nysusan

Amour, I agree with you about Kochetkova's first act - that was the first time I really enjoyed her dancing in a classical ballet. And I'm thinking thats because Nikiya's dancing in the first act is not pure classicism, it has a lot of character built into it and allows for many different approaches in terms of plastique and phrasing. Her technique is always strong - I never have any complaints about that- and I thought her phrasing was very dynamic, she used her back well and projected very well. But then we got to the shades scene and I saw everything I don't like about her all over again. The supple back & shading were gone - she was ramrod straight with a sharp movement quality, and she has an ugly arabesque. There is simply no line to it.

Sarafanov was wonderful. No, he's not the Mariinsky wunderkind we first saw 10, 12 years ago but he is still an absolutely gorgeous dancer and I'd welcome seeing lots more of him (AND Kimin Kim, the current Mariinsky wunderkind). Also really enjoyed Boylsyon in this. I didn't stay for the last act, how was Aaron Scott's Bronze Idol?

I saw Raymonda Variations on Wednesday and again this afternoon. The first time out I thought Pereira was a bit tight and displayed her usual lightweight approach to the steps (limited phrasing, throwaway arms, sorely lacking epaulmant and stiff upper body) with the exception of 1 solo -I think the 2nd - where she seemed to relax and luxuriate a bit in the music.

Todays performance was completely different and a huge step forward for her. She was just lovely. She danced with a beautiful lightness, displaying lingering balances with trailing romantic arms and playing with the music. What a difference! Her approach was completely from Bouder's (naturally)but this performance was beautiful.

I didn't realize that Vishneva is taller than Somova and Tereshkina- she was quite short in person (and I was wearing flats). I thought she's about the same height as Osipova.

Anyway, I'd love to see Stella dancing Nikiya but not sure whether that'll happen. Boylston/Sarafanov/Abrera works but then Stella will have to dance two Gamzatti in one day!

I definitely do NOT want to see Kochetkova as Nikiya, but I want to see Sarafanov. Kochetkova would seem to be the only available potential option if Osipova can't dance. I doubt Cojocaru would be willing to step in for an additional show. Sarafanov needs a smallish partner. Not much left to exchange into at this point even if I wanted to switch out of a Bayadere, given the huge number of cast changes that have already occurred.

Actually though Sarafanov is very slight he is not short. Back when he was at the Mariinsky he partnered Tereshkina, Somova and even Vishneva. They can't POSSIBLY give Seo another performance so if Cojocaru or Kochetkova can't do another one they'd probably have to develop a new Nikyia. I'd love to see Stella but my money would be on Murphy or Boylston - and I'd prefer either to Kochetkova

I can't add much to the previous posts, but want to say that I feel privileged to have seen last night's Giselle. For me the Vishneva/Gomes partnership in Giselle is the successor to Ferri/Bocca and in the same league as the other great Giselles I've see from Fonteyn/Nureyev and Fracci/Bruhn through Makarova/Baryshnikov and Kirkland/Baryshnikov. They may both be showing their age a bit but the technical level is still quite high and their artistry is undiminished.

As far as their characterizations, I love Vishneva's combination of shyness and curiosity and her complete adoration of Loys. And her 2nd act is the most ghostly and ethereal I can remember.

I agree that Teuscher lacks the necessary authority for Myrtha but there were a couple of moments in her solo where she whirled with the fever of a fury. I think with time she will develop into a great Myrtha. For me at this point Part's is the gold standard at ABT. I also love Murphy's but she is so stern and unrelenting, I prefer the Mariinsky approach where you see the anger tempered by moments of regret.

Also I'm sorry to have to agree with this one but I also found Salstein very sloppy in the peasant pas, though I thought Misty was lovely.

Wonderful triumph for Stella! Thanks all for the descriptions and the curtain calls. Sorry I couldn't be there but hopefully I will get the chance to see them next year.

Well, looking on the bright side, Hee Seo can certainly use the practice, but I wish there were more variety in the substitutions.

LOL!!

Actually, this is quite disgusting. ABT's weakest principal will now get 3 Nikiyas, 2 Juliets and 3 O/Os? Mckenzie shows no respect for his artists or his audience

Cornejo had been listed for tonight's Fancy Free - he has been replaced by Salstein

Following that link just now, though, I see it has been changed back to Semionova. What's the deal?!

I'm still seeing Abrera

Mussel, this is such HUGE news that I hope you don't mind me reposting it in this thread. I happen to already have tickets for that date, and while I hope Semionova is well, I'm THRILLED to get to see a Stella, Shklyarov and Part Giselle!

