Finally had a chance to see this. Thanks @cubanmiamiboy for drawing attention to the posting and to Amy Growcott for doing the posting...I can't figure out who is responsible for the video--is it Amy Growcott's video? In any case, it is excellent for getting the overall sense of the production and I appreciate being able to see the whole stage picture throughout. I can't help wishing there was also a polished/professional HD video produced for broadcast--which this doesn't seem to have been--where the lighting/visuals would be better and we might get an occasional closer look at things. (Perhaps Berlin could consider this the next time the production is revived? Forlorn hope probably.)

9 hours ago, BalanchineFan said:

I've never seen Mayerling, but I know the history and her running towards him seems completely in line with what happened. She was in love with Rudolf. They were on his country estate. She couldn't walk home or even call a cab. And he was paranoid and possibly delusional. There are a lot of reasons she would be running towards him, even if it eventually led to her murder. Or maybe I'm thinking of Maria Vesteva.

It's Vetsera who participated in the murder-suicide. (His wife, Stefanie died in 1945 according to Wikipedia.) As far as the pas de deux with Stefanie goes, whatever the awful  history of her marriage, to me it always looks absurd.

To return to NYCB: very excited re Nadon's Diamonds debut. I have tickets for one of the performances and if all goes well will see her...

7 hours ago, volcanohunter said:

The point is that Wheeldon's women frequently look passive in their duets.

Whoever dances Princess Stéphanie in Kenneth MacMillan's Mayerling is working awfully hard, but what the scene depicts is marital rape on a helpless victim.

 

I find the pas de deux between Stephanie and Rudolph problematic precisely because it's so visible that she is working hard to keep the choreographic action going even though that action is supposedly depicting her abuse at Rudolph's hands--in particular, she keeps running towards him even though he is raping her.   It undermines the whole thing for me. I am far from a die-hard Wheeldon fan and, on the whole, I rather admire Mayerling, but for me the big Stephanie=Rudolph pas de deux is not a strong point in the latter ballet.

(The women characters in Wheeldon's story ballets often have considerable agency and, in my eyes, are hardly just pliable play-doh choreographically. I haven't seen any of his non-narrative works--even on video--in quite some time.).

17 minutes ago, Helene said:

A snipped of Swanhilde's Act III variation danced by Leta Biasucci:

https://www.instagram.com/p/C7DCq3qv3N0/

She looks terrific--and that tutu!!!

(Can't wait to see this production in 2025 w. Atlanta Ballet. They are using the PNB sets/costumes.)

That sounds tempting...

Atlanta Ballet's closing program had two world premiers, Brazilian Choreographer Juliano Nunes's Yellow set to Beethoven's Hammerklavier sonata and choreographer in residence Claudia Schreier's Nighthawks set to Wynton Marsalis's 4th Symphony.

Although I have praised/admired Schreier as a neo-classical choreographer, I learned from a recent interview that that is definitely not how she sees herself. She does talk about ballet as central to her development, but prefers to see herself as a choreographer who works in a number of styles. She does though continue to emphasize music as what is most important to her. I love her musical taste and her musicality is evident in Nighthawks as well. It is in many ways a vibrant work. Unfortunately, the contemporary penchant for dim lighting --in this case dim to the point of darkness--on top of mostly dark costumes against a mostly dark backdrop comes close to sinking it. I know I have older eyes: What is very shadowy to me may be only somewhat shadowy to someone younger. But I am convinced there is a real problem with overly dim lighting of ballets. And I also know the kinds of cheering that have greeted far lesser works than Nighthawks and far lesser dancing even on a Sunday afternoon in Atlanta--and what greeted Nighthawks today was considerably less enthusiastic. Despite some terrific qualities, the ballet fell flat this afternoon and I would be inclined to look at the lighting design (Ben Rawson) before anywhere else to figure out why.

One more word about the lighting: you may be thinking, well, the ballet is NIGHThawks--and Schreier herself speaks about young people out dancing in the NIGHT.  But one can light a ballet set at night so that everything can be seen from the audience and it still feels like a night scene  A masterful example would be David Finn's lighting for the Liam Scarlett Swan Lake. The production has its problems, but lighting is not one of them.  (At least when the ballet premiered.) I saw it 3X in 2018 from far away and from closer up and at every angle, the first lake scene had a strong night-time quality: the darkeness seemed all around. But all of the choreography--and even nuances of interpretation by the dancers--was visible.

