nysusan

Tickets have been on sale for quite awhile already but there are still tickets available. No information on casting yet but I just checked Vishneva's website and she is opening & closing the Bayadere in Ottowa. Looks like she won't be coming to Toronto but if she has her schedule it seems like they should have preliminary casting for the whole engagement already. Hopefully they will post it soon!

I'm hoping for Lopatkina & Kondaurova. Have given up hope for Pavlenko, that would be a miracle!

I know in my heart that I'm soooo much more likely to wind up gritting my teeth through a (bait & switch) Somova Giselle - but I can't pass up even the slightest chance to see Lopatkina's Giselle. I guess I'll be buying a ticket for Saturday night.

hi all,

Pavlenko is already back in classes and --more importantly-- rehearsals. So just a matter of time til she dances something this season.

I'm in Petersburg at the moment -- tonight is Lopatkina's Swan Lake in honor of Natalia Makarova, who will be present (her Jubilee). Grisha Popov will be the Jester, Danila Korsuntsev Prince Siegfried.

Thank you for this wonderful news about Pavlenko, I can't wait to see her again.

I also hope to hear your impressions of the Lopatkina/Korsuntsev Swan Lake at Makarova's Jubilee. Makarova, Fonteyn and Pavlenko are my 3 favorite O/O's of all time, followed by Lopatkina and Part - so I really wish I could be there. I'm sure it will be wonderful.

Nysusan, Vasnetsova has improved A LOT since that 2008 NY season. The "Somova-isms" are gone. She's become a much more refined artist and has won accolades from those in the know for her Phrygia in Spartacus, for example.

Natalia, that's wonderful news! I'm glad to hear that she's developing as a dancer. Gives me hope for the new crop of Mariinsky ballerinas.

Now, if we could only see Pavlenko back on the stage again soon...

I've also been keeping my eye out for casting. Probably won't go unless there is extraordinary casting that I can't resist. Visheva's Giselle is wonderful - one of today's best - but I can see her in NY this spring. I would be tempted by Obraztsova but I just checked her website and she's scheduled to dance in Berlin from 2/8 - 2/11, so I guess she won't be coming to the KC with the Mariinsky and it looks like I can save some money and stay home!

http://www.evgeniaob...com/afisha.html

Unless, of course, they do something crazy like bring Lopatkina...

Kolegova was the 'glamour gal' of the Maly but not quite as appreciated in the bigger government theater, where some of the coaches consider her proportions a bit odd (longer torso to shorter legs). Remember that she was not selected with her graduating class to go to the Mariinsky (the class of 2000 that included Tkachenko).

Pavlenko is a Principal - from their generation - but she isn't being utilized at all, even though she's recovered and taking class again.

Agree that Kondaurova, Osmolkina and Genia deserve promotions, but I'm not absolutely convinced about Novikova. And as you've both pointed out - talent within the soloist ranks at the Mariinsky is deep and competition for principal status is fierce.

As to Kolegova, I've only seen her dance once and I'm reluctant to make a judgment based on a single performance but her advance publicity left me predisposed to love her and yet I disliked her intensely in that one performance I saw. It was Sleeping Beauty at the Kenn Center and her proportions did distract me, but I also found her dancing overly correct and cold. I'm not eager to see her O/O.

I also saw Skorik in that same performance and while I saw potential in her, she didn't blow me away. And it's dismaying to hear Daria Vasnetsova's name mentioned as a major contender. I saw her several times when the Mariinsky was at City Center and I am not a fan.

Worst news from the Mariinsky lately (from a NYer's perspective) - that they've canceled their planned stop in NY this summer. I was sooo looking forward to Anna Karenina and The Little Humpbacked Horse.

But Cygnet -the BEST news I've heard lately is that Pavlenko is recovering and back in class. Here's hoping that she'll be foisted on us "rubes" here in North America. I broke down and bought tickets to the Mariinsky's Swan Lake in Toronto this coming March. It would be so very lovely to be blessed with Dasha's magical O/O!

