FPF

Congratulations to all of them.

I think that the pandemic has made a lot of people re-evaluate their careers. Dance is hard, and it's not very surprising to me that there would be a number of dancers deciding that this is the right time to move on, especially when the opportunity presents itself. That being said, I'm very sorry that I won't get to see her again before her retirement. I think one of the last regular SPAC performances I saw her in was Tschaikovsky Piano Concerto No. 2 and she was just wonderful--best performance I've seen of that ballet, made me really see it in a whole new light. I think Miriam Miller has what it takes to be a principal--she was riveting in the Diamonds excerpts last summer at SPAC. I don't think I've seen much of LaFreniere or Nadon in principal roles. I do like Gerrity, too.

There's a post from Bruce Marriott on the DanceTab website that they will stop posting new material early in February, although the site will remain up. https://dancetabs.com/2022/01/dancetabs-is-closing/ I've enjoyed many of their reviews and it's sad to lose yet another venue for writing about dance.

Peter and Paul Frame (twins), Zippora and Romy Karz

Something to look forward to: SPAC has announced this summer's NYCB season, Tuesday, July 12-Saturday, July 16 Programs are: Tuesday, July 12, 7:30 pm: NYCB On and Off Stage. This is going to be like last summer's programs, where a NYCB principal dancer will introduce excerpts from the ballets that will be performed. (I enjoyed the programs last year, but I'd really prefer a regular rep performance or to have this in addition, rather than instead of more dancing). Wednesday, July 13 and Saturday, July 16, 7:30 pm: 20th Century Masters. Chaconne, Summerspace, Glass Pieces Thursday, July 14, 2:00 pm and 7:30 pm: Evolution. Emanon – In Two Movements (Shorter/Roberts), Gustave le Gray No. 1 (Shaw/Tanowitz), In Creases, The Four Temperaments Friday, July 15, 7:30 pm and Saturday, July 16, 7:30 pm: A Midsummer Night's Dream Looks like they are sticking with the earlier starting time. I think the ballets look better a bit later, but I'm also old enough to appreciate getting home a bit earlier. Also, there is no indication of a gala, which would usually be the Saturday evening performance. They don't say anything at all about COVID precautions, but the venue is outdoors.

Congratulations to all of them!

What really surprised me in that interview, and what I suspect was the major reason she decided to leave, was that she said that the leadership had indicated that they weren't interested in her choreographing another ballet for NYCB. Her NYCB ballets were well-received and she's gotten commissions from other companies that were also well-received, so it seems odd that they weren't interested in supporting her future work, especially considering all the lip service paid to supporting female choreographers.

I lived in Wisconsin for a few years in the early 2000s and enjoyed attending plays at the American Players Theatre in the summers. As far as I can tell, Terry Teachout was the only major theater critic who ever traveled to Wisconsin to review them. I appreciate that he would regularly review plays at regional theaters around the country.

I also love the Balanchine version and hate the Martins. I saw the Martins back in 1998 when it premiered (I was at the performance that was broadcast on PBS with Miranda Weese and Damian Woetzel) and vowed never to see it again. And I haven't.

Hope you’re feeling better soon, Kathleen.

Not a movie, but I enjoyed the Norwegian miniseries, "Home for Christmas," on Netflix.

I actually didn't buy the opera glasses until years after I stopped the subscription. So I was able to enjoy the performances with just my normal glasses.

I had a family circle subscription to ABT a while back and thoroughly enjoyed those performances, as well as other performances from visiting companies. I had no opera glasses (I didn't get any until years later), and always tended to go for the cheap seats (and still often do). I think that whether those seats will suit you will depend in part on what you like to focus on. For example, in story ballets, you would be able to see big gesture and might better appreciate the corps formations than you would lower down. But you would miss nuances like facial expressions, the top of the set might be cut off from your view, and if you sit off-center, one side of the back of the stage may also be cut off. I've also seen the opera there from way up high, and the acoustics were great and I really enjoyed those performances as well. That being said, if you can afford a pair, opera glasses would give you the ability to still purchase cheap seats while being able to capture more details. And you would then have them for any future performances--I've had mine for about 15 years and bring them to most performances, although I don't always use them. Although I'm sure you could get super-fancy ones encrusted with gold and with a price to match, I think there are some that would work well and still be fairly inexpensive.

I meant to imply (maybe too subtly) that none of the dancers I listed above should be considered deadwood. Although I can think of a few dancers who probably should have retired before they actually did, I can think of more who I wish had danced longer, I think that artistry often deepens with age and experience.

I went through the list of principal dancers, omitting those already retired/scheduled to retire. Principal dancers for at least 15 years include Megan Fairchild and Ashley Bouder (since 2005), Sterling Hyltin (2006), and Jared Angle (2005). Everyone else has been a principal for <15 years or is already scheduled to retire.