For the rest? Nighthawks is a sneakers ballet--though it rather charmingly includes a couple who shift into a lyrical pas de deux on pointe--quite effectively, too, and not least because the dancers for once were spotlit.  Mostly, though, the ballet portrays young people emerging in the evening to dance and celebrate their way through the night. The costumes are theatrical "street," and much of the choreography draws on popular dance vernaculars though it also draws on ballet vocabulary and requires ballet technique. You may be thinking that it sounds like Justin Peck and that is the one reference I have to describe it: it's Schreier's "Justin Peck" ballet. But one reservation I have in saying so is that Schreier has worked with Marsalis well before this, and I think she has her own distinctive take on the material.  And since, too, in the earlier Peck work that I have seen, Peck was sometimes channeling Robbins--and other popular vernaculars and theatrical choreographers--the game of influence here is not a simple one.  (On a more general front: I often prefer Schreier's musical choices to Peck's.)

I also feel that, even in this 'sneakers' ballet, Balanchine's Symphony in Three Movements, consciously or unconsciously, remains a point of departure for Schreier I thought her first work for Atlanta Ballet, First Impulse, was clearly riffing on its diagonal of women, and in NIghthawks, in one of the pas de deux, the man stands behind the women and they interact in a series of hand and arm gestures in ways that strongly recall the opening of that ballet's pas de deux.

Anyway, Nighthawks is mostly high octane and could be fun, but the extremely shadowy lighting killed it for me -- and perhaps, too, the length also was a little much. (Another Peckish trait...)  Schreier collaborated with a prominent Atlanta artist Charity Hamidullah on the designs -- along with Abigail Dupree-Polston with whom she often works. However, Hamidullah's design imprint seems to me to have gone for naught. At least given the overall lighting schema, her skyscraper-silhouette background looked somewhat like other cityscape ballets (I kept thinking of Who Cares) which CANNOT have been the intent in bringing her on.

In fact, one larger issue for the ballet is that for Marsalis, who calls his symphony the "Jungle," New York CIty is the inspiration (he has said this). Schreier lives in New York, but as she discusses in interviews wanted her ballet to connect with Atlanta too, and worked with Hamidullah an Atlanta artist known partly for her outdoor murals.  Somehow the ballet is supposed to do both at once: evoke "the city" as in New York and the "city" as in Atlanta. I'm not sure that the mesh worked, or even could work, convincingly.

The program opened with Nunes's Yellow.  I learned about Nunes a couple of years ago through Instagram -- he has worked with dancers and companies all over the world. Nunes did the costume designs for Yellow himself--he dresses the dancers in all yellow tights/shoes, leotards completely exposing their bodies without giving them a faux 'naked' look.  I liked this but Mr. Drew disliked the color itself so you can guess his response to the ballet as a whole.  A simply lit backdrop varied in colors behind the yellow ensemble -- the lighting designer for this was also Ben Rawson. For Yellow I occasionally found the lighting overly busy and/or overly shadowy, but the light/bright colored costumes and drops (including the wings) meant the dancing remained visible and sometimes the shifting backdrop added a nice touch of visual interest that set off the yellow dancers smartly. 

The choreography was very much in an eclectic vein with passages right out of Martha Graham or even gymnastics alongside almost pantomime gestures (though abstracted) and more purely classical movement including one classical interlude where the male dancer did a tour to the knee and reached out his hand to his (on pointe) ballerina. In the video shown before the ballet that serves as program notes Nunes evoked a number of different things -- the sunlight of Brazil, the calming but not soporific quality of the music etc. I'm not sure I felt that what he said cohered and I felt similarly about what I saw. Perhaps with some consistency I felt the presence of images of friendship in which groups or individual supported or carried one another, and Nunes' choreography can weave things together in a very flowing manner, but if I compare "Yellow" with some excerpts of his work I've seen on video, then I'd have to say I doubt it's one of his strongest works. The different bits never meshed--instead of looking eclectic, the ballet just looked a bit of a mish-mash. (Always a risk of eclectic choreography. Schreier seemed much more masterful in integrating elements and influences together.) But though I don't think Yellow was a strong work, and would not care to see it again, any hope it had of making even a temporary impact was killed by the recorded music which blared out the Beethoven just when the ballet needed some intimacy.

