Drew

In both Chicago and NY in 2012 she did something unusual with the first act hops on pointe--but what she did was different each time (and both times musical, in character, and done with ease)....

"New York" in this case would presumably mean the leadership of ABT which sometimes seemed not quite to know what to do with Messmer--a problem aggravated by the context of their often limited repertory. Which is nuts enough. (Ratmansky did feature her--and brilliantly in Firebird for example.)

There were 5 of us at the Conyers GA theater showing Jewels. I found the camera work for Diamonds --when they cut back and forth between various perspectives--way too busy, very much interfering with my ability to follow the choreography. Like VolcanoHunter I also disliked the magical materialization of the dancers in the empty stage, a "special effect" that completely undermined the live performance aspect -- and, in fact, undermined the choreography since the opening pose of the dancers as the curtain rises is a not trivial part of the latter. Otherwise my only problem with the camera work was briefly in Emeralds and maybe a nano-second in Rubies when the feet of the downstage dancers were cut off. Perhaps too there were times when the camera should have stayed still as the male lead raced by (especially in Rubies), rather than racing along with him--which tends to minimize the impact of the dancer's speed. In fact, I quite enjoyed the broadcast. I liked Stashkevich very much in Emeralds. Maybe not the first few seconds of her solo--which, not coincidentally are the one part of the ballet for which I have very vivid memories of Verdy and which, in Stashkevich's performance seemed a little rushed to me. But otherwise, thought she was wonderful with her very supple back and slightly cool affect. I liked Tikhomirova much less; her facial expression seemed too archly dramatic to me and her dancing just didn't feel strongly articulated. I had a mixed reaction to Rubies. Certainly I was impressed with Shipulina. When she started I thought perhaps she would be too cautious, but as the ballet proceeded she really seemed to dance the steps. I shared Helene's reaction to Krysanova, though I appreciated at least that she didn't want to pretty things up. (Some time ago I watched a few minutes of a tape of the Mariinsky's Novikova in it, and she appeared to be dancing Theme and Variations in a red tunic.) Also, I don't know how Krysanova's performance would have seemed in the theater, but in the HD broadcast her facial expressions seemed over the top to me and made the "Americanness" feel very externally put on. I was impressed by the quality of Lopatin's dancing, but it did sometimes feel too pretty to me. Still overall I enjoyed Rubies too. Diamonds I liked very, very much. Loved Smirnova, though in the later parts of the pas de deux I did see the tendency to turn into "Odette" Helene mentions; for much of it she seemed more a young and slightly mysterious Tsarina to me--and throughout I found her dancing just gorgeous. I thought that Novikova (the Bolshoi's spokesperson Novikova, not the Mariinsky ballerina) made a mistake in her French introduction, referring to Balanchine's three cities as Paris, New York and "Moscou"--in English she said St. Petersburg and I would be curious if anyone heard the French the way I did or if I imagined it. But overall I thought she did a good job. Her questions to Filin seemed more interesting actually than his answers, though I suppose he saw his job primarily as being a booster for his company and dancers. Was happy to see him in any case.

Edited when I realized I had placed my comments in the wrong thread. Moderators feel free to delete.

It seems potentially a good role for De Luz...

I am looking forward to seeing PNB one day, but ... uh ... definitely will be rooting for Denver against the Seahawks.

A belated thanks to rg and this forum for information about the time correction on broadcast--I would have had no idea the performance was at 10 if I hadn't read about it here! Fortunately our drive time was only about 40 minutes. Ironically I will likely miss the Lost Illusions broadcast because I plan to be traveling to see some live ballet...

No Obraztsova?

Thank you--I would be happy to read any reports/reviews of their Copenhagen season.

I thought it was fabulous that Ringer was able to turn that whole episode with Macaulay into a "win." Problems with weight have been an issue at different times in her career and, as best I remember, she had been criticized in print when she had been at a heavier weight earlier in her career and in more informal contexts: I adored her from the very beginning of her career, but I myself made a comment once on this website when I noticed she had gained weight more than I thought was ideal. I didn't make it in Macaulay's jokey fashion, but I did say something. I also have a memory of reading an early interview with her in which she discussed dealing with weight issues--years before the Times hullabaloo. So, as I see it, when at this much later and more established stage of her career, she got the criticism in the NYTimes she was taking the opportunity to address something that had been an issue at other more vulnerable times in her career. I think with ballet and, especially women ballet dancers, people also relate the emphasis on weight to unhealthy eating and, worse, eating disorders that have at times plagued the ballet world. That's another reason why I was pretty delighted Ringer talked to the press etc. But I wouldn't be inclined to say Macaulay's remarks "helped" Ringer anymore than I would be inclined to say that a boss that fired me had helped me to get my next job. Given a lemon she made sugarplums out of it. In principle, I don't mind Macaulay commenting on dancer body types and even their weight when it communicates something serious about what he sees and values in the dancing. (In particular instances I might disagree of course or think his taste was too narrow ...) I was mildly startled to read such pointed praise for Gorak's partnering in Nutcracker when it had been just as pointedly panned by viewers who post on this website and who have shown themselves admirers of Gorak's dancing. I don't think the lead critic for the NY Times cares what we write or I would almost suspect him of purposely choosing his words as a riposte...But we also all see performances very differently. (Nor would I entirely hold it against such a powerful reviewer if he occasionally decided to cut a dancer some slack--though that may be the fan in me talking.)

