Drew

I remember the Cranko version from performances with the Stuttgart as more or less totally a knockabout comedy--very sunny indeed--with bravura partnering (assuming there is such a thing, but I guess people know what I mean!)--I personally didn't care for it, but could not help admiring the tremendous vitality, charm, and charisma Haydee and Cragun brought to it. They were incredible stage personalities and had chemistry to spare when they danced together. I was quite surprised when ABT staged it years later and never saw that production. (Based on the youtube clip I would love to see the Bolshoi do Maillot's version just to see those performances in the theater...Hope Krysanova brings of touch of her Katherine to her Kitri in NY.)

Yes the Koch is smaller, but as also noted by Amour it really is much better for the audience who DOES get in. So, in case anyone from LCF is reading -- let me go on record as delighted the company is performing at the Koch. I definitely bought tickets for something like twice as many performances as I would have if it were dancing at the Met...

I think this is terrific repertory on the whole--very happy about the Raymonda divertissements (something Semionova would have likely been quite good in...perhaps she will dance in spring). Right now, it does not look as if I will be able to make it this year, but if other obligations don't interfere this is repertory that would definitely bring me to NY -- as would Hallberg.

Well (sexual politics notwithstanding) Krysanova certainly looks sensational...actually they all kind of do, but she especially.

Birdsall-Thanks for writing about the performances you are seeing, and hope you feel better soon...

Very nice to read about this--I have always enjoyed Kajiya's dancing.

You are right of course--that's my experience too, and I don't find her illness/injury issues on the whole not credible (most dancers go through them and cancel). When others have raised questions about Osipova I have always given her the benefit of the doubt (even in debate on this message board). But I confess that a double booking problem with the Mikhailovsky does rather set me off...given past issues with the cancelled Mikhailovsky tour and how little New York now sees her. I realize stoicism is the more dignified attitude. By the by, Kirkland...my favorite ballerina of all time.

Interesting. They're both listed as guests with La Scala in Giselle in April 2015. Given how injury-prone they both are, I don't think I'll rush to book a flight to Milan: http://www.teatroallascala.org/en/season/opera-ballet/2014-2015/giselle.html I've had tickets to see her do Bayadere and Sylvia with ABT and Sleeping Beauty with Royal -- all cancelled. She's not in Gelsey Kirkland territory, but she seems to be moving in that direction! To my knowledge, Gelsey Kirkland's cancellations weren't the result of double or over booking. You can judge her various problems as you will (harshly or not) -- but they were not something that I consider she was capable of controlling, and when she wasn't dancing, it was because she couldn't dance. Coming from out of town, I specifically opted for the Mikhailovsky Giselle over the Don Quixote as the performance she was likelier to give and as giving me a chance to see Sarafanov and Flames of Paris alongside. But I would still be just devastated to miss her once again. I also had tickets for both cancelled ABT Sylvias and a cancelled Sleeping Beauty with ABT. I have been fortunate enough to see her a number of other times and I don't think I have been shy about expressing my huge admiration, even adoration, for her dancing and making allowances for injuries, visa problems etc. but a double booking disaster is really a slap to her fans whether in London or New York, especially since by now Ardani, the Mikhailovsky (and I should think even the Royal Ballet) are aware of potential issues especially given the last planned Mikhailovsky trip to NY. Of course, I hope she opts (is able to opt) for the NY Giselles. (I think she has danced it three times with ABT, all with Hallberg, but once was on tour in Chicago. Those I saw! And...in my eyes, there is plenty of reason for the fuss.)

That bad? http://news.yahoo.com/bolshoi-chief-pledges-39-transparency-39-troubled-theatre-140149701.html If the director himself is saying that, probably yes. For me even more interesting is that not a single response on the forum followed. Nobody concerned about 70 percent of artists upset with the artistic management at Bolshoi? It may be we were all feeling a little "Bolshoi scandal" fatigue ...But also, speaking for myself, I felt and feel quite unsure how to interpret the comments -- or what the artistic stakes exactly are. Is it about casting fairness? Or Filin's taste in choreography? I've heard gossip and opinions but nothing I trust on a purely "artistic" front. I will say that I am appalled at how badly the dancers in both of the top Russian companies are paid. That seems to me a genuinely pressing and depressing problem even with what I understand are recent improvements in the Bolshoi contract under Urin's leadership. At this point, mostly I am eager to SEE the company for myself this July when they come to New York.

