CharlieH

And what we saw was the EASIER of the two PDDs in the complete version of La Source, balletforme! The tougher one has the couple enter the stage with a spectacular carry-lift. I’m pretty sure that management omitted it on purpose, as well as the variations that usually follow it...at least for the Sat evening cast. I’d love to know if the tougher pdd was performed by the matinee cast (or will be performed by tonight’s cast), in addition to performing the pdd that was kept on Sat night.

This reminds me of Vishneva’s “Beauty in Motion” sorts of vanity projects...classical stars moving unclassically. No way, Jose!

True! I found the casting of many (not all) of the solo roles in the two Balanchines rather curious. In past years, casting changed in each of the three performances...”equal opportunity for all.” I’m surprised that nobody has even mentioned the odd plaque-awarding ceremony for the school’s team doctor (Dr Hamilton). I’m sure he’s great but...err...a bit odd in light of recent news about other “team doctors” and the entire #metoo movement, including SAB’s own potential allegations earlier this year...the whole Peter Martins allegation thing...now proven wrong (?), at last report. The ceremony was longer than even a couple of the ballets shown in the workshop, tiny Circus Polka and 12-minute In Creases.

I too was surprised that Lowery wasn’t presented with a bouquet, on stage. She was a Soloist. Maybe the protocol is that only Principals receive on-stage bouquets at their farewells?

Yes...but this is one of the select pre-professional ballet academies on earth, just like the Vaganova. It’s not the Dolly Dinkle Academy. I’m sure that the kinks will be ironed out and they’ll all be fabulous at Monday’s final SAB gala...which I’ll miss as it coincides with ABT’s Harlequinade Premiere.

Just back to our hotel from the season closer. What a perfect Balanchine 3ple bill: Concerto B, Agon & Four Ts. Not only did the knowledgeable audience cheer heartily for the dancers who are leaving - Lowery particularly poignant in the first two ballets - but I cheered for the future principals so spectacular here, such as Ashley Laracey, channeling Le Clerq in Concerto Barocco, Miriam Miller so drop-dead gorgeous in Agon’s pdd w/ Tyler Angle, Emily Gerrity in Four Ts Sanguinic w/ Zachary Catazaro, Megan Le Crone spot-on In Choleric, Unity Phelan and farewell-guy Cameron Dieck so sharp in the 3rd Theme! On and on. This program was a winner! Best wishes and heartfelt thanks to those retiring!

I wasn’t expecting the Scherzo (3rd mvt) of Western, as it has long been omitted by NYCB, unlike Miami City Ballet, for ex. However, after admiring several times The Suzanne Farrell Ballet’s rendition of La Source, in which every intended step was magnificently danced, I have been spoiled to expect the complete ballet. Jack, I’m absolutely certain of what’s missing at SAB - steps and nuance. Not just the Farrell troupe’s ballerinas, or Violette, but also recent NYCB interpreters who “got it,” like Jenifer Ringer. Sorry but I couldn’t believe what I was watching last night. SAB sure could have used Farrell’s coaching assistance!

If I can have a cocktail while discussing Stepanov reconstructions with any of these authorities, all the better. Cheers! 💕

I certainly would want to listen to what great authorities on the Stepanov-Harvard notes, like Ratmansky & Fullington, have to say. I give all reconstructionists, Ratmansky, Fullington, Burlaka, Medvedev...not just dear Sergei Vikharev, the deepest respect.

Not to diminish Novikova’s participation, but the official conference does not begin until Wednesday, June 6, with the initial session with Ratmansky & our own Doug Fullington (among others), followed by cocktail party! Reports, please!

