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vendangeuse

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  1. Fairly certain they did so last year as well—I remember looking up the casting for my Nutcracker performance and noting who had been cast as the Nutcracker Prince. (Last year there had also been a NYTimes article profiling the two young dancers who were sharing the role.)
  2. As does Javier Camarena on Instagram. Disappointing from both, each of whom are gifted artists and whose performances I have enjoyed very much.
  3. For what it’s worth, I (a woman) had no intention of buying tickets to the Women’s Movement program—but I will almost certainly buy a ticket to the revised program when casting is announced. I found Garden Blue terribly dull last year and was not keen to see either that or the Dorrance piece again. (I usually love Dorrance works, but I didn’t feel her piece last year was among her strongest.) But I am curious about the new Bond piece, and incredibly eager to see Nee American Romance. I’ve been following Whiteside’s choreographic work and I often find it fun and fresh. I’m very pleased ABT is giving him the opportunity to bring his work to the NY audience. I hope it’s just as well received here as it was in Vail, and only opens up more opportunities for him to choreograph for the company. (As a side note, I wonder if this is the piece he was working on during the ABT Incubator last fall?)
  4. ! This was my first time seeing Ratmansky’s Sleeping Beauty and I did notice there seemed to be a remarkable lack of dancing for Desire. Honestly it took some of the wind out of my sails for Lane/Cornejo tomorrow. I’m happy to hear this was an accommodation (it seems) for Bell, and not standard. Looking forward to tomorrow with all the more enthusiasm. (And I agree—Boylston was lovely.)
  5. Ah, I see. Does this mean complete casting is not generally available until the night of the performance?
  6. This will be my first time seeing the Bolshoi on tour. Is it possible that full/complete casting will be available before the performance? Has this been done in the past? Some of the performances I am attending still have plenty of seats remaining, and I would consider upgrading the seats I have if certain soloists are performing.
  7. For those who are interested, Hallberg has confirmed via Twitter that he will be performing Program C, Aug 13-15. No further details on what specific pieces will be performed that evening.
  8. Agree with this wholeheartedly. I went last night to see Cornejo specifically, but I was astounded by the number of children in attendance—several of them with Misty Copeland dolls on their laps throughout the performance. It was incredibly moving for me to see so many young people so deeply engaged with ballet and excited to be there. From my perspective, Misty sells, which helps keep ABT afloat. I do not go out of my way to see or avoid her, but i recognize that she plays an important roll in the company, and I am grateful to her for the roll she has played in drawing new audiences to the ballet. ...which is not to say that I was, admittedly, a little excited when I saw the posting in the lobby about Sarah Lane. I have not been a big fan of hers in the past, but last night she really won me over. I do hope she gets an O/O next year; she has certainly proved capable and deserving of it. I also have tickets on Saturday (to see Hallberg) and I am very curious to see what casting changes (if any) occur for that performance... if I were inclined to bet I’d put money on Bolyston performing Act III Saturday night.
  9. ...who is also (if this board is any indication) one of the few male principals that can reliably draw certain audiences to the theater. (I also have tickets for Cornejo/Copeland; I really hope he will be back by then.) I’m sure the fact that it’s SL has quite a lot to do with it, and Copeland’s star power is undeniably a big draw for some audiences. These performances would sell well on those merits alone. But I also think Cornejo and Hallberg draw bigger crowds than say, Stearns, who seems to be partnered with Copeland a lot this season.
  10. It's also the only Swan Lake that Hallberg is dancing—and he is only performing three times this season. That performance has been quite well sold since single tickets went on sale. (I purchased a bunch of single tickets in addition to my subscription before they were released to the public, and was surprised to find how far back in the orchestra my seats were for this particular performance, despite ordering early and being an ABT member.)
  11. In other casting news... Cassandra Trenary posted a story to Instagram today advertising the Tharp strip program next week with the caption “Me and @HermanCornejo wanna see y’all at the Met Opera House” with a photo of the two of them dancing In the Upper Room. Not exactly a confirmation that his injury isn’t serious, but cause for hope, maybe, that he’ll be dancing next week.
