canbelto

There are really too many to link but many members of the ballet world have posted tributes on Instsgram, Facebook, and Twitter. It's very sad and my condolences to Albert Evans' friends and family and to the ballet community of which he seems to have been a beloved figure.

Alexei Ratmansky has a public-facing Facebook post that confirms it: https://www.facebook.com/photo.php?fbid=10204458550728632&set=a.1133754148868.2020465.1377723438&type=1&theater Sara Mearns has also made this post public: https://instagram.com/p/4QfgrjJ5CR/?taken-by=saramearns Justin Peck: https://instagram.com/p/4QiHNhqRf6/?taken-by=justin_peck Very sad news and they seem to be in shock

I'm shocked to write about this but it's clear from some NYCB dancers' instagrams that Albert Evans has passed away. https://instagram.com/p/4QXoARP_wH/?taken-by=ashleybouder

I wonder what you all think of this? She's certainly not a natural Aurora type, being so tall and regal looking, but I'm impressed with the control she exhibits here ...

All these clips of Ferri make me think of something: Ferri's Juliet and Giselle could become works of art bc Ferri was never a tutu ballerina. I think had Ferri been forced relentlessly into 32 fouetté ballets she wouldn't have developed her artistry so much. She was always able to exercise discretion and care over her roles. It seems as if Julie Kent was the last ABT ballerina (okay maybe Diana V as well) to hold that kind of power. Kevin McKenzie's new favorites have the "blessing" of being forced into roles whether they are suited for them or not.

Cojocaru and Kobborg do it hands free: Agreed about the warmer body language between Kent and McKenzie. Also nice to see Veronika Part onstage as she usually is a no-show at these events.

Ok well I think an issue is that ppl who bought 4 R&J tickets don't actually like R&J the ballet. They like Ferri as Juliet, or Vishneva as Juliet. Which might be a reflection on MacMillan's choreography, or ABT's star system. I do know that when the Royal Ballet does these MacMillan warhorses the runs pretty much sell out whoever is dancing. And I think that stems from a more genuine appreciation/reverence for the ballet itself rather than the ballet as a star vehicle.

Well actually a few days ago Kelli O'Hara and Ruthie Ann Miles canceled a few performances of The King and I and apparently large portions of the audience walked out the minute they found out about the replacement and demanded (and were given) a refund. This happened during the performance so I can't imagine what the understudies must have felt.

Gomes' schedule is staggering this year, especially considering how even when he's not dancing lead roles, he has duties as Carabosse and Purple Rothbart. Of course they are short roles but it's still less time to decompress, rest, and prepare for the next performance. I'm actually surprised (and grateful) that his body hasn't given out to injury.

Here's the thing with Vishneva canceling: I can fault ABT management for a lot of things but when stars like Vishnevs cancel there's really no good substitute. Especially a Vishneva/Gomes R&J: that was always going to be a hot ticket item. A similar thing happened this year at the Met when Jonas Kaufmann canceled two sold out Carmens, no Don Jose would have sufficed for ppl who traveled from Germany to see him. At least Vishneva is generally reliable and doesn't usually cancel her engagements (although she does limit them so chances to see her aren't that frequent). I have a balletomane friend who said that even in her NYCB days Gelsey Kirkland caused hysteria whenever she danced ... and whenever she canceled. Which was often.

Vishneva is very explicit about her terms and conditions. She makes no bones about only dancing a limited number of performances, Marcelo being her sole partner, and only dancing in productions she feels are of high quality and suit her. But she has a huge following in NY so I assume whatever financial compensation she gets is more than made up for in ticket sales and strong word of mouth. It's rare to have an almost 40 ballerina be a guaranteed almost sell out. She's also consistent: she's this way with her home company (the Mariinsky) as well.

Well one issue is that some dancers seem willing to dance despite illness, minor injury, etc. Diana is not one of those dancers. She will only dance with specific partners and in certain productions and she adheres to a non-hectic schedule. So if you miss a chance to see her you won't get many more chances. I'm glad I saw her this season pull off a technically and dramatically fine Aurora.

This is odd. Yesterday Diana had been posting promotional videos and pictures of her R&J on instagram and Facebook. This injury/substitution must have been very last-minute.

One thing about Obraztsova's performance: she is obviously a star (you can't help but look at her when she's dancing) but she didn't make last night's performance a star turn. I felt like she was very conscientious in adjusting to Cornejo's height, interacting with other members of the cast (the Nurse, Paris), and not overdoing anything. She was exquisite.

I found Lukina a bit hard-boiled in her presentation. I also noticed last year's big star graduate (Zhiganshina) had a bit of the same hard-boiled style.

I was also at the Obraztsova/Cornejo performance and agree it was stunning. Her pas de bourrees alone were worth the price of admission -- so fast, like skimming water. Her arabesque was also so beautiful -- she reminded me of that dictum by Alexandra Danilova that one should always be able to see the upward movement of the leg. She and Herman didn't have off the charts chemistry but it hardly mattered. I too thought Simkin showboated too much for my tastes, and Gorak was very elegant as Benvolio. The orchestra playing was awful. Full thoughts here: http://poisonivywalloftext.blogspot.com/2015/06/romeo-and-juliet.html

Family Circle side seats now selling for $300 on CL: http://newyork.craigslist.org/mnh/tix/5077898619.html

It's also my understanding that Shearer also wanted to go into serious acting, and not just films where she was called upon to both dance and act. She might have been angry at Michael Powell that not as many of those projects materialized as she had wished. Anyway there is frustratingly little footage of Shearer's dancing onstage. I did find one clip:

Available on TDF too. The run has been selling incredibly poorly. It's a shame since the Royal Ballet hasn't toured to NY for so many years.

According to a reporter from the NYTimes, Rachel Moore is leaving ABT: https://twitter.com/coopnytimes/status/611309574457585664

Here's the original Juliet, Lynn Seymour. Certainly a rather "womanly" body:

What's puzzling is she also later made comments that the experience with Powell in The Red Shoes was so horrifying that she never wanted to work with him again. Which really isn't borne out by history, as she worked with him in more films after The Red Shoes.

Whatever she might have felt at the time in later life she always insisted she never wanted to do the film: Here's the complete article: http://www.nytimes.com/1988/01/10/movies/moira-shearer-still-chased-by-red-shoes.html

Anyone know why Shearer turned against the movie so much in her later years? I read a NYTimes article where she said she hated the movie and never watched it.

And? ... Rose Adagio for Aurora - check, she dances it Variation for Aurora in Act 1 and Act 2 Vision Scene - check, there Wedding pdd - check, it's there It's not like Ratmansky gutted Aurora's part at the expense of the Prologue Fairies. The night I saw it Vishneva definitely made it a big star vehicle, and came forth numerous times for bows.