DanceActress

I tend to disagree, but you credit the production team to think that such subtleties would be important to them. I suspect they were more concerned with general body type and facial bone structure, a close look-alike who, with the help of soft focus, the right lighting and good makeup, would be virtually indistinguishable from the non-dancing star. All good points, carbro. I think Vishneva would have made an interesting double for Portman, but I'm sure filming around her schedule would have been insane. In any event, I'm looking forward to seeing Sarah Lane onscreen, and ballet-themed films are such a rarity that I shouldn't quibble about casting.

According to Wikipedia, ABT's Sarah Lane was Portman's dance double for "Black Swan". Interesting choice... From what I've seen of Lane's dancing, I imagined her as a potential Giselle or Lise rather than Odette/Odile. I'm excited to see the film. And now I understand why I glimpsed Vincent Cassel near Lincoln Center a few times

Hitchcock apparently wanted Garbo for "The Paradine Case", according to a PBS documentary narrated by Glenn Close that aired some years back. I can't quite picture that working out to anyone's advantage. On the subject of Garbo's leading men, I wish she had been paired with Charles Boyer again. He, along with Henry Daniell and Clark Gable, matched her talent and wasn't obliterated by her presence.

Thanks for all the linked reviews! Tamara Rojo is such a womanly dancer. I can imagine her Aurora being a mature contrast to Alina Cojocaru's innocent take on the character.

Any reports on the Barcelona Sleeping Beauties?

What young ballerina talent at the ABT now (leaving aside Seo) do you believe have the potential to become principals that have even the hope of one day performing like Osipova and Vishneva? Probably no one. However, IMO Maria Riccetto and Kristi Boone have the potential to be principals soon (I would include Stella Abrera except for her injuries, which might preclude a heavy performing schedule). Don't count out Simone Messmer! In all of her dancing this season, she's had razor-sharp technique and stage presence to burn. And thank you for all the reports of super Saturday. I wasn't overly impressed by Osipova's Giselle last season, so I didn't feel the pull to see her Juliet- I'm wishing I had re-considered that decision.

It's the super Russian all day "Romeo and Juliet" event! Osipova and Hallberg this afternoon, Vishneva and Gomes tonight. I'm looking forward to reports as well- I'm Romeo and Juliet-ed out for the moment.

You're right, bingham, about Dowell coaching the first production of ABT's "The Dream" in 2002. I remember him taking an opening night bow with Alessandra Ferri, Ethan Stiefel and Herman Cornejo. Going to ABT that night was a gift for my college graduation and I was thrilled to even see Anthony Dowell walk onstage

More Ashton! Along with a revival of Fille, what about "Ondine"? I think Diana Vishneva and Marcelo Gomes would be very interesting in it. I could also see Stella Abrera as the title character.

There's also Courtney Lavine, who I noticed dancing in the corps of "Sleeping Beauty" this weekend. She's an apprentice member of the company.

I completely agree with AnthonyNYC's assessment, but the film is worth seeing for the first 15 minutes just to see the re-creation of "The Rite of Spring" premiere.

Another thought about ABT's production: I noticed that the Waltz children passed out roses to the princes for the Rose Adagio. Shouldn't they at least bring their own roses to the party? Come on, fellas

Judging from the number of children attending yesterday's matinee, perhaps that's the demographic ABT was targeting with this production. It would explain the Disney fairy princess aspect of the sets and costumes. My friend said the fairies' costumes made her think of Skittles. Children can appreciate grandeur and history though. When I saw the Paris Opera Ballet's grand Louis XIV/XV- inspired production, the children in the audience didn't seem lost or over-awed. On another note, besides the glorious Alina, I loved Stella Abrera's gracious Lilac Fairy. More principal roles for her, please!

I attended this afternoon's performance of Sleeping Beauty. Earlier posters have eloquently described Alina Cojocaru's performance, and I would just like to add that I will always treasure her Aurora. Her near perfect balances, lush phrasing, and gossamer lightness were truly amazing. She embodied the ideal of classicism and the character as well: she lit up the stage of the Met. Let's hope it's not another seven years before we see her with ABT again.

I agree completely, cygnet. So many choices, all of them wonderfully danceable. I have two off-topic questions regarding Chopin. Ballade No. 1 is in 6/8 time (mostly). It's exquisite, with mood and tempo variations that make it quite suitable, I think, for a pas de deux. Does 6/8 constitute a "waltz"? Has any ballet ever used Ballade No. 1 -- or indeed any of the Ballades? Chopin's first Ballade is used in Neumeier's "Lady of the Camellias". It's a dramatic pas de deux for Marguerite and Armand after she has seemingly abandoned him. If I'm not mistaken, Jerome Robbins made use of the third Ballade in "The Concert".

Frightening news! I'm happy and relieved that she's all right, but what will the thieves do with pointe shoes and a hammer??

Nina Ananiashvili with the Bolshoi- divine.

I saw a ballet version of "Tristan and Isolde" with the Royal Swedish Ballet a few years back, choreographed by Kryzstof Pastor. He used the preludes from the opera and the Wesendonck lieder. I remember it being long and dreary with undistinguished choreography.

The Sleeping Beauty waltz and the Valse Lente from Sylvia. And the Liebeslieder Walzer. Impossible to only pick one ballet waltz !

I thought that too, especially since at the end of the ballet Marguerite is struggling to write in her diary. It doesn't make any sense to highlight her writing in the diary unless it is linked back somehow to Armand reading it. The libretto has many confusing aspects, but I knew the story of La Traviata well enough that I was able to follow the story. Isn't Armand reading Marguerite's diary at the end? Nanine presents a book to him in a very solemn manner as the final scene begins: the audience sees the scene through Marguerite's eyes whil Armand is reading it. Doesn't Armand read "Manon Lescaut" during the ball montage in Act I? I'm familiar with the Dumas and Prevost novels, so following Neumeier's setting of the story wasn't that difficult. My friend, however, had trouble distinguishing between Prudence and Olympe and wondered who Gaston was (or that guy with the riding crop).

I second that! What a performance. I loved Veronika Part's Manon as well- venal, passionate, and then dying quite beautifully.

Are there plans to release these performances on DVD after the initial broadcasts? "Swan Lake" and "La Dame" are already available with the POB, but the other ballets are not.

A much-deserved nomination! Felicitations a Monsieur Bullion

"Mayerling" has the most morbid props used in a ballet: a gun, a skull, and a hypodermic needle

Thank you for the linked review, leonid- it only makes me want to see these pieces more