WOW. No idea if this is slated for the NY Met season, but Misty Copeland just posted on her Twitter page that's she's started ABT rehearsals and is learning Duo Concertant. Would LOVE to see that. Wonder who her partner is???

http://twitter.com/mistyonpointe

Damn! Just looked at their calendar and it's scheduled for their London engagement. It might also be one of the TBA pas de deux scheduled for the Kennedy Center...

WOW. No idea if this is slated for the NY Met season, but Misty Copeland just posted on her Twitter page that's she's started ABT rehearsals and is learning Duo Concertant. Would LOVE to see that. Wonder who her partner is???

http://twitter.com/mistyonpointe

Am I the only one who's been to see this run of Matthew Bourne's Swan Lake in NY?

I hadn't seen it before, and am a traditionalist when it comes to Swan Lake (and most classical ballet). But I had an idea of what to expect from this - I knew it was dance rather than ballet, knew the swans were male etc.

Didn't expect canned music or the lack of a synopsis and casting however those were minor points. I absolutely loved it. Loved that Bourne had the guts to jettison all the iconic Petipa/Ivanov choreography and completely re-imagine the dance and the story, while staying within the basic themes and framework. For me, what he did worked beautifully on its own terms. He wove a tapestry so rich, some of it was as rich as the best traditional stagings I've seen.

I enjoyed it so much that after I saw it in the first week pf the run I've been back 3 more times - and I feel like I need to see it again before the run ends.

I find it utterly engrossing and powerfully beautiful. The swan imagery is so different from the traditional interpretation. These swans are big, menacing creatures, perhaps representing freedom and an unbridled animal instinct but just as surely illustrating man's inhumanity, or the poor Prince's fragile psyche's devolving nightmarish state.

I've seen both Swans - Jonathan Ollivier and Richard Winsor are both riveting dancers that make the most of the dance vocabulary Bourne's given them. The Swan's motif here is more of a powerful attitude than a yearning arabesque and the imagery is alternately powerful, tender and menacing.

If you're in NY and you're open to a different, non balletic interpretation of Swan Lake you should really try to catch it before the run ends next week. I just find it so exhilarating to look at Swan Lake through fresh eyes after sitting through all the unnecessary, intrusive tinkering most modern "traditional" versions have given us. Give me something approaching the real, unadulterated Petipa/Ivanov staging or give me something completely different and brilliant like Bourne's version.

Aaahh...Now I can see something. Both days the leads of T&V have been given to four American-born dancers. I don't think this is coincidence, and I think this is a great idea. I mean...the Cuban audience will be seeing an American company, and then it's fair that they're presented with genuine products of American ballet schools by American born dancers. Considering that they're a minority in ABT-(only Kent, Wiles, Hallberg and Stiefel are American-born among the Principals, and Kent and Stiefel probably somehow out of the picture for bravura variations), then the list is even shorter, so that's why soloist Stearns and Corps Boylston came into the picture.

But Gillian Murphy is also American and she is - FAR AND AWAY their best T&V ballerina. I would go so far as to say that she is one of the best I've ever seen in this role. I know, technically she was born in England but that is a mere technicality, she's as American as apple pie. I don't know what's keeping her from the Havana performances, but it's a pity.

The season finally begins next week and I can't wait!!!

Casting for the first 2 weeks is up and it looks like this season could be subtitled "The return of Janie Taylor". She finally gets to debut in the work Millipied created on her last season, and also makes debuts (NYC debuts, at the very least) in Serenade (on opening night), Stravinsky Violin Concerto and Opus 19.

Let's just hope she makes it through the season without injury.

Here's a link to the casting:

http://www.nycballet.com/casting/casting.html

Merde to Janie and all the rest of the NYCB dancers!!!!

I was also only familiar with the filmed version and despite all of the beautiful music it was never one of my favorite musicals. For me it all boils down to: Racism bad, Sexism- no problem. However I thought the production was very well done and enjoyed it except that I agree the Lt Cable was the weak link. His characterization was completely different from what I recall from the film (although, granted, I probably haven't seen the film in at least 30 years). Like ATM, I remember John Kerr as being very sensitive and sincere, although I could be remembering it wrong.