NYCB's Coppelia is terrific -- richer choreographically than ABT's while remaining entirely "traditional" in storytelling and tone. The finale is one of Balanchine's best. Of course in Coppelia it's important to have an engaging ballerina. I haven't seen any of the company's current Swanildas, but they certainly have a lot of excellent ballerinas suited to the role including the ones listed by Abatt...

Thank you for this report--I would love to see Osipova in Rubies.

I thought this was lovely--a very pure style.

Sounds like a wonderful visit!

Oh dear -- I can easily see why you would be upset. I find the change of rep mystifying even from a "dumbing down" point of view--though perhaps they thought they were making the program more appealing to a young audience by including more modernist and contemporary work. Still baffling, especially since Jewels is a famous and popular work that many people (not just Abatt) may have chosen deliberately even if they were also drawn by the $29.00 price. I am coming up to NY especially for Jewels the week after...(and some other works including the new Scarlett--but Jewels was the big attraction). I hope they don't change that program too! I think unless I heard that it was due to a plague of unexpected injuries I might even be moved to write a letter of complaint, the "programs subject to change" fine print notwithstanding.

I was thrilled too about Acosta's CBE (it was briefly discussed in the Acosta thread under the "Dancers" forum). Anthony Dowell was also named CBE for dancing -- I checked the date and it was in 1973. I believe he was knighted sometime later for his overall career including as Director of the Royal.

Lovely photo...

Fantastic news ...

I was just typing as Vipa posted again. Writing to say that I also enjoyed (and learned from) this interview. Thank you for posting.

Best of what I saw in this calendar year: 1. Mariinsky in Swan Lake w. Lopatkina at the Mariinsky. Extraordinary corps, extraordinary character dancing, fine soloists and one of greatest Odettes I have ever seen (possibly the greatest). Plus the thrill of being in that theater. 2. Cornejo as Aminta in Sylvia or more specifically his dancing in his Act III variation. Pure, light, airy and dazzling: extraordinary elevation, wonderful ballon, clear crisp beats, beautiful line--all easy and effortless. Fantastically beautiful dancing. 3. Sara Mearns in the Fairy's Kiss w. NY Philharmonic: imagination, daring, power. Wow! 4. Wonderful dancing from a whole new generation of NYCB ballerinas in the Tchaikovsky festival -- Peck in Allegro Brillante, Hyltin in Mozartiana, Reichlin in Tchaikovsky Piano Concerto No. 2. 5. New choreography that matters: The third and final ballet of Ratmansky's Shoshtakovich trilogy which I saw on its own at ABT's fall season--with two different casts. A ballet that has stayed with me and that I would be happy to see again. 6. Revival of Substance: Ashton's a Month in the Country with ABT (two different casts). Honorable mention to Tharp's Bach Partita. 7. Special partnering highlight: Bolle and Semionova, the long difficult lift that opens the Sylvia Act III pas de deux genuinely danced as if a pleasure -- not performed as if a feat. Even better: her large, easy, joyful leap into his arms as he immediately dipped her into a fish dive. The audience sighed audibly....with reason. 8. Gillian Murphy at the height of her career: whether in Ashton, Tharp, or Mark Morris. Just a pleasure 9. David Bintley's Carmina Burana with the Atlanta Ballet. Atlanta's company often turns to modern dance and "contemporary" ballet. Bintley's work seemed to me legitimately neo-classical with its playful riffs on tradition including a ballerina taken through her partnering paces by 4 men (rose adagio citation) and a medieval feasting scene with "swan" on the menu. It's not Balanchine or even Ratmansky but certainly one of the more interesting ballet works they have performed and happily had live music from the GA State University Chorus. Worst of what I have seen this year: 1. Clear at ABT. Dreadful ballet, mediocre dancing (at least with the one cast I saw). Dancewise I exempt Thomas Forster from this worst list. 2. The magic of the opening scene of ABT's Sylvia just ever so slightly spoiled in all three performances I saw because of of miscues in the ensemble--Ashton's magic is a delicate affair. One muffed performance I might overlook. Not three. 3. Disastrous partnering: Jared Matthews (replacing Gomez) and Gillian Murphy in matinee ABT Sylvia doing difficult opening lift of the Act III pas de deux. It was like watching a car crash in slow motion though the final explosion never occured as he did get her safely to the ground. Since he was a replacement we can say mitigating circumstances but it was genuinely painful to watch. Less egregious, but plenty awkward; Alexander Sergeyev and Daria Pavlenko missing a shoulder lift in Ratmansky's Cinderella at the Mariinsky--since the choreography had him carrying her across the stage, she just had to hold on to him with one hand as the other went through half the port de bras. In this case, she was a replacement, so we can also say mitigating circumstances, but aesthetically ...

Just read this news--it makes me quite sad as he was one of my favorites as well. RIP.

Very nice to learn about the medallion.

Well, in any case, he hasn't done too badly at bringing the Mikhailovsky international attention ...

Ayupova was an important coach at the Mikhailovsky. Now that she is leaving for Asylmuratova's old position at Vaganova school (or, as Helene said on another thread, what's left of it) perhaps Asylmuratova will take over some of her coaching duties. (If Kekhman knew Ayupova would be leaving that many even be what he had in mind...) I'm just guessing about of course...

The article says they plan on reorganizing the company's staff in the spring--presumably at that time her position/responsibilities would be clarified. I did find myself wondering if this was solely Kekhman's decision (which might have a bearing on what happens next).