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Everything posted by nysusan

  1. Its true, I always go to the box office to buy tickets and they do close for vacation every year in August. They re-open about a week before fall for dance tickets go on sale.
  2. Too bad, Parish is my least favorite of the Mariinsky men. I'd much rather see Sergeev as Apollo. Now it all depends on who his Muses are...
  3. Much as I love Abrera I'd be surprised if she was cast in it this time around. Several posters noticed a decline in her technique during the Met season, and this is a notoriously difficult ballet. Murphy might still be up to it, but I'm more expecting Teuscher/Shevchenko
  4. Thank you, Madame P, for sharing this news. It breaks my heart to think that I'll never see her dance again. I was hoping the "powers that be" at the Mariinsky would let her dance the tutu roles again, and let her tour again, but I guess it is not to be. I fell in love with her the first time I saw her - dancing in Swan Lake at the Kennedy Center. I was lucky enough to see her O/O again in another KC tour, as well as her Giselle, her Cinderella (and Cindy's mother), her Zobeide, Chopiniana, and in Forsythe. Her combination of great technique, musicality and beautiful epaulment was wonderful, but what I loved most about her was that whatever role she was dancing, she always let her humanity shine through. She will be missed.
  5. I'd love to see his Albrecht. And, if they revive Manon he'd make an amazing des Grieux - opposite Stella, of course. They've shown such great rapport both as Mercedes/Espada and Teaflower/Coffee.
  6. I just got a sponsored facebook post from ABT with the ABTJuly promo code. This is the same one I used several weeks ago, I think it was a 25% discount, but only good for orchestra tickets.
  7. I saw Teuscher/Stearns on Thursday night and those were my impressions, too. Watching her as Odette I could not get over how stiff her back was, and how low her extensions were. Plus there was something I really didn't like about the way she held her shoulders and head. I thought her Odile was much better. While it does bother me when someone travels that far forward doing the fouettees there's no denying that quadruple at the end was very impressive. Stearns was a non entity, Williams & Hurley were both lovely with Hoven in the pas de trois. Forster was FABULOUS as Von R, so commanding and those jetes were fierce. He's done a lot of second lead roles like Von R, Hilarion etc, I really hope they give him a leading role in a full length next season. Just one - Albrecht or Siegfried or Solor or Romeo - its time to let him show us what he can do.
  8. Based on how ENB worded the press release I'd suspect that he is leaving ABT. They said this about 2 dancers from NBC: From The National Ballet of Canada, Francesco Gabriele Frola and Emma Hawes join the Company as Principal and First Soloist respectively, while remaining dancers of The National Ballet of Canada. and this about Cirio: Following his recent guest performances with the Company in Song of the Earth, La Sylphide, and Akram Khan’s Giselle, Jeffrey Cirio, currently Principal at American Ballet Theatre, joins English National Ballet as Lead Principal. I guess we'll see if we hear anything from Cirio or ABT, but I suspect he is leaving.
  9. I was there for the first act on Wed and the entire ballet on Saturday night. My impressions pretty much mirror ABT Fan's. I was there to see Hallberg because these were his last performances of the season and I wonder how often he'll be dancing with ABT in the future. He was wonderful, his dancing was so beautiful and free and I loved his characterization of Romeo as a hopelessly romantic dreamer. Boylston's Juliet was very well danced, but I didn't feel any chemistry between her and Hallberg . She acted the part well, but I was always aware of her ACTING. The best R&J pairs - the ones we have become used to seeing at ABT like Ferri/Bocca, Ferri/Corella, Vishneva/Gomes and the one time we were privileged to see an absolutely heartstopping performance by Osipova & Hallberg - they lived the roles onstage, totally in the moment. Now of course I know that they were acting but you never felt it, you only felt their raw vivid emotions and total immersion in the story. I didn't see anything like that with Boylston and Hallberg and for me, R&J is pretty boring without it. And, yes, I too always think of Franklin the minute Friar Lawrence comes onstage. Even into his late eighties, he was such a presence. I usually go to ABT 3-4 times for most productions, but I see R&J as a 3 hour ballet that contains about 45 minutes of amazing dancing. It really lives or dies depending on who is cast in the 2 lead roles, and without great performances I find it pretty boring. In my book, this was not a great performance. On any given night I see 8-10 or more of my friends during intermissions, but each night this week I only saw 2 people I know, so I guess most of my friends felt the same way I did.