I thought Teuscher made a fine debut as Hagar last night. Nowhere near the burning intensity and internal conflict I remember from Murphy's prior performances (unfortunately I will not be able to see her this season), but a very well danced and well thought out interpretation. This ballet has been completely re-cast since the last time I saw it and I thought everyone did well, with the exception of Stearns. He was the least seductive "man from the house opposite" I've ever seen. I thought I was starting to see an improvement in both his dancing and his stage presence in the past few seasons but based on what I've seen so far this season I'm not so sure.

T&V was lackluster as noted by mimsyb. Boyleston had nice speed & energy but her torso and arms were lacking and so was her phrasing. Stearns was ok, he certainly has beautiful line but he looked somewhat sloppy in his variations with fudged landings and listing off center. At one point in that second variation it seemed that he was travelling off the diagonal. Perhaps they just suffered in comparison with Tuesday night's luminous Lane/Cornejo performance.

I didn't stay for Fancy Free. I agree that it was a pretty uninspiring evening but Tuesday's was the exact opposite, I left the theater on a real high that night. There have been glowing reports on the Part/Abrera/Lane/Gorak cast of Les Sylphides so I guess its hit or miss so far.

Attended today's matinee. What a difference a cast makes. This cast of Sylphides was sublime and ethereal, with a much more convincing mastery of the Romantic style than Monday's cast. The leads were Part, Gorak, Abrera and Lane. Abrera doesn't have Boylston's jumping ability, but she brought so many other details to the role that I didn't care. The second cast of Lilac was pretty good, but not nearly as convincing as the first cast. The weakest link was Shevshenko, who danced all the steps but lacked dramatic impetus. This is the best work I've seen from Tom Forrester, who was passionate and ardent. Didn't stay for Rodeo.

Sounds like Abrera did the Mazurka role. Which did Part do? I can't imagine Gorak lifting her in the Pdd so did Lane dance the pdd and Part the prelude?

Tonight was the second night (and second cast) of Bournonville at NYCB. It was a vast improvement over the gala night. And Ashley Bouder and Andie Vyette were jaw dropping, gasping inducing fantastic in La Sylphide.

You know that I skipped last night's performance because I thought that despite Bouder's amazing technique she would be too cutesy & presentational for me as the Sylphide. I don't regret switching my tickets so I could see Sarah Lane's T&V - she was wonderful - but based on your description I just picked up a cheap ticket for the Saturday matinee.

I still MUST see Part, Abrera and Lane in Les Sylphides at ABT's Saturday matinee but as soon as that ends I'm heading across the Plaza to catch Bouder & company.

That will make it a 3 Sylphide/s Saturday for me since I'm also going to see Tiler Peck in La Slyphide on Saturday night.

Only in NY, kids

According to the ABT calendar Devon Teuscher will now replace Julie Kent for the Sat matinee performance of Pillar of Fire as well as tonight's performance

What can they do?

The can stop programming mixed bills at the Met. I know - we all love them. I love them but ABT's main audience does not. Wait till the full lengths start and the seats will be filled, this happens every year. I think it shows a lot of commitment on ABT's part to continue programming at least a few nights of mixed bills even though they know that they will be way undersold.

I was at last night's program and I thought it was wonderful. T&V is always played at a funereal pace at ABT, I've gotten used to it. That said Lane was heavenly and Cornejo has finally brought his partnering skills to an acceptable level. He has always been an outstanding dancer and it was jut beautiful to watch him glide through that treacherous solo.

I agree that Lilac Garden was much more balanced than last year, Rodeo was still charming after all these years and for me it was a nice way to say goodbye to Reyes.

I was at the Saturday matinee. Catazaro's second performance was much better than the first - no mishaps this time and the music was played to tempo - but it was still far from a good Apollo. My friend Leena characterized it as a "Prozac Apollo" and I agree completely. Noodley, throwaway arms, blurred positions, unstretched lines and he simply does not radiate strength or authority. Not a complete disaster this time, but not a good Apollo.

I guess we've been lucky here in NY with a string of great Apollos - Hubbe and Boal were spectacular for so long, Craig Hall was great in the glimpse we got of him at a "Dancer's Choice" program, Fairchild & Finlay both made strong showings in their debuts and continued to develop the role. Then this season Danchig - Waring hit the ball out of the park on his first outings. Guess it takes a clunker to make you appreciate the great ones.

I was at the Saturday matinee. Catazaro's second performance was much better than the first - no mishaps this time and the music was played to tempo - but it was still far from a good Apollo. My friend Leena characterized it as a "Prozac Apollo" and I agree completely. Noodley, throwaway arms, blurred positions, unstretched lines and he simply does not radiate strength or authority. Not a complete disaster this time, but not a good Apollo.

