vendangeuse

9 minutes ago, KayDenmark said:

I'm still not convinced that the New York City Ballet is responsible for what happened to her, however. Perhaps new evidence will emerge that will convince me that it is. I just haven't seen it yet. 

There have been comments on this thread questioning the role NYCB as an institution should or can play in this situation—eg, how accountable is the employer for the behavior of their employee, especially if that employee's behavior is consistent with broader, societal issues?

Now, I have not yet read the entirety of the complaint (I admit I had to stop part of the way through) but it seems to suggest that Finlay's behavior was part of a broader pattern of abuse. In the first few pages, if I recall, there are allegations that at least two instances of domestic and sexual abuse have been brought to NYCB's attention. Personally, I don't care if it happened on NYCB property, or at a NYCB event; if an NYCB dancer is assaulting other members of the company, that person shouldn't be allowed to continue dancing there. And if this is true—if there is a history of assaults occurring and those responsible being allowed to return to work? Yes, that creates an environment that emboldens behavior like the kind Finlay is accused of, and that is NYCB's fault, IMO.

Of course, none of this has been proven yet. But I do feel that NYCB has an obligation to provide a safe work environment for all its dancers, and part of that includes not hiring sexual predators.

What truly vile accusations. If they're substantiated—if it's really as bad at NYCB as Miss Waterbury suggests—I hope the NYCB is taking far more significant steps beyond Finlay's resignation and the other two dancer's suspensions to correct (what has been described in the court docs as) an incredibly toxic work environment.

54 minutes ago, cobweb said:

Still no subscription tickets!!! Is anyone else still waiting?

I only just received mine on Monday, so I would think they are still trickling out. 

Actually, bingham, now that you mention it, I emailed the ABT Membership office today (about a matter unrelated to casting) and received an auto-reply that stated all the offices were closed until next Monday. So I suppose that's a fair indicator we won't hear until next week at the earliest?

I'm also holding out for casting before I purchase tickets, and I'm similarly puzzled over how it benefits ABT to wait this long... especially since (and this is a complete shot in the dark) but I would think people who just want "a night at the ballet" would be purchasing their tickets closer to the performance dates. It is becoming a little frustrating, too, because there are other performances (with tickets already on sale) that I want to see during those two weeks, but I feel the need to wait until I've pinned down what nights I'm going to ABT first....

But in any case it seems there are still plenty of seats for the programs I'm (tentatively) interested in.

I rarely read books on composers, but he seems like a fascinating subject. I'm wondering if there is anything similar to Philip Glass's autobiography, Words Without Music, which included both biographical details and some passages on music theory. I'm feeling a little overwhelmed looking at the options on Amazon, so any suggestions would be deeply appreciated.

Thank you for the recommendation! I do have tickets for the Tschaikovsky & Balanchine and the Stravinsky & Balanchine programs in the winter—I'll look into Jewels as well. I caught Mozartiana in May and enjoyed that very much, so I'm actively seeking out more Balanchine works this year, both at NYCB and at the City Center event in November.

As someone who has only recently discovered my love of ballet, I found the book to be very informative. But I agree very much with CharlieH's point about Jacob's "magnificent musings." As much educational value as the book held for me as a newcomer to the art form, I think I would not have loved the book nearly as much had it not been for Jacob's wonderful writing style. How easily she weds her formal descriptions (of different ballet positions, for example) with the loveliest of metaphors! I can probably open to any page and point to an example of this—here's one from page 137:

Quote

A seamlessly sustained display of balletic line—like a silent aria or an orchid's interior—adagio sees stillness and movement together building a monument to emotion.

The book is full of little moments like this. I thought it made for a wonderful read.

It is very exciting! I admit I relocated to New York somewhat reluctantly from where I was previously, but discovering all the wonderful dance performances that happen here has made me love the city much more.

I saw two ABT performances in their 2017 Met season, Swan Lake and Onegin. I loved Swan Lake, but Onegin was what really drew me in. By chance I happened to attend a performance where David Hallberg was dancing Onegin and I think it was the impression his dancing left on me that encouraged me to seek out more performances when the fall came around. Then was lucky enough to catch two of the programs at City Center's Fall for Dance,  which led me to seek out other companies and venues beyond ABT and Lincoln Center. (Though I still find ABT performances to be the most consistently enjoyable, no matter what is being performed or who is dancing.)

I've been to NYCB a few times, and my feelings about that company are more mixed. Often the programs I want to attend include at least one dance choreographed by Justin Peck. His work doesn't appeal to me as much as other things I've seen, but he is growing on me. The last Peck I saw was Pulcinella Variations and I did enjoy that much more than other Peck works I had seen prior. Can't help but wonder if its the kind of thing I will come to appreciate as I learn more about ballet in general.

I also love the Joyce, but again, my luck here has been pretty hit-or-miss. I did very much enjoy seeing the Barak Ballet perform there back in July, and I am looking forward to the Sarasota Ballet this week.

Thank you for the warm welcome!

https://www.instagram.com/p/BmfcBP-gpel/

Igor Tsvirko seems to have confirmed via Instagram he will be performing in the Nov. 9 performance of Don Quixote, in addition to "Trois gnossienns" on November 11.

Greetings from New York! I've been lurking on the forum for the past week or so and finally decided to register.

I've only recently become interested in ballet (I saw my first ABT performance in May of 2017) but now, I'm absolutely hooked. I've spent many wonderful evenings with my friends at Lincoln Center, the Joyce, and other theaters since then.

I originally found the forum when I was looking for further info on Interpassivities (coming to BAM this November) and I'm very pleased the search led me here! This forum seems to be a great resource for both news and discussion. I look forward to taking part in of the conversation.