Papagena

Yes those are 100% the only options outside of airing perceived injustices on IG in order to get your echo chamber riled up.

Maybe the least important problem in the world right now.

Jumping on the Ulbricht praise wagon - he has this intangible quality of fluid and effortless technique, joy, generosity, introspection and lack of ego in his dancing if that makes sense. I can't quite pinpoint his magic on stage, but its there in abundance. He applies his entire career of knowledge into every step, no wasted movements. I really hope they make several programs around his best roles whenever it's time for him to retire.

Oh apologies, I meant Broken Wings - Carmen reviews sort of floated in the back end for me since most people were gushing about Broken Wings.

What a great pairing! This is exactly what ABT needs to get better at - shot program curation. This isn't a Jaffe problem as much as it's just been an ABT problem for a long time. SFB just did a Carmen pairing too with the new Frida Kahlo Dos Mujeres ballet. Received very good reviews and is something I'd absolutely buy tickets for. I wasn't able to see it but most reports mention how it feels fresh, relevant, and layered while still using traditionally-inspired ballet choreography. LWFC looks a bit old fashioned by comparison. Totally agree about the YAGP effect. A young dancer filming themselves doing 32 spectacular fouttees with extra flair or octuple pirouettes doesn't get me excited at all, because it doesn't necessarily translate to a magnetic dancer who can carry a ballet on her shoulders.

Agreed. Even though full length ABT comedy ballets sell abysmally, one acts like Rodeo paired with some other ABT midcentury classics would get an immediate purchase from me. Or another women choreographers program - Helen Pickett did a one-act version of The Crucible, another American-themed piece choreographed by a women for example. idk it's easy for me or us to put together spec programs but I'm sure there is some weird blockage in terms of budget / rights / the board. But bottom line is yes, a sense of excitement or delight is really missing here. I realllllly really wish they dipped into their wonderful heritage pieces more and mixed them with modern choreographers so that in one night, you get more range.

So just do the Kingdom of the Shades section. I don't think that's completely off the table as an isolated 1-act. Jaffe may have been talking about the entire ballet - the offensive acts are 1 and 3. Most of us go to LB to see this at primarily anyway.

The last few times I went to ABT's La Bayadere they were very undersold. For all the love I have for this ballet, it's hardly a big seller audiences are begging for. Giselle and R&J (and obviously SL) do decently for ABT but most of our favorite full lengths (mine included) just don't sell very well unless it's an Osipova or Copeland-level famous dancer now. The only tickets I'm buying in advance this year are for Woolf Works because most of the principal dancers don't excite me. I think any issues with programming (so far Jaffe has been at least just as interesting than mckenzie) are compounded by ABT not feeling like a particularly exciting company anymore and lacking ... hm ... a crackle or energy? Not sure why they don't dip into their mid 20th century rep more. Tons of expensive warhorse ballets weren't even their primary original identity.

Not shocked, but Missledine will definitely be the wild card of the cast. Debuts are always exciting and I'm definitely going to get a ticket to hers. Tatiana is supposed to be a very young teen so it does make sense age-wise, but she also has to carry the ballet from a dramatic, not technique-driven place to sell the character's growth from lovestruck teen to a self-assured woman of status who teeters on the brink of collapse when Onegin comes back to her. Years ago it the principal casts were the likes of Vishneva, Ferri, and Abrera (Seo as well), extremely accomplished dramatic ballerinas. Ferri was in her 50s when I saw her and her transformation knocked my socks off (I'll never forget her entrance in Act II). The Onegins at the time were the likes of Bolle, Gomes, and Hallberg - men who can captivate the audience just by walking on stage. It's a high standard I just have to let go of this year and enjoy myself. While I very much enjoy Teuscher and Schevchenko in many things, I'm not as compelled to see them in this. Hee Seo has done this role for years so she is probably the safest pick for a nice, lived-in performance. However Teuscher is partnered with Camargo, who brings a youthful passion and freshness to his work that will probably work well in this ballet. Basically, I don't have any solid answers except that the Schevchenko / Streans cast would be the one I would not attend due to dancer style preferences (seeing Schevchenko in SL instead).

Fantastic role for him! This season is so unlike 2017 (I think?) when I went 3 times because there were so many great Tatiana/Onegin pairings. This year, the Lensky/Olga role will probably sway my choice pretty heavily. Curley and Roxander seem like no-brainers as well.

This - Coker and another female corps member will probably be promoted together when Paris or Fang are out, and use this summer season to work out any post injury issues. Also ballet promotions are not dissimilar to promotions in any company or corporation, where they are not just based on someone deserving something, but also very much on need. With the women's ranks so packed, there just isn't room or need for another female soloist at the moment. The three men who were promoted were imo, the right choice and very much needed. They each cover a specific niche that ABT was sorely missing (Curley the tall danseur noble, Roxander the long-awaited star who fills the Siimkin void, Gonzales a reliable all-around asset who has a naturally warm and likable leading or secondary man presence). Promoting 5 men doesn't seem reasonable from a budget perspective. I'm still shocked Murphy did not opt to retire this year. Since Copeland is not retiring this year, 2024 would have given Murphy her the starring retirement treatment. That would also push Misseldine up and free up more space amongst the soloists.

