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Everything posted by Kristen

  1. Thanks to all who are keeping us up to date on what is available. Particular thanks to Sofiabn today for the alert about the Perm Opera Ballet production of La Bayadere. Lovely! Is it just me or are these companies crazy for putting these out there free of charge? We're in a pandemic induced arts crisis and I would cheerfully pay to see any of these as I do for Bolshoi in Cinema and the Met Opera movie theatre transmissions. Learn from the newspapers - DON'T GIVE AWAY YOUR CONTENT! In the meantime, I'll be thankful for the entertainment and to all of you for keeping me up on what is available.
  2. Thank you, Drew and Abatt. The $$ is not really the issue, but hope somebody will pick up my tix at half price or whatever. Hate seeing a ballet seat go empty and just sick that I'm not in it!
  3. Unfortunately, due to a detached retina, I cannot get on an airplane for 10 weeks. ARRGGH. I have single tickets for NYCB Swan Lake, Friday, Saturday nights, 2/14, 2/15 and a ticket for the Sunday afternoon performance of ABT Giselle, 2/16. All tickets can be emailed as a PDF. Original price listed but happy to take any price. Just had to unload Hamilton Tix too! Lesson learned Buy travel insurance! February 14 NYCB Second Tier, seat B9 $108 February 15 NYCB Second Tier, seat A22 $108 February 16, ABT, Kennedy Center, DC - Orchestra, aisle seat Y2 $109 Kristen - best to text me at 772 332 3400
  4. Yes, it's Broadway, but it's also ballet. Great chance to see Robert Fairchild in an incredible performance. Check for movie theatres near you at this website. https://www.anamericaninpariscinema.com/
  5. Hope you are right. I have tickets to her DQ performance but having seen her completely blow her La Bayadere shades role and transmit her disappointment via face and body language, probably all the way to the family circle, I'm not as confident as you.
  6. Thanks Dreamer. Called the box office and they cheerfully exchanged them for $6 each. If only the Met were as accommodating.
  7. Darn! I already have tickets for Friday night and I'm not a Misty fan. Has anyone had luck with exchanging tickets with the Kennedy center box office?
  8. 12:30 PM I just bought tix for Le Corsaire and seat selection was working fine.
  9. Drew - correct!. Osipova did dance Gamzatti in 2012 on the night Vishneva cancelled and was filled in by Part as Nikiya. I was there, backstage, as I had paid for a "Mastercard Priceless" experience to be a "guest stage manager" for the night. My report on that is still somewhere on the forum and it was, truly, a VERY special experience in my life. I tend to focus on the women, but seeing Gomes that night was amazing - such a magnificent partner, always - witnessing Part/Gomes hugging in a dark corner offstage after all the curtain calls was an incrediblly intimate view into this world I admire, but don't inhabit. Who has a job where you make a connection like that?
  10. Well, let's see - guess I'm up for the chump of the year award since I booked non refundable plane tix and a hotel prepay (great bargain on Hotwire) to see Herrera's retirement on June 9 and Osipova in SB on June 10. Fortunately I hadn't bought the June 9 tix and substituted Broadway, but did buy the June 10th one. So, now I will attend neither of the things I wanted, while taking time off work mid week in order to now see a ballerina I felt was not ready to be promoted to principal. Sigh ... not the first time this has happened, but it is demoralizing. As was said earlier, we understand injuries, but that doesn't explain the rescheduling of Herrera and who knows what the story is with Osipova. I've been had .... again.
  11. Okay - saw it Friday night - LOVED IT. No it's not a night at the ballet, but the totally infectious enthusiasm of Fairchild and Cope swept me away. The audience loved it. However, because it's more dance than musical, I fear for how long a run it will have. I'm a total sucker for dancers who love to dance and manage to transmit that to the audience - Fairchild and Cope did that. Yes, the book is weak and the show relies on the magic of Gershwin's music - I can nitpick it to death, but, honest to God, I'd go see it again tomorrow.
  12. Amour - Thank you for the detailed review. I was there last night also and agree with your assessments of the evening. I went last year for the first time and loved it. I enjoy seeing the YAGP kids just as much as the "stars", many of whom were sold short by a few schlockey "world premiers" that fell flat with the audience. Kim was definitely the star of the evening. I think Boylston is a lovely dancer, but do feel she was promoted ahead of her time - as you said, she looks like a soloist - all the more when dancing with someone with the star power of Kim.
  13. AlbanyGirl - Let me reiterate what Drew said - this is a very expensive habit, or hobby, or whatever you want call it. In my twenties, newly employed, I pooled all my $$ to buy ABT tickets for their appearances in Miami (Baryshnikov, Makarova, etc.). It's 35 years later and I promise I've dropped a bundle on plane tickets, hotel bills and ballet tickets and trust me, it's all worth it.