About the recording: I recognized the exigencies that make it impossible for the company to have live music at all performances. I even think Atlanta Ballet has negotiated this problem pretty well given what a serious problem it is.  Before Covid hit I remember several matinee mixed bill programs that included ballets that might have had to use recorded music in any case and, even better, commissioned new ballets to chamber music which meant that live music was affordable. So when I saw that Nunes' "Yellow" was set to Beethoven's Hammerklavier sonata, I thought "oh good, at least we will have live music for that." But no--it was a recording of Claudio Arrau. Perhaps that recording is meaningful to Nunes and he preferred using it, but though "Yellow" was not a strong work in my judgement it would have been at least twice as effective and maybe even gotten twice the (very tepid) response it got, had there been a live pianist. The ballet's intimate, gestural qualities in particular would have been able to resonate. Can the company really no longer afford a piano and pianist for these performances? I assume that they can't do anything about the sound system at the Cobb Energy Center, but that's not helping anything either. 

Once again--if you have read this far--thank you...

Welcome JGoldberg999 -- I look forward to reading your thoughts re the performances you attend and other ballet-dance issues. (It has been a long time since I lived in New York, but I try to see ballet there now and then.)

On 5/5/2024 at 5:55 PM, Danielle said:

I love that Maria Bulanova got to dance Aegina recently!

And now Kitri...

Edited to add: after posting, I saw that you posted about that on a different thread...

If I am ever likely to be able to travel to San Francisco, then 2025 is one of my best bets and, given the programs, I have my eye on Raymonda and Frankenstein.

There are a handful companies in the world that can dance the nineteenth-century classics in a way that does them full justice, and the Royal Ballet is one of them. I know they are doing a long run of Swan Lake this year, but I find the decision not to include any nineteenth-century repertory for an entire season very disappointing. It feels almost like a dereliction of duty, and in the absence of a full-length nineteenth-century work, at least something like the Raymonda Grand Pas (which they dance) could have been included as part of a mixed bill program. I had thought to go to London next year, and the Ashton CInderella is appealing, but now I'm thinking that if I can manage overseas ballet travel, then I should consider Paris or Amsterdam especially as the Royal's choice of 20th/21st century programs is by and large not interesting to me. (For Balanchine, obviously, I travel to see NYCB not the Royal.)

In an interview on Gramiliano, O'Hare kind of poo-poos the idea of thinking in terms of a "season" which I assume is his way of forestalling this reaction--they're doing Swan Lake now after all etc. My feelings are not assuaged. And though I do think it great news the ROH company is now calling itself "The Royal Ballet and Opera," this season's programming hardly seems best positioned to take advantage of that new prominence for the ballet end of things.

In the absence of any touring from the great Russian companies, the situation is even gloomier for fans in Europe and United States. 

The Royal used to do Bayadere as a one act piece (Nureyev set it for them) and Makarova staged the Shades scene for ABT before she did the full length version.  When the Kirov, no less, resumed touring to the U.S. in the 80s they brought a program that had Bayadere Shades scene as a stand alone act. Full lengths have been the norm for ABT for a while now, but that was not always so -- and perhaps need not be always so...Even if one prefers the full length ballet I think if ABT were fielding high quality casts for the shades scene, then people would want to see it. 

A related example: Baryshnikov presented Jardin Animé as a stand alone classical set piece with ABT rather than trying to stage the full length Corsaire.  Programming norms change. Maybe that is what will happen.

I actually agree that something will be lost--but the Bayadere Shades scene in particular holds up very well as a stand alone one-act classical work.

22 hours ago, Mashinka said:

Criticizing the war lands you in jail for 15 years in Russia, somewhere in the region of 300,000 mostly young people have fled Russia since the war began and not just draft dodgers.  I personally know a dancer who for many years was posting anti Putin views on social media, before the war he had ambitions to go into opposition politics.  He has now moved to Germany.

Many dancers have family commitments that mean they can't even consider leaving, others are enthusiastic supporters of the war and Putin's regime.

Poor Smirnova,  in February she danced in London in one of Ivan Putrov's Ukrainian fundraisers.  She deserves credit for her beliefs and certainly should never have been denied a US entry visa. 

 

Smirnova has not been denied a visa at any time since 2022. She and her partner were denied visas to dance at a YAGP gala back in 2018  because--at least according to the state department-- YAGP applied for the wrong kind of visa. (At the time many of us though this was silly and were quick to assume Trumpian craziness.)  It is extremely unfortunate that a misunderstanding concerning Smirnova has been perpetuated by our discussion here. 