It seems that except for his trilogy last season, none of Alexei's short`ABT`` ballets has been succcessful enough to last for more than a season.His ballets made in other companies seems to have a longer run. Ratmanksy's NYCB ballets have certainly been very successful. I'm not myself a total convert to Concerto DSCH, but I found Russian Seasons lovely and think Namouna is one of the most wonderful new ballets in memory! But I wouldn't be so quick to write off Ratmansky's ABT creations. I recently saw Seven Sonatas with the Atlanta Ballet and on them (admitedly a very different company, dancing on a smaller stage) thought it looked a very fine ballet. Subtle, but substantive. Atlanta Ballet is repeating it next season and I plan to go. I do not attend all Atlanta Ballet programs by any means. I note that it was created on a strange non-ballet stage--Avery Fisher--and that may perhaps account for the fact that there has been no attempt to transfer it to the Met. It might look good at the Koch theater. Bright Stream always seemed like an odd choice for ABT: its history, its themes, its approach all have a real, if troubled, home at the Bolshoi where it was created. (Hearing a Mom tactfully explain to her -- very well behaved -- young daughters that the hammer and sickle above the stage stood for "hard work" did make me laugh.....ruefully. I say nothing about what the Koch brothers might have thought.) Still ABT gave some excellent performances in the ballet -- both classical and character parts -- and as the heroine Herrera gave what I should think was one of her best recent performances. I would not mind seeing it again and would love to see it at least once with the Bolshoi. But I agree that, in addition to being a less than ideal fit with ABT, it may just not have enough substantive choreography to hold up over repeated viewings. I have only seen the Piano Concerto no I from the Shoshtakovich trilogy, as it was presented at the Koch in the Fall as a separate ballet. I saw three performances with two different casts and loved every one of them. I won't say "masterpiece" because time will have to tell. But new ballet of substance? In my eyes, absolutely. It had tension; it had tenderness; it had wit; it was musical and it was splendidly danced by dancers both more and less experienced. The whole trilogy has already also been performed by SFB as well. I would love to see one of the major Russian companies take it on...but this work premiered at and thus belongs to ABT which is no small thing. I'm on record as having mostly loved the Ratmansky Firebird (about which opinion was divided) and liked aspects of The Tempest (about which opinion has been largely negative), but these works did also feature ABT dancers in new and exciting ways eg Messmer in Firebird, Lane and Gorak in Tempest. (From what i read, On the Dnieper, did something similar for Hallberg.) When I see Ratmansky's ballets I feel that ballet is alive as an art profoundly in touch with its past, while still offering new creative visions to the future. Would it be great if we had a list of more "slam dunk" Ratmansky ballets done specifically for ABT? Well, sure. And he seems to maintain a superhuman schedule of staging and choreography around the world that occasionally makes one wonder if he does not 'spread himself too thin.' But let's just say he appears very driven, and I for one am delighted he is working with ABT on a regular basis. It gives them a calling card as a serious artistic enterprise that they would otherwise, in my opinion, be decidedly lacking. The Tempest? Let's say I'm wrong and it's simply an unsalvageable disaster. At any rate it's not "meh" (a word that is one of the internet's best contributions to critical vocabulary)--it's trying to do something serious.

I would definitely second that if it weren't for a huge chance that he might be replaced by Ratmansky. If Ratmansky promises not to choreograph any more Tempest-like ballets. Not even every Ashton or every Balanchine was a masterpiece...And after PAMGG I don't think too many people were anticipating Symphony in Three Movements...For myself, I thought Tempest was far from perfect but had many beautiful and poetic qualities. I don't know how interested Ratmansky is in ABT's early heritage (which I think should matter in any ABT director) and I don't have a clear opinion as to whether Mckenzie ought to be considered "done"--the company looked great at the Koch in the Fall and companies do seem to have ups and downs whatever the leadership, but I simply don't see them enough to be able to debate confidently. (And, of course, I'm only a fan, not a professional.) I didn't get to NY to see them this spring at all. I am thrilled Ratmansky is regularly creating ballets for ABT. My wish list for the company next year definitely includes Fille Mal Gardee (Cojocaru as guest artist welcome by me alongside the company's regular principals and soloists) as well as the announced Sleeping Beauty to which I am greatly looking forward. More selfishly, I'm just hoping I am able to make it to NY multiple times to see the company.

Interesting. Has ABT ever performed at the Koch-State Theater before? I guess Mr. B is on the repertoire. With the demise of the NYC Opera, the Koch theater has become the world's best stage for dance. ABT performed at the Koch in Fall 2013...but they have also danced there in the (more distant) past--I saw them at the State Theater ca. 1970...but I'm sure they danced there other seasons as well even if not that frequently. I was delighted to learn the Fall seasons were moving to the State (Koch) theater; I had been skipping trips to NY during their fall seasons, but came up in 2013 mostly because of the repertory but also because of the venue. Mussel's wish list is indeed spectacular.

OT: just to fill out a little regarding Nijinsky & costumes (mentioned above)--Afternoon of a Faun was not without its costume-related "scandal," though, as I understand, it involved what he did with a fragment of a Nymph's costume (her scarf) at the end of the ballet. I guess it's more proper to say the choreography rather than the costume was the problem (at least for some viewers)..

Congrats to all the dancers--very good news. From the little I have seen of Tamm and Forster, i would be very happy to see both of them get more opportunities to dance featured roles ...

Happy to learn the news is good.

