.

 https://www.youtube.com/watch?v=Wn45Q4SbiGk&t=209s

The Doubrovska Remembered DVD is just wonderful. I watch it often.  I love the way she speaks so expressively, and how she moves when teaching. What a thrill it would be to see a film of her actually dancing!

BalanchineFan said:  I was surprised they didn't have toasts from more of the past generations of ABT stars. 

Either they weren't invited to toast, or they were and declined.