  10. nysusan

    Marcelo Gomes

    As reported in the Sarasota Ballet thread, Marcelo will be performing the final pdd from The Two Pigeons with Victoria Hulland during the company's August engagement at the Joyce Theater in NY. This will be presented at the Saturday matinee and evening performances. Program 2 Starts with Wheeldon's There Where She Loved and then to commemorate the 30th anniversary of Ashton's passing the program will include Monotones I & II and four Ashton diverts/extracts (La Chatte Métamorphosée en Femme; the pas de trois from Les Patineurs; Méditation from Thaïs; and the final pas de deux from The Two Pigeons, performed by Victoria Hulland and guest artist Marcelo Gomes).
  11. Ettore, thank you so much for clearing that up. I can never see Monotones enough so now all disappointment is gone and I am thrilled that i have tickets to 4 performances. I may have to break my "no Saturday matinee" rule and buy another ticket so I can see the Ashton diverts twice. Once everybody in NY knows that Marcelo is dancing on Saturday those 2 performances will surely sell out so I'm buying that extra ticket now!
  12. I enjoyed them so much last year that I bought tickets to several performances right away without knowing what they would be performing, since it had not been announced. Big mistake. I just looked at the Joyce's website and the rep is up. I could not be more disappointed. For a 6 performance run they are only performing 3 pieces plus 1 performance of "TBD Divertissements by Ricardo Graziano". And out of those 3 pieces only one is by Ashton. One. Only 1 Ashton. There is a special program for both shows on Saturday "(In honor of the 30th anniversary of Ashton’s death)" consisting of: Varii Capricci by Frederick AshtonTBD Divertissements by Ricardo GrazianoSymphony of Sorrow by Ricardo Graziano Don't ask me how that honors the anniversary of Ashton's death, unless Graziano is arranging Ashton divertissements, which I think would be unlikely. And this is the program to be performed at all of the other performances: There where she loved by Christopher WheeldonSymphony of Sorrow by Ricardo GrazianoVarii Capricci by Frederick Ashton I am just amazed that this company that has made its reputation on its productions of Ashton's ballets is bringing such a small, weak rep with so little Ashton. Next time I'll wait for them to announce the rep!
  13. Of course, I forgot that you were going to London this summer. How wonderful that you were able to see Cojocaru's Aurora. I only saw her dance it live once - well, twice actually but on the same tour when the RB brought their SB to the Kennedy Center. That must have been 10 -12 years ago, but its still the gold standard by which I judge all other Auroras - and find them wanting. So glad to know that she is still amazing in the role.
  14. So glad to hear that she's returned to ENB and that after all the injuries, the maternity leave (and at her age) her Aurora still gets raves. There are lots of reviews of ENB's Beauty at the Coliseum, here's a link to one of them. https://www.theartsdesk.com/dance/sleeping-beauty-london-coliseum-review-triumph-english-national-ballet
  15. I saw the Wed night cast of Trenary, Shayer, Shevchenko and Hoven. I found the ballet absolutely charming and am looking forward to seeing it again on Friday night. Trenary and Shayer were both great, and the "Hunt of the Lark" divertissement was brilliant. For me, while I enjoyed the whole ballet, that scene alone was worth the price of admission.
  16. Taken out, taken herself out - same thing. She couldn't dance the role. I wouldn't assume that she "took herself out" to save her time and energy for another role. Nobody takes themselves out of the biggest premiere of the season by ABT's world famous resident choreographer unless its filled with difficult steps that they can't do.
  17. nysusan


    I had been considering traveling to see him - I am so glad that I didn't!
  18. ABT needs to turn their attention to the corps in the shades scene pronto - the descent from the ramp and opening was the worst I've ever seen. Uncoordinated arms & eyes, as noted, but to me the most distracting part was that the second girl down the ramp was consistently behind the lead girl and the next 4 or 5 with her arabesques as they snaked through the stage. Once in formation she was still behind everyone else in that first line with her developees and arabesques. And the whole front line were shaking like leaves. ABT should be ashamed, this was completely unacceptable. fondoffouettes & laurel - I agree with just about everything both of you said in your posts. Lane and Cornejo were wonderful, despite her problems with the scarf dance and his lessening flexibility. I also thought his elevation was somewhat diminished, but his last solo in the shades scene was spectacular and it is a pleasure to see the two of them together.
  19. Thank you for noting that. I love Union Jack and I was excited to see it listed when the 18/19 schedule first came out. But then when I checked the schedule online recently and didn't see it I figured it was a major case of wishful thinking on my part. Now I know that I am not delusional, so thank you for that! Its certainly disappointing that they've dropped it, but it still looks like a really great season.
