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About vendangeuse

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    New York City
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    New York

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  1. While I admit this doesn’t look good at face-value, I’m curious to see how this all plays out. Specifically, what are ABT’s obligations to Celebrity? How many dancers are they obligated to put on the cruise? And which? For example, I can envision a scenario where Celebrity only runs, for example, two week long “ABT cruises” (in the way that other cruise lines sometimes being aboard notable opera singers, or other classical arts performances) where the performances are somehow tied to the ports of call, and the off-shore programming might be tied to other classical arts history. Perhaps these cruises even leave from (or arrive in) NY around the time of ABT’s New York performances, and Celebrity cruises would be given the option to “add on” proper ABT performances to their travel via Celebrity. I’m not sure how much of the above is feasible. But I can see a scenario in which this opportunity actually does benefit ABT a little, if their costs are kept minimal. The news alarms me, a little, and while we may look back on this news as “the beginning of the end” in another decade or so, I don’t think that’s a foregone conclusion. But between this and the partnership with Duke, it doesn’t look like us New Yorkers will be getting those two Spring Season weeks back anytime soon.
  2. I was at the performance last night—I couldn't believe Camarena did the encore again! The Met is always quieter on Mondays and from where I sat on one of the sides it looked woefully empty, and I was sure he wouldn't sing the encore. But then I saw the conductor giving the cue for the encore and yes, I was absolutely grinning from ear to ear. I'm so glad I had the chance to see this.
  3. Every time I see this thread updated I'm torn between sadness and disgust. One almost wonders if he's self-destructing on purpose.
  4. Argh—what a shame. It really is lovely.
  5. I was at last night's program, and it was the most exciting evening I've had at NYCB in awhile. I specifically purchased a single ticket to this program after seeing In Vento in the fall; I loved it so much then that immediately I wanted to see it a second time. There's something about Bigonzetti's choreography that leaves me so moved and breathless. I have tickets to see Oltremare in the spring and I'm looking forward to it, and I'll be on the look out for the other two pieces he's done for NYCB next seasons. (Side note: does anyone know how I can get my hands on the Moretti music? I searched in vain back in the fall and my searches now have been similarly fruitless.) I was absolutely blown away by Variations pour Une Porte et Un Soupir. Do you ever find yourself watching a piece for the first time and smiling so hard in constant wonderment and bewilderment that your face hurts after? Mine did after this piece; I was beside myself with delight at intermission. This was the most unusual Balanchine piece I’ve ever seen and it’s absolutely my new favorite. (It also drives home that he had a much greater “range” as a choreographer than I formerly gave him credit for—I know, shame on me.) Kowrowski deserves a medal for not slipping or getting caught in that train; the techs deserve a round of applause for the fabric moves. The whole thing was, in turns, both hilarious and breathtaking. Are there other Balanchine works like this one? I’d see them in a heartbeat.
  6. I've never been able to pinpoint specifically what it is I find unsatisfying about much of Peck's work, but your review described it so succinctly and clearly—thank you!
  7. Thank you @liebs and @howpureisivory! Yes, that is the moment in the video—although if I remember correctly Stanley and Peck were both on their heels like Khoreva. Maybe that’s why I found it so jarring, since the video would suggest Parish may have performed it differently in November.
  8. Can I ask what may come across as a somewhat foolish question? Opening night was the only the second time I'd seen Apollo. The first time I saw it was during the Balanchine programs at City Center, with Xander Parish. I much preferred the cast at NYCB, and I felt I enjoyed and understood the ballet a lot more... with one exception. What is with the shuffle that Apollo does with Terpsichore, where they are both on their heels with their toes lifted off the ground? I'm less interested in the technical aspects of the movement (what it's called) and more curious as to how other, more experienced people interpret that part of the piece? It kind of took me out of it a bit... I don't mean to come across as blasphemous but it struck me as a little silly.
  9. Wow, I didn't even see the standing seats all the way up in the amphi. I was looking at the ones in the orchestra. Thank you for the tip about the Stalls Circle!
  10. I was wondering about this. I'm hoping to catch one or two performances, but this will be my first time seeing the Bolshoi in London (or elsewhere.) I honestly don't mind sitting all the way in the upper reaches of the theater if that's all I can afford, but I worry about what will be left up there once all the numerous presales end. Also, I'm seeing what looks like standing row seats for £21 but I can't imagine they go on sale when the other seats do... do they?
  11. I love that podcast. I much prefer it to the one put out by the MetOpera guild. Even if it's an aria I'm already familiar with, Rhiannon Giddens always makes me think about it in a new way, or from another angle.
  12. Last year I ordered a pair of single tickets and I paid no fees. (I checked my email to verify this.) This year I’m holding out for the “create-your-own” subscription though, so I don’t know if the fee policy is still the same.
  13. Nanushka, I have never seen any of his "Met chances," but I will take your word for it. That's disheartening to hear, though. Also, I'm noticing today that Tyler Maloney has been given two Harlequins, and one 'Boy' in Whipped Cream. (Perhaps this was always the case and I am only noticing now... but I think some of these were formerly scheduled as Lendorf performances?) Has anyone noticed him especially in the past?
  14. Maybe they'll bring in some male guest artists for the Spring? I'd love to see Kimin Kim again. I do hope this translates into more opportunities for Forster, Hoven, Royal though. Maybe Hammoudi? I don't remember noticing him in particular in ABT productions, but I saw him in a non-ABT work at BAM this fall and thought he was very striking (albeit from a much closer vantage point than I normally sit in the Met Opera.)
  15. Well, that's disappointing. I thought he was also supposed to dance SB on July 1, but now the ABT site is showing Whiteside dancing instead. I wonder what's going on with Lendorf. And this is all adding up to a lot of dancing for Whiteside, no? I enjoy his dancing (I realize that may be a minority opinion here) and I really hope all of this doesn't end with him injuring himself because the ranks of ABT men are stretched so thin. Then again, I've never been a dancer myself—maybe the load is manageable? It just looks like he's taking on a lot. I am looking forward to Gonzalez in Corsaire, though!
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