I still haven't received the card, maybe they're sending them out in batches. Not that I'm holding my breath waiting for it...When the casting comes out I'll decide whether or not I'll go.

I would LOVE to see Hall do Apollo - tattoo covered or showing. Actually, I think the sunburst tattoo is a perfect fit for the role! I'd also like to see Robbie Fairchild tackle it. But we'll probably get Marcovicci.

Would also love to see Janie Taylor as Terpischore.

I'm ready for the season to start...

I also loved Anne's Amour. In fact, I was happy anytime I opened my program and saw that she was scheduled to dance a featured role. Didn't realize that she had been in the corps that long, though. I'll miss her.

I recorded this and finally got around to watching. The young dancers had the look and feel of good pre-professional students..

Except that they have been dancing professionally with ABT for several years now, they are both ABT soloists!

I also taped this and watched it a few days ago. In the interest of full disclosure, I have never been a great fan of either Kajiya or Matthews but they are both very promising young dancers and I always look forward to their performances in the hope that I will see huge gains made by either or both of them. Matthews, in particular looked greatly improved in this past ABT season.

Alas, I have to say that they both looked very, very mediocre in their big "prime time" appearance.

I don't know what went into the decision to have them perform the Don Quixotte Pas de deux without solos or coda. I mean, I know there are time limits on the SYTYCD guest appearances but one would think that with ABT's vast repertoire they could have found something that made more sense to perform before a national audience. I mean, they didn't embarrass themselves, but they didn't make much of an impression either. Opportunity missed

Dewdrop is a role that Balanchine created for his version of Nutcracker. It's not traditional and there's no reason to assume that Ratmansky's Nut will include a Dewdrop. In fact, I'd be very, very surprised if it did.

I'm betting that ABT's Clara will be a dancing role, not a child's role. There are a lot of possible Clara's at ABT. I'd love to see it danced by Lane, Reyes, Copeland,Kajiya or Seo. I think Lane & Copeland would be my first choices. I'd want Part & Abrera as Sugar Plum, for sure!

...secondly because I believe the day will go down in history as the beginning of a great partnership between Osipova and Hallberg, as important in the history of ballet as the Fonteyn-Nureyev partnership of decades past. I like to think that on my death bed (okay, it was R&J, after all) I will be able to look back and remember how beautiful was the budding of this partnership, and that I was witness to it.

Actually, their partnership began last year with Giselle.

Yes it did, and that Giselle was great. But I know exactly what Angelica means. This R&J was on another plane completely. It may not have been the first time Osipova and Hallberg danced together, but it felt like it could be the beginning of a legendary partnership. And, as with Angelica, it was a performance of R&J that I will remember forever along with Fonteyn/Nureyev and Ferri/Bocca.

Twitter about Hallberg Osipova performance, but from Hallberg himself, so I assume it is ok to post and it comes with a backstage photo

My sigh of a seasons end! I will never forget yesterdays show. Once in a career. Osipova and I were one. http://twitpic.com/245y8l

That's truly what it felt like. It's very rare and precious, but let's hope it's not "once in a career" for O&H, perhaps just the first time for Hallberg!

I think Kevin M will invite Osipova again next year.

And please bring back the superlative artists Ferri, Bocca, and McKerrow. Without having had these great dancers contributing behind the scenes as coaches, I don't think this season would have been as successful as it was.

Lets not forget Makarova, she certainly deserves credit for the wonderful performances we saw in Bayadere this season. Please bring back Makarova to coach/consult as often as possible! I'd love to see her do some work with the company's Swan Lake..

Have to agree with the superlatives most posters have written about the matinee - I thought Osipova & Halleberg gave an absolutely transcendent performance this afternoon. It's hard to believe it was her debut - she was incandescent. Wonderful, expressive dancing, a face that let us see every emotion going through Juliet's head, an intelligent, consistent, well thought out character arc that was delivered with compelling honesty & immediacy. Her legs, arms and especially the expressive use of her back were wonderful. In terms of the character, I loved the way she was able to show the roiling emotions her Juliet was going through in act 1. From a carefree child, to a prospective bride (she seemed quite happy at the thought of marrying Paris when she first met him), to overwhelming first love with Romeo, to the awful discovery that she'd fallen in love with a mortal enemy. It was emotionally exhausting (in a good way). I don't think I've ever seen a Juliet so clearly overwhelmed by the whirlwind of events on that fateful day.