  14. As far as I’m concerned, ABT’s fundraising went off the rails several years ago. I had been an annual donor for at least twenty years, but I quit when it was no longer of ANY benefit to ME (selfish, I know, but I live on a librarian’s salary, not a trust fund). They used to send advance mailings to donors that allowed them to buy tickets AHEAD of the general public – very advantageous to those of us who love ballet, but live a thousand miles from New York. Now, priority is given to those buying subscriptions. I would love to buy tickets to 3 performances, all two to three weeks apart, but I don’t live there. Sure, you can trade the tickets for other performances, but again, you have to go and stand in line IN NEW YORK to do that. Invariably, the dress rehearsals that donors are invited to are scheduled midweek, not that convenient for someone who flew in for the weekend. They have apparently lost sight of the fact that they are supposedly our “national ballet company” and maybe, just maybe, people other than New Yorkers attend performances and would happily donate money if they were treated with the consideration they used to be shown. My ABT dollars now go to NPR.
  15. The official announcement on the Straz Center site still lists only companies (and SR). YAGP is dribbling names out via Facebook and Twitter one at a time this week - Stella Abrera, Sascha Radetskty, Brooklyn Mack, etc. - REALLY? It's December 30th. How about telling us who's showing up and MAYBE I'd buy a ticket and drive across the state. The "Stars of Today Meet the Stars of Tomorrow" in Tampa 2 years ago was very nice, BUT they told us who was dancing months ahead.
  16. I realize this is old news - not so good at timely postings. The Osipova Giselle was well filled on Nov. 13th. I'm a huge Osipova fan, but, like many, found her the total lack of connection with Sarafonov dulled the whole experience, not to mention those annoying trees going up and down. The Flames of Paris (Vasiliev) on the 14th had lots of empty seats in the back of the 1st Tier. I'm not a fan of this ballet, but enjoyed it much more than the Bolshoi version. Vasiliev, still a charismatic stage animal, needs to stop smoking. When I fixed my opera glasses on him, he was literally gasping for air. Bondareva was excellent, but Irina Perren was amazing - would love to see more of her. And, the little girl in Act II - adorable - you could practically hear the entire theater go AWWWWW !!!! I realize this a Don Q discussion, but wanted to post on capacity of the Koch.
  17. I'm way behind on this report, having seen it two weeks ago today. Loved it - such an imaginative production - sets, costumes, acting - music not particularly memorable..... Tiler Peck was magnificent. We already know she lights up the stage as a dancer, but she held her own while appearing with three Tony award winning actors ( a chance to hear the glorious voice of Rebecca Luker again!). Rather surprised by the mixed reviews from Washington Post and NY Times. I SO hope this transfers to Broadway and finds an audience - it's such a unique show. I realize passion for ballet is VERY limited, but who would have foreseen the great success of Billy Elliott on Broadway - seen by many with no interest in seeing soccer players become ballet dancers or any interest in the plight of miners in the UK. So, my hopes are high for Little Dancer.
  18. Congrats to her - a huge loss to ABT.
  19. Thanks, Natalia, for your report. Very excited about seeing this on Sunday, Nov. 16th - circling by Washington on my way home after seeing the Mikhailovsky in New York this coming Thursday and Friday. I'll post my take on Little Dancer when I get back.
  20. sasark - Thank you for your very detailed review. Look forward to hearing more and living vicariously.
  21. They have raised the prices drastically so 25% off is no great bargain. I bought first ring tix when they first went on sale for $55.
  22. I've posted a short review under OTHER AMERICAN BALLET COMPANIES
  23. This production was a total pleasure and I was impressed with the quality of the production. Kudos for a third time viewing of a Boca Ballet Theatre production. (I saw the Mariinsky do Swan Lake in January and do not want to draw any comparisons, since we’re playing in a totally different league here, not to mention that my Mariinsky ticket didn’t sell for $35) The Boca Ballet dancers were of all sizes, styles and talent levels, but gave a cohesive, well rehearsed performance overall. Ariel Soto, guest from the Cuban Classical Ballet, was a Benno with a great jump and stage presence. Seeing Sara Mearns for the first time live was a delight, particularly from the sixth row in a small theatre. She’s a gorgeous dancer and any minor flaws were the result of partnering problems – understandable when dancers meet up shortly before a guest appearance. Simon Ball was a competent, if unremarkable, partner. He cuts a pleasant figure, but lacks elevation. I’ve never seen him before and in younger years, perhaps he had it, though you also have to consider the limiting effect of a small stage. The audience felt pretty much as I did – polite applause for Ball, very enthusiastic for Mearns. Mearns transition from Odette to Odile was magnificent, with much of the personality transformation communicated with flashing eyes. Her fouettes traveled a bit, but given her incredible Balanchine style speed, who would care? No, she doesn’t have those Russian swan arms, but nevertheless, I can’t imagine any NYCB dancer delivering a more gorgeous, nuanced Odette than Mearns.
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