  20. Although I am not a fan of his (except for Chroma - I liked that one) I would not say that his work does not belong in ABT's Met season - I would say that this MacGregor doesn't belong there. We have discussed ad infinitum on this board that the Met audience is conservative and expects a certain type of ballet from them. While I understand the concept of educating your audience, this is never going to make ABT's audience happy. It would be a better fit during their fall season if they insist on reviving it. I understand that dancers hunger for new material and I'm sure they all enjoyed working with McGregor but the prime directive for ABT should be giving their audience what they want. Let me also add that while the gassing of a young girl was an upsetting sight, it was far from my only objection to this piece. I don't feel that the action on the stage made his premise clear but more importantly, I didn't like his choreography. I found it ugly and unimaginative. The dancers executed the steps well (esp Cornejo and Cirio) and it was great to get a good look at Aron Bell, but other than that this was a real loser.
  21. Here are the program notes: "Inside the last colony, humanity is a fragile frontier and survival demands the fittest. As nature reclaims its rites, a mother must choose what she holds most dear, and what she can afford to lose." I am truly grateful that I did not buy tickets for the Firebird/Afterite program as it turns out I would be seeing 2 pieces that I loath. The Dorrance was interesting but nothing I would rush out to see again. It gave Salstein a nice solo to go out on and I'm glad he got that recognition. The evening started with 2 excerpts from Harlequinade. The first, the Ballabille from act , featured garish costumes and my first impression of the choreography was that this was not a ballet I was going to want to see a lot of. However, after that they did "Hunt of the Larks" from the 2nd act and it was absolutely beautiful in every imaginable way. I already have 1 ticket to see the Lane/Cirio cast and I plan to buy another one tonight.
  22. It's been a couple of years since I've seen Osipova's Giselle and I forgot how idiosyncratic it is. Hers is not my very favorite but it is certainly up there. It is dramatically cohesive, full of tiny dramatic details, ridiculously well danced, compelling and moving. Let's start with Hallberg. The beautiful line was there, along with great acting and an incredible rapport with Osipova but his dancing was very tentative, especially in the first act. That's understandable considering his circumstances and while disappointing it didn't compromise the performance for me, it just put the focus squarely on Osipova - and she was captivating. Her technique is still top drawer. She did not do the 360 in her hops on point but they were so strong and secure and she did the full diagonal from the top corner to the downstage corner with speed, beauty and totally in character. Her penches were high and secure and, of course her jumps were amazing. Her first act Giselle was not your typical delicate, fragile hot house flower - while shy at first she was also a little coy and flirtatious. She was a pretty robust Giselle, more like Ulanova than Vishneva. In the second act she blasted out of her grave looking more like a furie than a wraith. Yet she did convey a weightlessness and spirituality. It was a great performance. Brandt and Gorak danced the peasant pdd. He was much improved, and she was even better than on opening night. She held one balance so long that it almost looked like showboating. Forster was great as Hilarion again and Duncan Lyle was very effective as Wilfred. Richardson and Post danced Moyna and Zulma again. They were both fine but not particularly distinguished. I was not crazy about Shevchenko's Myrtha on Wednesday, and didn't love her opening solo last night either. Her bourrees were fast but noisy and her feet did not look very flexible. However when she came out for her solo with the Wilis she was compelling, with huge jumps and great authority. I think I'm starting to understand what people see in her.
  23. Yup, around the 3rd or 4th (or maybe 5th) curtain call the audience started singing happy birthday to them. It was quite amazing! Did you start that? If so, Bravo to you!
  24. Agreed, I love the way she dances.
  25. Angelica, I love Lane, I am a big supporter of hers and while I found her 1st act magnificent on Wednesday I was not as enthusiastic about her second act. It was good, certainly but I didn't think it was great and last year it was great. There've been numerous analyses here so I won't rehash it all again, I'll just say that while I thought she was mostly excellent from the waist down I had issues with her upper body. Head and neck positioning but especially the romantic arm positions fell completely by the wayside. Don't get me wrong, her arms were lovely but they weren't in the romantic style and for the second act of Giselle that is a big no-no in my book. Plus something indefinable was missing. Contrast that with Hee Seo - whose technique is nowhere near Lane's level - Seo's first act was just ok and while her second act had some issues (low arabesques and jumps) her epaulmant was textbook Romanticism and utterly gorgeous. For act 2 Giselle I want Lane from the waist down and Seo from the waist up. These are the dilemmas we are faced with today at ABT. Regarding the future, I have great hopes for Trenary but she will take time to develop. The other dancers you mentioned are all talented but its a long way from being a talented dancer to becoming a great artist and most talented dancers never make it that far.
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