I went last night and must disagree with Jack about La Source in some respects. Ms Hong’s dull rendition and watering down of steps almost ruined it for me, not to mention that substantial portions of the ballet (a complete pdd - adagio and boy/girl variations) were omitted! Suki Shorer must have realized that presenting the full ballet could be a disaster, so the curtain went up with the first of the ensemble pieces, which was led by the fantastic beauty, Isabelle Anderson. I also admired the energy and ballon on the male lead, Cainan Weber. But the “Violette” ballerina character went AWOL in lack of charm and technique...but she finally truly smiled and flirted with the audience during the bows. Hurrah! Why didn’t the program specify “Excerpts from La Source”? That makes me wonder if the original intention was to present both PDDs for the leads? Peck’s In Creases, set to a twin-piano score by Philip Glass, followed and was far more felicitous, particularly the men...especially one with curly-topped blonde hair...Gabriel Elftman-Hanson, an audience member from SAB told me. Well, all four of the men were wonderful (Elftman-Hanson, Victor Rosario, Jules Mabie and Benjamin Schwarz). Robbins’ Circus Polka was the usual pleasant kiddie romp lasting all of five minutes. I’m sorry that SAB didn’t opt to present something more substantial by the choreographer or a work that was not in the recent festival, such as 2&3 Part Inventions, which was created for SAB. The rather brief (two hrs, with one long intermission) evening ended on a high - Western Symphony, where I especially admired the ultra-long-limbed, cool charm of Mary Kate Edwards leading the Allegro, Mia Domini and Victor Rosario in the Adagio and, once again, Cainan Weber as the high-flying lead cowboy in the final Rondo. All in all, there’s a lot of potential, particularly among the men (in general; Anderson and Edwards were wonderful among the girls).

Glad that I didn’t waste time with this in DC and opted to extend my time in NY, where I am now. It was a bad sign when I read that Sarafanov would be taking part in the “Petipa Galas” in Moscow at the same time. He was obviously not committed to the tour.

The sets and most costumes are by Rouben Ter-Arutunian, although Karinska is credited with 3-4 soloist costumes + those of the kids in A3. The men’s corps costumes are based on traditional Hungarian outfits. Trust me, as a Hungarian-American. 😃

She reminds me a lot of Xiomara Reyes in this role. Unforced charm, great technique & lovely lines, despite petite stature.

Erica Pereira & Anthony Huxley were simply magnificent as Swanilda and Franz this afternoon! The audience could barely contain itself during her solos. Such beautiful natural (unforced and contrived) phrasing! Erica is a breath of fresh air. I was also very impressed with Emilie Gerrity’s Prayer solo. Sublime adagio dancer! I also loved the well-rehearsed kids in A3. Now a short break before tonight’s SAB workshop.

Good grief, the only gala warhorse missing was Danil Simkin in “Les Bourgeois”!

Nikiya too? I’d seen this only with Gamzatti but I don’t doubt it. I’ve also seen photos of Kitris in the 1920s/30s sporting heeled shoes in Act I.

Not just notations. Photos exist of the first Lilac Fairy, Marie Petipa, wearing both costumes, with different types of shoes (pointes with the Prologue tutu and heels with the character dresses).

Why did Copeland pull out (or was asked to pull out) of her scheduled Harlequinade performances next week, replaced by Skylar Brandt? Steps too difficult — lots of hops on pointe, we know — & the choreographer is unwilling to simplify them? Interestingly, Brandt also replaced Copeland in another Ratmansky premiere run last year - Whipped Cream, in its first run at Orange County.

Sorry, why are they calling this the “Petipa Gala”? Because they will lower a big picture of Petipa at the end?

Yes, it’s still the Makarova version that hasn’t changed in 38 years.

Next week’s Petipa Bicentennial conference at Moscow’s Bakhrushin Theatre Museum will include Messrs. Ratmansky & Fullington as participants on Day One in a panel on Study of Sources (June 6, 3:30-5:30pm), moderated by Prof. R.J. Wiley. Another interesting panel will explore the economics of Petipa-era productions (June 8, 11am-1:30pm), also led by Prof. Wiley. http://www.gctm.ru/en/petipa_en/ Mr. Ratmansky must be getting on a “bullet plane” from NY to Moscow after the premiere of ABT’s Harlequinade to make his scheduled presentation!

The Lilac Fairy’s tacky sateen dress? The isolated Lazyboy thrones? Everything about the designs and confection of the ABT costumes and sets is inferior to those of the magnificent Mariinsky Vikharev production. No contest!

Ratmansky’s Sleeping Beauty recon (originally for ABT) is ditched and the Nureyev version returns. Another “El Cheapo look” bites the dust, even though I’m sure that the actual cost was not cheap, as with the Munich Paquita. That’s too bad. Now I wonder how long La Scala will retain Ratmansky’s recent Swan Lake recon (the co-production with Zurich)?

Terioshkina is a magnificent Raymonda...the current best a the Mariinsky with the possible exception of Novikova, who has already been filmed in the lovely Vikharev recon. at La Scala. Hence, I’m delighted that Terioshkina will now be professionally filmed in this ballet. As for the Mariinsky’s representatives in the tv competition...”no comment” as Gnossie says.