Edited to add: I see that @volcanohunter addressed the 2018 visa denial above giving more background as to the issues. .

55 minutes ago, abatt said:

YAGP should not have announced them as artists for the program if they were just going to cave to protestors.   The war in Ukraine is tragic, and it's even more tragic that certain Republicans  decided to let Ukraine twist in the wind.  But I don't  think the blame for Ukraine's misery can be placed on the shoulders of Kimin Kim or Nagahisa.  

 

The Met Opera hired Russian Akhmetshina this season as its new Carmen, and featured her in its Live in HD performance of the opera.  The Met also hired other Russians regularly.  She also performs at the Royal Opera this season.  How could it be possible that it's okay for a Russian citizen to perform at the Met Opera, but it's not okay for a South Korean citizen who has been performing in Russia for many years before the war started is persona non grata in the U.S. 

I attended the show last night (the YAGP gala) but I saw no protests.

 

 

 

 

The issue raised in the assemblyman's letter is not Russian nationality but institutional affiliation with the Mariinsky whose head is a very close ally of Putin. I find it less problematic for someone to be banned for that reason than for someone to be banned on basis of nationality or even citizenship.  Akhmetshina is not listed on the Mariinsky's website or on the Bolshoi's--she is not a member of those companies. In fact, according to an interview in Vogue, after one competition in Moscow her entire career has been in the West.   In any case, there is no Russian institutional affiliation that links her to the likes of Gergiev, nor has she been through the ideological machinery that sends artists to perform in the Crimea. [Ballet fans may be intrigued to learn that, like Nureyev, Akhmetshina is from Ufa. She even specifies in the Vogue interview that "I am from the Republic of Bashkortostan in Russia..." and in another (12/31/2023 NYTimes) that she is half Tatar and half Bakshir --so shades of Nureyev there too.]

Whatever the personal situation or political stance (if any) of Khoreva, Kim, and Nagahisa they "represent" a major Russian institution closely tied not just to the Russian state but to Putin personally. Akmetshina does not. One might argue that the situation does not merit banishing them from American stages; on the other side, I suppose some might argue that even Akmetshina should be banished. But I feel I understand the difference between the cases.

(And, all that said, it also wouldn't surprise me to learn that there are inconsistencies in how companies and theaters go about addressing this issue, and any one controversy may have spillover effects to other situations.)

YAGP seems to have though they could open a little chink in the balletic iron curtain and ride out the controversy, but the Koch theater is technically owned by New York State and gets money from them, so it's no great shocker the theater caved in once the issue was raised in Albany. I say, "the theater" because Khoreva's Instagram says the theater cancelled the appearance . But who knows how this played out. She herself probably doesn't.

I am inclined to think that the original invitation to the Mariinsky dancers was insufficiently thought through. I don't think this is just 20/20 hindsight on my part because...well...when I saw their names listed for the gala I was very surprised. When I saw the appearances had been cancelled, much less surprised. I can imagine what YAGP might have been thinking (I edited this post to get rid of those speculations) but in any case, for the current context, they were mistaken....

I had been surprised to see Kimin Kim, May Nagahisa, and Maria Khoreva scheduled for the YAGP gala in New York. According to Khoreva's instagram the Koch theater has canceled their appearance, so I guess I wasn't the only one caught by surprise.  I have many questions about what happened and why, but my first three or four would be for YAGP -- which got a lot of (deserved) positive publicity for helping many young Ukrainian pre-professional dancers at the start of the war.

https://www.instagram.com/p/C57MVRFO2U_/

Stricken today as I learn of Maurizio Pollini's death.

I haven't attended many great piano recitals--certainly not since childhood (Horowitz repeatedly and Rubinstein once--sitting on the stage, but these were all my mother's doing). One that I did attend as an adult was given by Pollini at Carnegie Hall in the 90s. By the time I learned about it, the day had arrived and the concert was long since sold out.  I somehow felt compelled to rush to the theater to see if I could get in. (I mostly reserve this kind of impulse for ballet.) And I did get in. I haven't been able to confirm exactly what the program was, but my memory is that it offered something an education for the ears--Chopin to Liszt to Boulez--so that by the time you got to the Boulez you had been, in a sense, aurally prepared for it. Anyway - it was an enthralling performance!

May he rest in peace...

6 hours ago, duffster said:

Thank you Buddy for your thoughts. Anthony Dowell always comes to my mind as being especially sensitive and poetic.