I guess we've been lucky here in NY with a string of great Apollos - Hubbe and Boal were spectacular for so long, Craig Hall was great in the glimpse we got of him at a "Dancer's Choice" program, Fairchild & Finlay both made strong showings in their debuts and continued to develop the role. Then this season Danchig - Waring hit the ball out of the park on his first outings. Guess it takes a clunker to make you appreciate the great ones.

Tonight was the second cast of Apollo, Agon (except that Rebecca Krohn substituted for Savannah Lowery), Duo Concertant and Symph in 3.

I hate to say it but Apollo was awful. Just a disaster. I think this was probably the worst performance of this ballet I've ever seen. Catazaro was a mess. Just awful. I'm afraid I don't have one nice thing I can say about his performance, Things started badly when the tempo (Clotilde Otranto conducuting again) was much too slow. Then within the first 2 minutes, just after strumming the lyre, Catazaro dropped it and it just flew a few feet . This probably rattled him. But Catazro was unenergetic, uncharismatic and looked technically unready for the role. His jumps and attitude derrière were low. He didn't travel much across space. He didn't stretch his lines. His positions looked blurred. Every time he partnered a muse you could see him struggling and it looked awkward. Worst, he didn't looked interesting or confident. Where last week I could barely take my eyes off Adrian D-W, Catazaro barely commanded any attention. The situation wasn't helped by the muses, Sterling (Terpsichore), Sara ((Polyhymnia) and Ana Sophia Scheller (Calliope). These 3 don't look good together. Sterling is tiny and Sara (who was in the middle) is much taller and bigger.

I agree completely, it was the worst Apollo I've ever seen, possible the only Apollo that I didn't enjoy on at least some level. Made me cringe, the music was so slow it was unmusical and Catazaro was just a mess. Best you could say was that he remembered all the steps. I also think that while all the muses were fine individually, they just don't look good together.

I enjoyed the rest of the program, especially Duo Concertant. I think this may be Hyltin's best role, she is so lovely in it. Fast, light charming, romantic but not melodramatic. I thought Janzen looked pretty good in his debut.

Reichlin & D-W just don't have the sizzle that Kowroski & Ramasar have, nor does she have Kowroski's amazing line & flexibility though she danced with a fierceness that I liked.

The Times review mentioned Lydia Wellington in the 4T's, but she is not listed in the casting sheet for Tuesday. Did she replace Faye Arthurs in 4Ts?

Yes

Seat 4 is not great, but it's probably ok if you're tall. It's on the side, so you'll either be looking over the people in 1,2&3 or leaning over to try to look around them. My husband & I had 1&4 one season (4 is behind and to the side of 1) I moved my chair a bit and he is tall so he had no problem seeing. However if you're not tall and the people in 1.2&3 aren't willing to move their seats (and they rarely are because it impacts their comfort & view) you may have a problem

for Giselle, I splurged and bought a ticket in side parterre

Albany Girl, I hope you bought tickets in the first row of the side parterre(seats 1,2 or 3). It's ok if you have 1&4 but it's very hard to see from any other seats.

exchanges at the box office can be made up to 24 yrs before the performance.

Now that takes some planning!

Thank you for my laugh of the day!

ha-ha, my bad!

Did anyone go to the box office for the first day of subscriber exchange week? I had matinee tickets so I decided to wait until later in the week. I know the line can be really loooong on the first day.

Yes, last year you could exchange tickets 24 hours in advance for the same seating area without dynamic pricing taking effect. Let's hope that is true this year..

Just took out my subscription letter and it says mailed exchange requests must be received at least 1 week prior to the performance date but exchanges at the box office can be made up to 24 yrs before the performance.

They definitely have enough time for Tom Forster or Gray Davis to learn Giselle or Swan Lake. I just dread that more talented dancers would leave at the end of the season.

It will not go to Gray Davis - he hasn't danced any leading roles at ABT - I don't think I've even seen him in a peasant pdd or SL pdd - and ABT doesn't take chances on completely unested dancers.

Forster at least has danced leading roles in Les Sylphides and Lilac Garden and a few soloist roles. He's due for the lead in a full length ballet and I hope he gets one of the TBAs, though my personal preference woiuld be to see his Romeo.

If it doesn't go in house my wish list for an import would be Friedmann Vogel - he is SUCH a beautiful dancer and is rarely seen in NY. Bringing in NYCB dancers is a very very bad idea and I hope they don't do it again.