  12. That was my plan—to get rush tickets and go back! Regrettably something came up literally at Intermission last night... ah well. Perhaps in the Fall. And could not agree more with @abatt above—Forster is doing wonderfully. (Which is partly why I wanted to attend the matinee—to see his Sergei in Dnieper.)
  13. Last night the Family Circle and Balcony were woefully undersold. That being said, there was a lot more energy in the theatre last night than there was at both performances of Harlequinade I saw last week. This was my third time seeing Songs of Bukovina—it grows on me with every viewing. This season I am noticing many lovely qualities in Boylston’s dancing that I had not before, first as Columbine last week and now in Bukovina. I admit, I bought tickets to her Manon for Hallberg, but now I find myself looking forward to her debut. Hoven looked great. (I saw him last week as well, but he hardly had any dancing as Pierrot.) I hope Cornejo recovers from his injury, but if not, I hope Hoven gets more opportunities to dance, as he did last night as Cornejo’s understudy for the Seasons. It was my first chance to see On the Dnieper—I wish I could see it again! What a dense piece. I have been listening to the Prokofiev score leading up to the season but that did not prepare me for the visual richness of this ballet. Choreography aside, I thought the costuming was gorgeous. I loved the muted color palette and the set design. Those petals...! I suppose it’s kind of a cheap effect (I think it would take my breath away even if the dancing was mediocre) but watching the dancers kick all of the fallen petals up during the wedding scene was truly beautiful. The choreography itself is so layered that I found my eyes constantly wandering across the stage—there was so much to take in. Shevchenko was as elegant as always as Olga. I was glad to see Seo—she seems to be back in good form after her injury in the fall. Tonight she moved with the same expressive delicacy, fragility, and vulnerability that I have loved in her dancing since I first saw her (and none of the tenuous hesitation I felt when I saw her in October in Garden Blue. It was Whiteside’s debut as Olga’s fiancé and he was on fire. His solo (dance tantrum?) during the wedding got some of the loudest applause of the night. He has always to my memory been a very athletic dancer, but this season he seems quicker and stronger than ever. I enjoyed Stearn’s dancing more than I usually do. The Seasons was enchanting—everything I’d hoped for in a new Ratmansky piece. It’s a little early to say because I’ve only seen it twice, but I suspect the Zephyr/Spirit of the Corn pas de deux will become one of my favorite. That being said, I have to reluctantly agree with the NYTimes: the piece looked like it could have used more rehearsal. Worse, it sounded like the orchestra desperately needed more rehearsal time. I’m familiar with the Glazunov score and while parts of it were played admirably, there were also parts (particularly around the Summer section) where there were a number of tempo changes, and the orchestra sounded very muddy and off-rhythm. But I think this piece has staying power: parts of it were so beautiful that, even despite the issues described above, I was moved close to tears. The parts of Summer with the JKO students was especially lovely. I hope to have the opportunity to see this piece again next Fall or Spring, after the dancers have had the opportunity to tighten it up. I dearly wish I could have seen this program again with the other cast, but unfortunately circumstances will not allow it. If only they were presenting the program on Friday as well.
  14. Stumbled upon this while looking for more info on the live screening today (May 19.) Thought I would share it here since the article above made no mention of the cinema relays. I've transcribed the dates below: May 19 2019 - Carmen Suite / Petrushka Oct 27 2019 - Raymonda Nov 17 2019 - Le Corsaire * Previously Recorded Dec 15 2019 - The Nutcracker * Previously Recorded Jan 26 2020 - Giselle (Ratmansky Production) Feb 23 2020 - Swan Lake Mar 29 2020 - Romeo and Juliet *Previously Recorded April 19 2020 - Jewels I'm delighted that we'll be getting a cinema broadcast of the new Giselle, and I'm curious to see who is ultimately cast in what is being advertised on the website as a "new cast" for Swan Lake. (No Zakharova?) I was hoping we'd get the new Klug (his upcoming adaptation of The Master & Margarita) but that premiere is set for May 21 2020—perhaps technically, then, there's still hope we might get it in the 20/21 cinema season.
  15. I, too, would love for ABT to do Bright Stream again. I am going to see the other Ratmansky programs this Spring at least once, but would have shelled out a decent sum of cash to see Bright Stream and bought tickets to see it more than once far in advance.
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