aurora

""It was the approach of my 80th birthday," he says with a laugh. "That'll do it. It somehow seems slightly obscene to be an 80-year-old deejay."

Very sharp indeed!

You can see some more of the same attitude in this:

http://tinyurl.com/mh9lh99

I thought other people might enjoy this, from when he retired:

http://www.nydailynews.com/archives/entertainment/classic-wqxr-voice-signs-53-yrs-article-1.566128

I haven't seen an obituary yet, but it was announced on the radio and by other announcers on WQXR on twitter that Lloyd Moss, who worked at WQXR from 1953-2006 has died.

He was funny and a true wit, who quoted the 2000 year old man on his (now defunct) wqxr page, and responded in answer to "what is the one thing people should know about you but don't" "That I'm devestatingly handsome."

I've missed him since he went off the air and miss him even more now.

RIP

if you "HAVE NEVER SEEN ANYTHING LIKE THIS BEFORE", Bolshoi probably has no experience in dealing with this kind of situation. For opera, the “B” role can be brought in to replace the “A” role during a show, if the “A” role cannot continue singing. But, for ballet, I have never heard of the “A/B” role thing.

How sad! I feel for Maria. Hope she could get recovered as soon as possible.

actually something very much like this happened last fall in one of the performances of the Ratmansky shostakovich piece. Cornejo was injured on stage and for his next (?) entrance Jared Matthews was in costume and in place.

What could be meant by the phrase, "part-time" ballerina, especially in connection with NYCB dancers?

I intrepreted this to mean a principal who doesn't dance all that often. I don't know Macauley's intent, but that was how I read it.

I think that was not how he meant it, because while perhaps your reading could be accurate with regards to Wendy Whelan at this point in her career, Bouder would certainly not qualify.

Considering that ABT already has productions of all of the usual suspects, it's a pretty sure bet that one of the existing productions will be replaced. The productions that bring in the most revenue, are the most prestigious and have the big guest names, and on which traditional sponsors want to hang their nameplates are "Swan Lake" and "Sleeping Beauty," which are also the ABT productions that get the most criticism.

I haven't seen the Swamp Thing, but my sense from what is written here, the criticism for the production has at least in part an affectionate tone, unlike for "Sleeping Beauty."

I saw the first revised version of "Sleeping Beauty," which is a hot mess, and if there's anyone who can bring coherence, balance, and proportion to this ballet -- choreographically and dramatically -- it's Ratmansky. Not to be underestimated is his ability to involve every last person on stage and how he demands that every person who puts foot on stage is invested. (This aspect is missing in the film of "Don Q" because the editors had to choose one thing to watch at any momement, and outside the set pieces, at most 25% was captured.). Since the corps has to spend a lot of time carrying the figurative baskets of grapes, at least in a Ratmansky version, they'll be integral. They deserve at least this.

I think people enjoy complaining about swamp thing and the purple pimp, but the real criticism (with more validity) of SL is its truncated final act.

Personally I'd rather see SB be overhauled. Despite Macaulay's assertion, I think it is by far the weaker by far of the two. I just wonder if ABT will be willing to toss such a considerable expense so soon.

Ratmansky's Don Q is traditional. There's a DVD/HQ digital download version available with Dutch National Ballet. He and Burlaka also collaborated on the Bolshoi's "Le Corsaire".

I forgot about the Corsaire, which is a fantastic production.

Thanks for responding re: the Don Q! That was my impression from what was said about it previously, but I wasn't sure if I was remembering properly.

Oh Terpsichore, please do not let Ratmansky ruin the Swan Lake. It's one of the last pleasures I still have in life - please do not take it away from me.

Agree w. you Waelsung. When Ratmansky gets his hands on a classic that he tries to revamp to make his own unique stamp, things go off the rails. I could not stand his Nutcracker or his Firebird. He is at his best when he is creating something from scratch, rather than making a new version of a well known classic.

I actually like both those ballets very much (especially his Nutcracker). That said, i don't have the investment in either of those ballets that I do in SL and really think that in a company such as ABT the SL has to cleave closely to the original dance text (ok we know it has changed a lot over the years and I don't want Benno in the Act II pdd, but a fairly "traditional" approach is warranted).