In the NYTimes: http://artsbeat.blogs.nytimes.com/2014/06/28/bolshoi-director-sergei-filin-returns-to-hospital/?_php=true&_type=blogs&utm_medium=twitter&utm_campaign=arts+beat+NY+Times&utm_term=arts+beat+NY+Times&utm_content=arts+beat+NY+Times&utm_source=twitterfeed&_r=0 Situation (per usual w. Bolshoi stories) may be murky but from the above article: "On Saturday morning, Interfax cited a hospital spokesperson as saying, 'His condition is serious, he is in coronary care.'" (As best I can tell Kaufman's tweet is from ca 16 hours before I am typing these words; The Times tweeted its story about an hour after the Kaufman tweet....)

Hmm...The Mariinsky has occasionally cast back-to-back performances of Swan Lake (for example) with the same leads--Kondaurova last summer for example and also on tour earlier seasons. Not saying it's a great policy, but it has happened. A few years back Osipova did two different full length principal roles one after another at the Bolshoi (I think it was Coppelia one night and Giselle the next--I read about it on this website). I'm sure there are other, though probably still relatively rare, examples. Especially when there are injuries and cancellations. Some may remember the Nureyev touring marathons, too, -- where he danced pretty much every performance of full-length ballets on a lengthy tour (Don Quixote, Romeo and Juliet etc.) And one couldn't really predict which performances would be "on" which made it a bit of an adventure to attend. Again, not advocating this, simply saying it's not unheard of...I don't know what was behind Mckenzie's decision, but I don't assume it was for the heck of it...

Count me as another audience member (living outside NY) for whom Death of Klinghoffer was absolute first choice among the HD broadcast offerings. Just appalled by what has happened. (Re the broadcasts: I also find it hard to believe that in the long term, having more opera available for everyone isn't what's necessary to build the art and its audience. Aren't the HD broadcasts considered one of Gelb's triumphs?)

I am not terribly "Bolshoi knowledgeable" but will say anyway...Alexandrova! She is a major ballerina--for many Bolshoi fans, she is the company's true prima and I would say simply that she is always a class act. Also, Kitri is, so to speak, one of "her" roles. She is coming back from a serious injury, but I still would recommend you try to see her if you can. But I agree that you are likely to see an excellent performance whoever dances...

Interesting suggestion. She must have discussed with doctors etc. -- at least I should think. Years ago I read an interview with Gordeyev on this subject; he came back strongly after a bad injury and insisted that the key was taking a long time to let the injury fully heal and said he felt most dancers came back too early from their injuries. However, it may be Cojocaru's problems pose too many risks (eg require surgery from which she might not come back etc.). That is, everyone is different. Still, whatever may or may not be a good choice for her, I suspect there was something in Gordeyev's words...too many dancers don't take the time they need to heal.

As I was typing Pherank posted, but to answer Pherank's earlier question above: A NY tour gives a company cachet in a way a tour to other U.S. cities does not. Of course, there's more cachet if they can quote a positive NYTimes review (cough). I think this was always going to be a tough sell especially at end of NYCB's season and at same time as ABT with Bolshoi looming. It makes perfect sense to me that they would try to bring ballets that were different from those commonly seen/admired in NY--and those of the "big" visiting companies like the Bolshoi--and thus not in direct competition, but there was no way to do it without risk of it just bombing in NY whether w. fans or critics. (The Maillot Romeo and Juliet with PNB didn't exactly garner raves, and PNB's director Peter Boal has a deserved and deep well of good will in NY.) I do think they might have opened with the more "critic friendly" program that had Nijinsky and Balanchine on it, but hindsight is 20/20 and who is to say they would not then have gotten a coals-to-Newcastle review? (It actually puzzles me that any ballet audience -- even one dubious about Forsythe -- would not be curious to see more of his work, given his worldwode accolades and influence. Of course if you find it "loathsome," I wouldn't expect you to buy a ticket. But Forsythe...pretty major.)

Thank you very much! I just watched Psyche--which I found mostly wonderful (though a bit lacking in some story telling elements, particularly in the set-up). At least as best one can judge via video. Would love a chance to see it in the theater. Have not gotten round to the Robbins just yet.

No Gelsey Kirkland and her husband (Michael Chernov?) have full responsibility for ABT's current SB. Apparently, Kevin has hated from the get go (me,too). Very happy to see Ratmansky will do the new one. The ABT and Met Opera websites credit Mckenzie along with Kirkland and Chernov: on the Met website: "Choreography: Kevin McKenzie, Gelsey Kirkland, Michael Chernov" and, better, on the ABT website (better because it says "staged" and names Petipa): "Staged by: Kevin McKenzie, Gelsey Kirkland and Michael Chernov, after Marius Petipa."

I look forward to hearing about the trip & performances --

I'm one of those who find an overly spectacular suicide dive at end of the ballet is -- though admittedly kind of fun on its own terms -- a mood-killer. People applauding makes it worse. Very sorry to learn of Murphy's injury! Hope she gets well in time for "The Dream." If she does not, then I should think, they might ask Cojocaru who has danced it with the Royal and who could then, as it were, return the favor to Hallberg for stepping into Giselle. if I were in NY I would be deeply disappointed to miss Murphy as Titania (one of her best roles) but still just delighted to see Cojocaru have a chance to dance it with ABT.