I feel a bit bad for everyone involved (including Peck). What threw me off was the way she phrased it ..."People don’t think that she can do the hard technical things." No dancer wants to read that a vague group of 'people' don't believe in their technical abilities. Especially a corps dancer who is getting some upward momentum. Peck is also a colleague, albeit a senior colleague, which complicates things as well. She didn't word things very well with Von Enk either. "To bring out the fullness of her dancing" might have been more diplomatic than "who needs fullness." I see this a lot with new managers, where they aren't used to the power of words in a new position and it takes some getting used to. Do choreographers generally speak like this? I'm thinking high level like Ratmansky or Wheeldon (or even Justin Peck). We've seen Derek Deane do it but his was at a more obviously unacceptable degree. But perhaps it's generally normal and I haven't been paying attention.

I love the idea of one cast - this is one of my top 3 favorite Balanchine ballets and I always go for the second or third performances so the dancers have time to settle into it. Surprised Bouder is not featured here (although I wouldn't want to swap out any of the women listed - I'm so excited about this cast). I do wish Joseph Gordon were in this run, although I think he and Angel both usually play the same role (the man who shields his face).

I believe that it's acknowledged and accepted amongst NYCB management that in-demand principals use this time to make some extra $$ in paid appearances elsewhere, thus opening space for debuts, soloists and corps members testing out principal roles. I think the trend of top company primas guesting at smaller regional companies is great. It shares the wealth of talent we are privileged to have in counties where it is not as abundant. It's not like ABT, where principals get a very limited number of performances, and thus ABT dancers sort of need these shows in a way NYCB dancers do not. I think there was quote from Martins or someone else high in the ranks about how it's expected that principals are leaving to guest in other Nutcrackers - not sure where I read this, however.

Yes, after all these years, the person I'm still the most excited to see is Ferri. And I know people who are coming to town just to see her one more time. Not even due to nostalgia, just an incredible artist. Even with diminished technique Copeland could probably manage a modified R&J as well as Woolf Works. Tatiana isn't the most technically difficult role either (and even though a role like Mama Elena is small, Copeland has sparkled in roles like this ... thinking of her Queen in The Golden Cockerel). I'm baffled she's not performing this season. They left out of a lot the ballets with difficult lead roles for women (Don Q, Sleeping Beauty) so I was sure it was going to be a retirement year for Murphy / Copeland.

Would you say it's a big dip in quality from the last couple seasons? I expected a gradual decline like Cornejo, but it sounds like the decline has been much steeper. She's dancing Etudes in the Fall gala which is a bold choice. But to hear she had issues with Tatiana is disheartening, as it's not the most difficult role ... I wonder if her focus on ARB is taking away from studio time? I assumed next year would be her last Summer season at The Met since she probably wants to retire as O/O, her signature role.

They have some amazing up-and-comers! But there are a lot of unexciting men at/near the top (Stearns, Ahn, Forster, Hoven) that they can't sideline completely. I feel bad saying this as Stearns and Forster are the type of likable, workmanlike principal males every company needs to have on hand, but unlike Roxander who can turn a ballet newbie into a fan with one solo, they aren't likely to convert new audiences. Maybe I'm just on a high from spectacular newcomers like Roxander and Roman Mejia, but perhaps we're on the cusp of another era of male dancers who are worth shaping ticket purchases around? Until then we're probably in for a couple more awkward transitional seasons.

Agree wholeheartedly. Her épaulement might now be my favorite in the company. Even newer ballet fans I brought this season have mentioned how captivating they found her. Orpheus isn't much of a dancer showcase (at least not in comparison to most other pieces this season) but she turned it into one!

Come to think of it I've actually never seen an ABT dancer really nail female T&V lead. I'm always relieved with they just get through it with no obvious issues. Have they had a great interpreter in the past 20 years?

This is why I sort of bristle at all the 'get your house in order ABT / jaffe is slow / I had hopes for certain casting choices and now have lost hope' assumptions because its clear that this is a transitional, important time for the company. This is not an easy process for both dancers and management. Take the time needed to do it right, something that will help the company be a better place for artists for years and years (although hopefully the contracts will be in place by performance time as non-contract employment can cause major low morale). I hope they can find a solution everyone is happy with.

Thank you for this! So happy to have Alessandra back at The Met. I wonder if adding such a young O/O (Misseldine) to the already stacked SL slots means one or two of their swans are retiring this year (Murphy/Copeland would be my guess).

The NYCB men in particular have been fabulous in everything. Roman Mejia is such a star - gorgeous work from Gilbert Bolden III, Jovani Furlan and Joseph Gordon and as well. For everyone getting upset about delayed promotions, remember that Jaffe did not choose the rep last Spring - this program is her first and closer to glory days ABT rep. It's and a real testing ground to see how people dance her repertory preferences.

This is literally the first season she's put together. Why not keep the hopes high?

I agree. There are so many different and evolving characteristics of what makes a 'Balanchine Ballerina,' but something about how she can cover so much space + her timeless modernity and commanding presence makes her a top choice when I bring NYCB-first-timers to a performance. So many gorgeous ballerinas of many shapes and style in the company, but when I watch Kikta I always want to be her! Gerrity is lovely as well but doesn't stick in the mind as much. I'm looking forward to seeing her in more starring roles - for some reason my performance choices worked out to not having seen her much this and the previous year.

Very true - which makes me wonder if our reception to the piece in general has changed and thus why we find an easier time buying Fairchild's firecracker of a performance rather than Nadon's natural glamour and elegance (I did not see Nadon in this so I'm just throwing words out there that may not be true in this instance). While it was always tongue-in-cheek, could it be that our overall relationship with this type of patriotism has changed (I would say, soured a bit more)? It definitely works best now as a maximalist bauble with the pyrotechnics turned up to 11.