aurora

You are talking about "aiding authenticity" in a ballet based on a Shakespeare play about faeries in a wood, and one about a girl who falls asleep for 100 years and is woken up by a kiss. I don't see why that kind of authenticity (ethnic) is desired. What about a black or asian Giselle? Or Aurora in sleeping beauty? Or Odette and Odile? Do they conversely require "whiteface?" for authenticity? Or are dancers of other races now there simply to fill in when their race is called for in a role? This is what is implied by logically parsing your statement...

The ice skater Denis Tan from Kazakhstan was stabbed to death in the street, apparently by people trying to steal his car mirrors. https://www.bbc.com/sport/winter-sports/44887051 RIP Denis

I'm totally obsessed with Cornejo's soccer jersey-wearing kitty. She's one of my favorite things on instagram!

The Grand Imperial tradition in ballet is what is referenced here by CharlieH, not the plight of peasants in Imperial Russia... Certainly there was a great (and opulent) tradition of ballet before the revolution.

agree 100%

Today's show was going so well. Skylar was especially good--her solo was so fast it was breathtaking. Gabe really was a marvelous boy--but then on the final big solo he fell in his first jump and seemed badly hurt. He got right up, but clearly he knew something was wrong immediately. He kept smiling, but basically had to mark and pose his way through the solo. They did the tosses, but didn't actually toss him in the air--just lifted him up and down. I feel so terribly for him and hope he is ok soon.

That is my impression as well--I just meant this seemed like progression (downward) in Macaulay's opinion and not totally out of the blue, despite how enamored he certainly was with Hallberg at one point.

I feel like he started souring on him a while ago, just after he went to the Bolshoi--talked about him developing in the wrong ways etc. I'd try and find some direct quotes but I can't bear to read that many of Macaulay's reviews.

I like both variants to be honest. Aesthetically I see them as roughly equal, but I see the ABT version as hypnotic, and the culmination of the character. With Siegfried in front of her she's luring him towards her and then, with the relevee, indicating he should stop....It really is the last part of the seduction of that character.

what Lupe Serrano does is, as you indicate, distinctly not the same. In fact it is much what ABT does currently, though it is done at a slightly different place in the music. I wonder if the change to doing them on pointe was an alteration to that sequence by Alicia Alonso to showcase her amazing strength and technique? I admit I had a hard time tearing myself away from watching D'Ambroise pirouette on a foot with no relevee... 😧

It has been some years since I saw Polina (at ABT in Swan Lake) but she is too cool for me. Lovely limbs and positions but no emotion. Of course that is something that can improve over time.

No company allows filming of performances by audience members, although I guess in Russia it is tacitly allowed.

I don't agree with the premise that he had anything to protest in regards to his treatment. I love Gomes. But if an incident was made known to the company he worked for, it would have been negligent not to investigate. He was clearly a huge favorite of audiences and of dancers/staff alike. I'm pretty sure they too would have rather this never happened.

She did one of the three shades earlier this season. So she's actually had a couple of opportunities this season (and done well both times I saw her)!

Williams did on tues, I'd say Glad to hear the review! I was sorry to have not seen Forster as Espada.

I don't think all soloists are on a principal trajectory. Certainly neither Paris nor Zhurbin is. Nor is Scott or Hoven, I don't think. Neither was Salstein. Some of the others may have lost momentum but there was generally a possibility for them. As they are older they won't be filling that rank for terribly long. I'm all for rewarding dancers doing soloist parts with soloist rank, if it is possible.

According to wikipedia Paloma Herrera joined in 91, was promoted to soloist in 93 and principal in 95. Not sure that is the fastest but it is the fastest I remember

Cynthia Harvey. I love her dream variation--they don't do the penchees in the current production

It wasn't actually! As Devon Teuscher didn't do the weds. matinee, they announced Mercedes/Queen of the Dryads would be split between Stella and Cassie. In the matinee she was good, although the last italian fouette seemed a bit wonky--almost as if she thought she had reached the end and realized she had one more to go (it wasn't a bad mistake just looked a bit effortful). The matinee, by the way, was amazing!! To anyone concerned Gillian's technique is declining, or that she is plagued by injuries now (after the concerning spell of a year or so ago)--she was magnificent. I thought Shevchenko's fouettes on Tues were nearly untoppable, well Murphy's did. Multiples where she alternated the fan above head with fanning her chest, then some singles which by the end of, she started calmly fanning herself again. All on the music. The rest of the performance was great as well! She's doing it again Saturday night....

The outpouring of love from his ABT colleagues is quite touching! I wish him a speedy recovery!

I don't think it is fair to say that re: Jared. I do agree he would have done well as a principal and was sorry to see him leave. But he had stalled for some years and really not delivered in his roles. He then got back in form but with both him and his fiancee (who I also loved) wanting principal status moving back to his home town where they could both have that is kind of a no brainer. I really AM VERY sorry they left but I don't see that it was due to any fault by McKenzie

Oh I'm so jealous! I actually timed a trip to Italy in 2016 based on when they were doing it, but only had a chance to go once.

I'm with you. I really want to see this again, and not jetlagged this time!

I believe you misunderstood. I did indeed think it odd that "japanese spy" in particular would be the accusation made if someone didn't alter the end of a ballet (you note I didn't ask why "enemy of the people." But I know the change was made because it was forced on Messerer and Dolinskaia by the soviet party. I never claimed M&D wanted a happy ending--the government did.

She looked very solid last night (It sounds at least like yesterday was, overall, a more successful performance) She did travel but yesterday it was forward in a straight line, which I have no problem with. There was never any concern she would lose her grip on them (and I do tend towards nervous having seen plenty of dancers mess up the fouettes over the years!). Maybe opening night jitters got the best of her Monday!