dufay

Generally agree with above- Cornego was amazing in both artistry and physicality. Firebird paled by comparison and would have been better first. I have liked much/loved other Ratmansky, but not sure I would want to see this again.

I thought I would just stop for a minute to watch and got completely hooked in. I can watch Sutton Foster sing/dance/act to the phone book. What a star. Hour went by so much faster than BPointe.

Going, going- soon to be gone (donated)- 2 orchestra seats for June 14 Bright Stream with Osipova. Tickets are Prime Orchestra- Row X 102 and 103. Willing to sell for less than value ($102).

I now have 2 (two) orchestra tickets for this performance available. Sadly, daughter will be starting her (unpaid) internship in DC and will be unable to attend. Please respond by PM or dufay@lycos.com.

I have an extra orchestra ticket for the June 14 performance of ABT- The Bright Stream with Osipova/Cornejo/Simkin. Will sell at less than face value. Please reply to post or email dufay@lycos.com.

My daughter did- for 20 rubles (66 cents). She loves Osipova, and thought she was amazing. She did enjoy the Bolshoi more than the Maryinsky (although Vishneva in the Ratmansky "Anna Karenina" was a highlight). She said the Bolshoi dancers have more personality- even in the corps. I'll ask her to find reviews.

The chemistry between Osipova and Hallberg was so real that you could understand why R and J would take their lives in despair. The partnering was transcendent. I had the privilege of seeing Ferri as Juliet right before retirement, and I thought I could see that Osipova was coached by "the best" but still had her own imprimatur.

Osipova had the audience in her palm. Amazing- not just technically, but her acting which I also loved in Giselle. I disagree that she didn't connect with Carreno. Unfortunately, he really looked diminished compared with her. His partnering hasn't suffered as much- he can still catch and lift. I wonder what Simkin is like as a partner ? I'm also looking forward to seeing her in R & J.

Did anyone see the Friday afternoon performance? If so, please comment on the Ratmansky cast.

As a big fan of the 'leotard ballets" Agon was the highlight for me. I thought the beginning of Divertimento was tentative, and the dancers were getting used to the relatively small stage. It would be great to see Clarinade again too- the sexy, humorous side of Balanchine. I was sitting quite near Damian Woetzel in the balcony. Unfortunately, I couldn't stay for the Acocella/Farrell discussion- how was it?

Can someone tell me about how long "Airs" is? Trying to plan my transportation back to Philly

Another vote for one of the most incredible Giselles I've seen (have not seen Aniashivilli, but Vishneva). I agree that her character was maintained thru the 2nd act, and felt a sense of loss as she wafted from the stage leaving the bereft Albrecht. I was disappointed in the peasant pas. Hee Seo and Hoven were not always together, and I didn't feel much connection. He seemed to be struggling a bit.

Sat evening- Enjoyed Corella in "Prodigal". His youthfulness leant realism to the part (not as youthful as Simkin, of course), but the last part- which should bring to tears- did not. I thought Boone terrific as the Siren. "Desir" was boring. The dancers were fine, but the choreographic language was so limited it didn't matter. My husband tried to sleep thru it. I liked "Dneiper" and would like to see again. Overall, I thought the acting excellent- Herrera, Part (so sad and devastated), Hallberg, Gomes. Of the Ratmansky I have seen (Concerto DSCH 2x, bits of Russian Seasons), it seems the most grounded. The corps really doesn't play much of a role, and their choreography is relatively uninspired. I agree with previous posters- too much paper on the stage!

Oh! thanks for the correction- I didn't have my opera glasses. Yes, loads of energy!

Sat matinee- many empty seats. Thumbs down- the setting behind "Scotch Symphony", based upon painting by K von Aroldingen. I guess it was supposed to represent the Highlands, but I thought it amateurish and garish. Thumbs up to everything else- J Ringer wonderful, E Pereira quite "spritely" (she is a tiny thing!), and the corps looked well rehearsed. M Kowrowski looked fantastic in Monumentum/ Movements, and M Fairchild and D Ulbricht tore it up in "Tarantella". The footwork reminds me so much of Bournonville (but not the arms), but no mention of this an influence on Balanchine. ?? This was my 2nd time for Concerto DSCH, and I still find the first movement confusing, but overall enjoy it. J Taylor was wonderful. Anyone else there?

I really enjoyed DSCH and look forward to seeing more Ratmansky in the near future across the plaza. Debating about a total cultural overload- we're going to Mahler Sat evening and considering NYCB in the afternoon. DSCH is on the bill, and I would love to see again.

I am also amazed at Helene's powers of observation and insightful review- but I confess- I did enjoy the movie. And then I went home and watched youtube clips of Callas, Dessay, 30 Lakme Bellsongs... (I'm a soprano fan).

I completely agree that the judges' decision making was given very short shrift. It made it seem as if the decisions were made in a few minutes. Now, this is entirely possible- sometimes it just takes a few notes and you know right away thumbs up or down. I too would have loved to see Stephanie Blythe as a panel member, with more insight as to the competition as it is now done, and a bit more discussion on the emphasis of looks over voice.

I would have liked more detail, but given the relatively short movie (about 1 1/2 hrs), it would have been difficult going into more personal depth. I would rather have seen more of the actual coaching. There were only snippets of what must have been hours of coaching.

Anyone else see "The Audition" on Sunday? What glorious voices! So very sad about Ryan Smith- a tenor with so much promise. It will be very interesting to see what becomes of these young talents over the years- I'll be watching the Met roster.

I saw the performance Sat night. I was pretty upset about my seats- $88 for an seat in the orchestra in a section in which there was no rise. The dancers' feet (SO important for Ballo) could not be seen. I was disappointed with Amy Aldredge, as I felt she lacked the clean attack and clean and rapid footwork that makes this so amazing. The corps did an excellent job. We moved up to the 2nd balcony (lots of empty seats) for the next two. Could have done with the Bigonzetti, although it was well performed, and enjoyed PCTS and the PAB performance.

I saw the Sat matinee live- no encore, but Florez did take a few bows. I have the benefit of being old enough to remember the Sutherland/Pavarotti performances. The current production is equally pleasurable, and the singing, although obviously different, wonderful. Dessay does not have La Stupenda's power, but the coloratura was just effortless and gorgeous. Of course her acting was full of fun. Not sure why the production was updated to ?WWI, but let's face it, the story makes no sense anyway.

Thursday's Neapolitan is listed as Ricardo Cervera. As I recall, he was pyrotechnically spot on.

The audience was MUCH ruder than Tuesday night; it was embarrassing. Many looked and acted like they were at a Phillies game. Totally "Philly-stine". My daughter swore she would never attend another ballet there, as the audience was so rude. There was quiet about 5 minutes into the first act, but people still got up and walked around to buy pretzels with mustard (Philly haute cuisine). The concessions should be closed during the performances. And I sure wish they could have brought an Ashton.

I too was disappointed that Rojo pulled out of Odile, but thought Roberta Marquez did an amazing job, particularly given the circumstances. Her arabesque is high and gorgeous. I thought Rojo looked a bit more remote and uninvolved in Odette than I would have liked. As for the Cygnets- I think it was one girl who was too short, rather than one too tall. Yes, there is a wide range of heights in the RB, with more short dancers than in many US companies. Sets were a bit Tim Burtonish, and rather than the ABT "Swamp Thing" the "Owl Thing" described above.