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Even if all this is true I found the slowness, dancing behind the beat, and lack of coordination in the arms and legs disturbing. I've seen the Mariinsky perform Symphony in C and it didn't look like the NYCB but they didn't ignore the accents as much as the ABT. I was disturbed that except for Osipova and Vasiliev no one attempted to dance on the beat of the music. The entrances and exits of the corps in the fourth movement were so sloppy and their arms and legs were pointing in different directions at times. I've attended Symphony in C performances at the NYCB which were not perfect but never did I feel that there was a total distortion of the choreography. As for the knee grazing penchee I've seen a pretty early film of Allegra Kent and she does it so I'm assuming this became part of the choreography quickly. Either way I missed it.

I'm going to have to disagree about Symphony in C. I absolutely hated that so many accents were ignored -- the first movement when the corps de ballet rises up on pointe repeatedly, I hated how they didn't do the accompanying wrist flicks and shoulder heaves that the NYCB does. Abrera was okay but behind the beat constantly and uncoordinated with the corps. In the second movement Semionova was so hard and angular, and even deleted the 180 degree penchee arabesques. I missed the swoony backwards lunges and the knee grazing first penchee. I never thought I'd criticize Marcelo Gomes but he doesn't look right as the second movement cavalier. Strangely Osipova and Vasilev tried the hardest to dance on the musical beat and in the Balanchine style. Simone Messmer was also good in the fourth movement, but the sloppy and sluggish entrances and exits of the corps ruined the brilliant finale. I really really hated it.

I will write more tomorrow but about ABT's Symphony in C ... No, just no.

I can only echo the plaudits for the Vishneva/Gomes/Matthews/Boylston quartet last night, especially Vishneva and Gomes. Their final duet was almost feral and had the crowd in a frenzy. Beautiful partnership, and Vishneva's use of her back in her lifts was masterful. I'm so glad I could witness this performance. i went last year and it was beautiful but last night they took it to another level of passion and excitement. Diana posted on her facebook that this was her "last" Onegin at the ABT -- I hope this is not true, because this is a portrayal for the ages.

Don't think it's really fair to compare Smirnova, who just had her debut, with Part, who's been dancing the role for more than a decade. Part has had time to refine her portrayal. A lot of debuts of O/O tend to be on the "cold" side, IMO, with the dancers so concentrated on getting the steps and look right that they forget to tell a story. I'd also add that the Bolshoi version of Swan Lake is very "cold." Grigorovich places an emphasis on Siegfried and Rothbart, and Odette/Odile are almost a fantasy who flick in and out of the ballet. Grigorovich even rearranges a lot of the music to fit his vision of Swan Lake.

Thanks for the videos. Noticed that Veronika Part and Diana Vishneva were onstage, usually two dancers who don't show up for farewells. Nice to see. The moment between Irina Kolpakova and Irina D. was sweet.

Regarding aesthetics, I remember watching a video where Natalia Makarova was coaching Uliana Lopatkina in the White Swan pdd. At one point Lopatkina unhurled her legs in a rather stretched attitude, and Makarova asked her why she was doing that, when the choreography calls for an arabesque. Lopatkina got rather defensive and said, "Aesthetics." Makarova asked her to try the other approach and Lopatkina got even more defensive and said "I don't LIKE it!!!!" My impression is that at the Mariinsky, aesthetics (in particular, a long, stretched look) is more important than ever.

Mearns tweeted that she is again injured, but hopes to be back for Barber Violin Concerto.

There's a nice long interview with Irina which sheds some insight on her retirement: http://www.timeout.com/newyork/dance/lil-buck-talks-about-jookin-and-his-show-at-le-poisson-rouge

What I find distasteful about Balanchine's treatment of LeClercq wasn't that they eventually grew apart and divorced, but that Balanchine, usually such a private man, chose to make his courtship and falling out with Farrell so public. While he was married he (without Farrell's permission) chose to "announce" his engagement in the press to Farrell, and then threw a hissy fit when things didn't work out as planned. The whole thing (including the quickie divorce from LeClercq) happened with Farrell and Balanchine talking to the presses in a way that must have been humiliating for LeClercq. It was just a very poor moment for a man who considered himself tactful and discreet.