I always think of these added prologues as answering the questions that no one is asking (and I totally agree about the Swan Lake prologues in particular). I guess the companies have the idea that the audience can't be expected to listen to music that isn't accompanying any onstage action.

Thanks for posting these songs, Tom. I especially liked Hanukkah Lovin'. This is one of my favorites:

Here's the Google translation of the program: Ricardo Drigo The romance of the rosebud and the moth Ballet in 2 acts Libretto by Yana Temiz and Vasily Medvedev after Ivan Vsevolozhsky Choreography and production by Vasily Medvedev based on the 1904 production by Marius Petipa Choreographer's assistant Stanislav Fecho Costume designer Natalya Protasova based on sketches by Ivan Vsevolozhsky Set designer Zhandos Omarov The concept of musical drama Vasily Medvedev Orchestral score author Daulet Shakirov Lighting Designer Alexey Markov Videography Daniyar Ibraev, Nurlan Abishev Symphony Orchestra of the State Opera and Ballet Theater "Astana Opera", conductor Arman Urazgaliev Characters and performers: Rosa, 2nd year student Shahmanova Kamila Sphinx 3rd year student Hwang Amir Nasturtium, 3rd year student Kisembaeva Amina Lilia 3rd year student Aydarova Limara Chamomile 2nd year student Zyryanova Alina Trio: Iris, Scabiosa, Fuchsia, 3rd year students Halimolla Aisha, Satova Meruert; student trainee Omiya Ayu Water lily 3rd year student Ormanova Camilla Bells of a student of the courses Baibolova Yasmin, Kamar Ikbalova Vega Maki students of middle classes Alken Anela, Mitrofanova Daria Ordinary white moths students of the courses Iminov Akbar, Shaimkulov Bekten Chrysanthemum, 2nd year student of the qualification "Dance Ensemble Artist" Moldahmet Kaziza Garden moth 3rd year student Bolat Raiymbek Pelargoniums Students of the qualification courses "Dance Ensemble Artist" Kamila Sadenova, Kamila Shkibaeva Gray moths students of courses Imankulov Ernar, Orynbasarov Alibek Violets, Variegated carnations, Red carnations, Sweet peas, Daisies, Hydrangeas, Forget-me-nots, Pansies, Marigolds, Thistle, Roses-corps de ballet, Cornflowers, Heavenly moths, Blue moths, Little white moths, Pages, Rose stem Students of junior and middle grades, students of the courses of the Kazakh National Academy of Choreography

"The Romance of the Rosebud and the Butterfly," Petipa's last ballet, has been reconstructed by Vassily Medvedev and premiered this past week at Kazakh National Academy of Choreography in Astana (hat tip to Li Tai Po at Balletcoforum)--it's a student performance). It's streaming on YouTube, and it's delightful so far (I'm only about 1/3 of the way through).

DGV was created on the Royal Ballet, but Maria was in the original NYCB cast.

Congratulations to both of them.

I just did some digging around--she is now on the NYCB alumni list. And she seems to be listed as a production assistant for the Southhampton Arts Center. https://www.southamptonartscenter.org/team

Wendy Whelan had a bob for a while in the 90s. Simone Messmer had short hair when she was at ABT. Jennifer Ringer had a bob. Sofiane Sylve had short hair. Lauren Lovette has had short hair also. I seem to remember that Stacey Calvert (NYCB) and Cynthia Gregory (ABT) did too. I think it's not as unusual with principal dancers as in the lower ranks, but they generally have had to look like they had long hair except in some contemporary works. NYT article from way back on the subject: https://www.nytimes.com/2011/06/19/arts/dance/ballet-dancers-hair-bun-or-bob.html Also, I think that the longer/bigger mens' hairstyles in the earlier post were just the general style at that time. Why would it be more distracting to see women with different hairstyles than men with different hairstyles?

Although there may be roles in which baldness is a male dancer not have this effect, I had the same opinion when I saw Tyler in the White Swan and Diamonds excerpts at SPAC this past summer. I also never noticed his toupee in previous years. And I agree with you about the the double standard. Female dancers have to appearas though they have long hair in most ballets --if they have shorter hair, they have to wear hairpieces to look like they have long hair. I know that he's considered a great partner, but I'd have to agree.

I Just finished Swan Dive and I really enjoyed it--in fact, a lot more than I though I would based on the excerpts. I think it's definitely worth reading, particularly for those who know Gina and/or NYCB. The language can be a bit profane, but once I got into the book, it really didn't bother me. I borrowed it from the library, and I although don't think I need a personal copy, Gina's a very engaging storyteller and I'd love to hear more from her.,