I, too was disappointed by Vishneva & Gomes tonight, They weren't bad, but I didn't think they were anywhere near the level of Osipova/Hallberg or of their own past performances. With the exception of her very first performance with ABT, I've seen every Juliet Vishneva has done here. They were all extraordinary, until tonight. She changes her approach to a role constantly, and tonight it just didn't work for me. As others have said, she went from a child to a very knowing, elegant woman in a flash. It didn't make sense for the character or the story and and it never developed any further from there. Her dancing was beautiful but it just seemed wrong for the character, and this most dramatic of dancers left me completely unmoved.

I have other Ashton wishes - I'd love to see ABT do The Two Pigeons and Rhapsody. And please bring back Symphonic Variations.

Would also love to see Raymonda again. It's very unlikely that they'd commission a new production so soon after the last one, and I thought the Holmes version was ok. Didn't love the costumes, but the dance text itself was fine, I'd gladly go see it again!

And Giselle, of course!

Ambonnay, my thanks as well for the substitution info. As it happens, I have tkts for NYCB tonight and it's my only chance to see the new Martins ballet, as well as La Source and Western Symphony. I toyed with the idea of blowing it off and just getting tkts for tonight's SL but my nephew is joining me tonight. He's a young violinist and is very excited about hearing the new Salonen violin concerto, so I think we're just going to try to run over to the Opera House during intermission and hopefully catch the 1st lakeside act. We'll see how it works out.

Regarding your speculation as to the reason for the switch - its just speculation, we have no way of knowing what actually transpired but I can tell you that

!- Veronika & David have danced SL together before, I saw them in it a couple of years ago and they've probably danced it together since on tour

2- often when one partner is injured they will replace the pair with another pair rather than ask the non injured partner to dance with someone they haven't rehearsed with. Especially for the last performance of the season.

Merde to Veronika & David, hope I can catch the 2nd act adagio!

I'm sorry, but does anyone else remember the NYTimes deciding not to review opening night and reviewing instead the second night of a ballet?

I don't. I'm really shocked...

I adore Part, but is it really "opening night" when the ballet is performed year after year after year? Googling "vishneva swan lake ny times" I don't find a previous review.

It is typically the first night thats reviewed. Such has been the case with *every* previous ballet performed this season and, in my recollection, in previous years as well.

Both Part and Vishneva had previously been reviewed in the role in the times in joint reviews with other dancers, neither one as an opening night review to themselves. (the vishneva one is from 2005, Part had ones in 2004 and 2005 that I saw.

I am all for reviewing multiple performances, but I think it disingenuous to say that it isn't opening night and act as if there is nothing odd about omitting that review.

Agreed, no matter how many years a ballet has been around, each season's opening night is still opening night. That's one of the perks of getting the opening night performance: you are reviewed. In my experience this is really without precedent...

Just a quick note to say that I felt that Veronika was wonderful on Mon night. It was not the best SL I've ever seen from her but it was way, way more than just good. I did see many instances of shaky partnering on Cory's part, but the most important thing for me is that it didn't seem to rattle Veronika. Sure, she would have danced more freely and with more abandon had she been paired with Gomes, but she overcame her tendency to panic when paired with a partner she doesn't have complete confidence in, and IMO that's a huge step forward for her.

Just got back from Vishneva's SL - it was stupendous. This is the 3rd or 4th time I've seen her in this production, and I haven't been a big fan of her SL until tonight. She was totally on, her adagio was amazing, her positions breathtaking and heartbreaking. Hallberg was just as gorgeous, their lines complemented each other perfectly and they had great chemistry together. I wasn't crazy about what she did with the fouettees (they traveled a bit back & forth, were too fast for the music & not very pretty) but the fouettees don't make or break an Odette/Odile for me. This was one of the best performances of McKenzie's SL I've ever seen.