Goodness--I also was thinking of Dowell!!! For sheer beauty of movement I still find him unequaled among male dancers I have seen.

(A remarkable actor in certain roles, too, so I wasn't sure how my image of him fit with the discussion. But certainly not a flamboyant actor.)

On 3/16/2024 at 6:22 PM, abatt said:

I think Misty is de facto retired even if they still keep her photo up on the website.

Jaffe is allowing too many older dancers to hang around who have little or no value to the company anymore.  I'm referring here to Hoven, Fang and Paris.  

Jaffe's tenure so far has been a big disappointment.  The programming has far too much repetition. 

Chloe is the only soloist who is being given major opportunities.  Park is obviously talented, but is still getting the same old roles.  

I thought Fang was excellent as Mama Elena in Like Water for Chocolate just this past summer. I'd be happy to see her name on the program in future.

 In any case, retirements can't be expected to solve deeper structural problems: ABT needs to be dancing much more. Until that lack of performing time is solved--more weeks in New York and/or more touring time--everything else seems something of a stop gap.

The programming for the summer is disappointing...

Welcome to Ballet Alert @alynedamas.  According to the Petipa Society website created by Amy Growcott the ballet was not preserved except, via notation, for one variation:

"The Pearl was performed often throughout the early 1900s and was given its final performance in 1910, after which, it fell into obscurity. Only one variation from The Pearl was notated in the Stepanov notation method and this variation is part of the Sergeyev Collection....The only number from Drigo’s score that is used today is a pizzicato variation, which is used by Yuri Burlaka in his Rose Pas de quatre as the variation for the goddess, Aurora."

Here is a link to the website's entry on the ballet--It does not include the scholarly sources for the entry. You can also find a bit of information on the website itself about its creator. (I apologize if this website was already known to you, but from your question I thought perhaps it was not.)

https://petipasociety.com/the-pearl/

Congratulations to her-- A wonderful ballerina!

A news feature in ArtsAtl that I had missed mentions that the Balanchine/Danilova Coppelia next season in Atlanta will use Pacific Northwest Ballet's production--ie not the Ter Arutunian designs used by NYCB. The PNB sets and costumes are by Roberta Guido di Bagno. I looked at a bit of video of the PNB production on youtube and if the Act I and Act III costumes for Swanilda are anything to go by, then it should be a gorgeous production. I will look up what PNB threads on the production have had to say about it on this site, but in the meanwhile, here is a link to the ArtsAtlanta piece about the new season:

https://www.artsatl.org/news-atlanta-ballets-2024-25-season-to-include-coppelia-three-world-premieres/?fbclid=IwAR0Jd8uuAAL9Xi6LWJ6cb0kF6y8D_bmTSr1geOgh9Ov0DoOX18s6gPuRI44

Atlanta Ballet has announced plans for the 2024-25 season. For me the two most compelling programs are also, happily, two programs that will be accompanied by the Atlanta Ballet Orchestra.

The best of the news is that the company will be dancing the Balanchine/Danilova Coppelia in March. (On the announcement it says the choreography is by Balanchine, but I assume that this is the Balanchine/Danilova  version NYCB dances which they also call "after Petipa" on their website.) Coppelia is one of my favorite ballets and it has one of my favorite ballet scores.  I LOVE this production and, being as 'objective' as I can, I will say, too, that Coppelia is an ideal choice for the company and its school.

(I should say that Atlanta Ballet has danced a version of Coppelia before--according to the season announcement that was over 20 years ago. I never saw it.)

Their February program is the other program that will have a live orchestra: it will offer the world premier of a new version of the Rite of Spring choreographed by the company's choreographer in residence, Claudia Schreier, alongside Helgi Tomasson's 7 for Eight, which the company has danced previously.  I was a little bemused by the timing because their February program is often advertised as something appropriate for Valentine's day--sometimes with special Valentine's-themed offers included--and Rite of Spring is not exactly a champagne and roses kind of work. However....Saint Valentine was violently martyred, so maybe it fits after all.😉.

The season will also see world premiers by Kyon Ross and Annabelle Lopez Ochoa.  Both choreographers the company has danced before. Notably, the Lopez Ochoa premier comes in the wake of the company dancing her full-length Chanel Ballet, a "world premier" co-produced with other companies and actually first danced by Hong Kong Ballet. I'm pleased to see this kind of continuing collaboration with such a prominent choreographer.