I saw the all-Balanchine program yesterday afternoon. I hate the Santo Loquasto costumes for Who Cares? but thought that Fairchild and Peck were glorious in "The Man I Love." I liked the "dark" parts of Ivesiana very much, but was completely turned off by "In the Inn." Fairchild and Carmena were delightful in Tarantella. Bouder, Veyette and Ulbricht were fantastic in Stars and Stripes. What a great company indeed.

I think Mathilde Kschessinskaya only danced Giselle once near the end of her career, and it was not a success.

Tiler Peck was one of the best Auroras I've ever seen as well. She can be extremely romantic in Baiser de la Fee and "The Man I Love" from Who Cares?

All I will say is that the Mariinsky ballerinas have a LONG history of "sponsors" and I doubt Kampa is the only one who is being "sponsored" (as unsavory as these allegations are). This goes back to Mathilde Kschessinskaya's royal "sponsors." There's lots of backstage gossip in any large company but I do find the youtube vendetta posters quite cruel, especially as the videotape that was highlighted is clearly spliced together at 0:19. Anyway, if anything is responsible for the promotion of Keenan Kampa, it's the fact that the Vaganova in recent years has been accepting more and more foreign students to whom they can charge a hefty tuition.

This clip is spliced together -- you can see where the splice is at 0:19, so it's actually two performances put together. Just sayin'. I am almost hesitant in going to watch youtube clips of Mariinsky performances nowadays because I find many of the clips are these edited "vendetta" clips where the poster is promoting or dissing a certain dancer. The comments sections are filled with numerous comments from various claque members and it's really quite unpleasant. That being said, I've seen some of the very best dancers take nasty spills, including Ashley Bouder and Alina Cojocaru. Kampa's other clips of her Kitri (that I've seen) are more problematic than this edited clip of her fall. From the OTHER clips it seems she doesn't have the high energy, terre a terre skills of the best Kitris. She might make a better Dryad Queen at this stage of her career.

My theory: This person has had a long history of antagonizing Bolshoi management. But in this case, he is aging, and Filin has staged his works but also made it clear he wants to aggressively expand the Bolshoi repertoire. For this person, it's about knowing which buttons to push (in tis case, seeking out a disgruntled dancer) and letting the rest play itself out.

I am NOT condoning any kind of acid attack on anyone, but perhaps when Filin resumes the helm of the Bolshoi he ought to also re-evaluate his own management strategies. It's not easy dealing with 200 very ambitious egos I'm sure, but it also seems like his style of management escalated, rather than de-escalated conflict. With Vorontsova instead of telling her she was fat she could have told her she needed additional coaching. Or (and this is something Balanchine used to do when a dancer insisted on a role) he could have given her one token performance and seen whether or not it was a success.

People might all of a sudden find this video of interest:

Oh jeez Nicky, I really wish he would just stop talking to the press at this point it seems like he's courting the press more than they are hounding him.

after reading about all this one wonders why anyone would even want this job.

Oh jeez. That's really horrible.

This is just lovely: http://www.youtube.com/watch?v=9zAlq0V1i40

I really liked this Winter Season. Highlights for me were: 1) The two SB's I attended, each with wonderful Auroras (Tiler Peck and Ashley Bouder) and overall great company dancing. No weaknesses, it's like every variation was well-cast. Lauren Lovette's Florine was a star-making turn. 2) Reichlen in TPC #2: I agree, amazing performance, wonderful stamina, attack, fearlessness 3) Mearns in Serenade. Special and mysterious in a way only she can be 4) Tiler Peck and Robert Fairchild in Baiser de la fee. This ballet isn't done nearly enough and Peck and Fairchild were wonderful in creating a sense of mystery and foreboding 5) Sterling Hyltin and Chase Finlay in Mozartiana. Hyltin really brought something new and refreshing to a ballet that had IMO gotten rather stale in execution. Finlay partnered her beautifully -- a great "new cast"

I was at last night's performance. Great overall performance -- Bouder's Aurora still amazes with her absolute security and confidence. The final series of promenade/balances in the Rose Adagio were amazing. The fairies were absolutely wonderful. But Lauren Lovette as Princess Florine was simply perfection. I have a feeling next time this is revived, Lovette will be dancing Aurora. She really has that special star quality.

Congrats! I'm especially excited for Lauren Lovette who's blown me away in everything I've seen her in.