The season will also see a return of Liam Scarlett's Catch. The latter was created for Atlanta Ballet in 2019--according to the publicity at the time, it was created in something of a rush and when I saw the ballet the weekend it premiered that is exactly what it looked like.  I'm hoping that the revival allows for enough rehearsal that one can better determine what the ballet actually has to offer--and how (or whether) it fills out Scarlett's oeuvre. 

For me, though,next season's headline is Coppelia...and the two main sub-headlines are the premiers by Schreier and Lopez Ochoa.

I am migraine prone and have difficulties at altitude, which has kept my Vail fantasies in check.  But maybe see if your doctors would 'pre' prescribe for you some headache meds suitable for migraine and also nausea. (Not opioids or anything addictive of that kind--but there are drugs that work better for Migraine and related Nausea than what's available without a prescription. Since I'm not a Doctor I don't want to list drug options for another person, but you could ask your doctor and likely s/he will have ideas.)

I do hope you are able to go and have a great time! I have often thought about it.

No video can convey the excitement and impact of a world-class live ballet performance.  It was great to read @balletlover08 's review which helped to convey that excitement and impact--I hope many more live performances are in your future. 

I don't get to see many such performances these days, but I'm older and over the course of a lifetime have a seen a lot, so I shouldn't complain. And I'm also a fan of the Kennedy Center.

And thanks to everyone who has been writing about the performances of all the casts!

On 2/22/2024 at 3:02 AM, Fosca said:

Ask all the other German dance critics, they still love his work. Dancers love his work, especially the working process. As you don't read German, I suppose, you have no idea how cruel and hurting Mrs Hüster can be in her reviews. Which is absolutely no excuse for what he did, of course not, I'm just trying to explain why certain ballet directors still show his pieces: they are fascinating.

if Goecke is a choreographer loved by directors and dancers and "all the other German dance critics" as you describe, then rather obviously one critic's attack on his work had not damaged his career in any fundamental way. His ability to choreograph and develop his art was not suffering.  In fact, if Goecke's work is as widely admired as you report, then his physical attack on this one critic seems all the more childish and misogynistic --and would make me a little wary of trusting him not to explode similarly in other situations.

Hüster's writings are not the issue. I do read German--and there is Google translate to help when I hit a roadblock. When the attack happened, I made a point of checking out some of her reviews --out of curiosity, not because I thought that anything she wrote could justify Goecke's appalling response. She could be biting. But I've seen as bad and worse on multiple occasions in the New York Times and even the New York Observer. She is not the first biting critic in the history of ballet -- and he is not the first artist to be on the receiving end of such criticism. (Ask William Forsythe, ask Wendy Whelan, ask Ed Watson; heck, in the New Yorker Croce once referred to the Bejart repertory as "diseased." Goecke can get in line.)

I also read Goecke's own statement about why he did what he did and it was shocking to me. What he called his "deep apology" was immediately followed by pompous declarations of his philosophical intent ("to start a conversation...") and continued vituperation against his victim. When you are still blaming your victim, then you are not making an apology at all, but giving excuses under the disguise of an apology. And once you attack someone physically you have put an end to any possibility of conversation. Of course he didn't want to converse with her--he wanted to degrade and humiliate her.  (My quotes are from a New York Times article from February 16, 2023.)

I believe strongly in second chances and comebacks when people make missteps at work or in their private lives--even some very bad ones. Nor do I think such chances should be dictated by someone's gifts as an artist: the same compassion should be shown to all. That said, in a case of this kind, it's not enough to just forgive and forget, no matter the seriousness of the actions involved and without some reckoning.  Had Goecke shown genuine remorse, made genuine amends, and faced some serious consequences, then I might better understand the willingness to bring him back into the dance/ballet fold --even if I personally don't agree that such physical violence should be quite so quickly overlooked. But I haven't seen such a reckoning.  He lost some work, but still continues to have his ballets staged regularly even though this all happened barely more than a year ago. As for genuine remorse? genuine amends?  or a period away from the stage to take stock of why he lost control (that is, take stock without blaming his victim)? I haven't seen or heard anything like that. 

4 hours ago, Quiggin said:

Cocteau interestingly in Harper's:  "the fashions created by Mademoiselle Chanel have never been extravagant ... In a way that is uniquely her own she imposes the invisible. In the midst of the social uproar, the nobility of a silence."

What a fabulous quote!