What about his DQ? I know some people on this board have seen it...where does that fall in terms of originality v tradition

One more prediction, one production will be retired with a new version to be premiered in 2015.

Swan Lake or Sleeping Beauty?

If it's one of those two I'd guess SL, as it is the older production (no matter how flawed the SB is).

SL actually is a fairly handsome production physically--Von Rothbart costumes notwithstanding.

SB is not, but both have problems with the dance text.

SL thus seems a more appealing revamp project (financially), as hopefully some of the sets/costumes could be retained.

NB: I think this maybe should be in the 2014 prediction thread not the 2013 gen info one?

I found this on a Russian forum. Ivan Vasiliev and Isabella Boylston's Blue Bird PDD:

Awful.

Thank you Plisskin for posting this. Boylston looks fabulous! Vasiliev? Bent knees, feet not pointed, legs turned in. I don't understand. So what if he can jump as high as a skyscraper and turn like a tasmanian devil. He looks awful doing it. I would love to be a fly on the wall during his rehearsals. I wonder if KM and the rehearsal directors correct him for these persistent and unprofessional mistakes?

Ratmansky, when he was director at the Bolshoi, plucked Vasiliev and Osipova out of some crowd (was it a school or a regional company?) and hired them at the Bolshoi. I wonder if/how he gives corrections when he choreographs, as he used both of them in the Trilogy. And I wonder if he pushed Vasiliev along as a way to get Osipova into the Bolshoi. I haven't noticed anything along these lines in his interviews to date.

I believe you are mistaken. Osipova came into the company from the Bolshoi school.

Sorry for saying something already made clear by someone else earlier in the thread!

If in order to get her you need also to hire him, that's a poor administrative decision on everyone's part. If those are her conditions, I say tell her "no". He is so far inferior in technique and style to so many others at ABT, and yet he is getting not one, but multiple performances of many roles that should be going to others. I think it can be said that the Emperor truly is without clothes at this point. He is taking up space on the roster and it's so sad to see. Given her numerous recent cancellations and the fact she will be with the Royal more now, I have to ask is she even worth it? ABT has many qualified and exciting dancers. Let us see them!!

Like the numerous (more than Osipova) recent cancellations of ABT home-team dancers Cory Stearns, Hallburg or hammoudi?

It is disappointing when someone is injured but there is no reason to criticize a dancer for it. I really doubt that she learned this new role only in order to blow it off.

Also it is clearly not true that to get her you need to take him. This is evidenced by the fact that she has been hired at the Royal and he has not.

I saw Kochetkov/Cornejo in the evenng. Her Rose Adagio was competent and professional, but not breathtaking on any level. I thought she did better in the later acts. However, if her presence gave our wonderful Herman a chance to perform Desire, I guess I cannot object too much. Herman was extraordinary. Kajiya is miscast as Lilac (much too short).

I agree that the rose adagio was not the highlight. She didn't so much have difficulty with the balances as not attempt them (she looked secure enough so it seemed a choice, but a disappointing one as far as I was concerned).

Not only did she grow through the acts, but my admiration for her grew. She is a rather quiet dancer, and of course very petite, but she really had drawn me in by the end.

She and Cornejo make a beautiful pair. Well matched in height and with very complementary lines. He had no difficulties with the partnering.

I have to say that in contrast to abatt I thought Kajiya was wonderful. She did not look short (especially not with these principals!).

She was gracious, serene, warm and her technique was secure. I found her a much more convincing orchestrator of action than i've ever found Abrerra, but I have not seen her in the role this year.

I understand what a metaphor is, the one Aurora used is singularly unpleasant.

Acid attacks and blindness are also unpleasant.

I'm sorry if my analogy disturbed your sensibilities (or those of anyone else), but rape provides the quintessential example of "blaming the victim," which I believe we can all agree is a horrible thing, whatever the circumstances.

As for Vorontsova, I do pity her, whether or not she was forced to resign, she is in an unpleasant situation, largely not of her own making.

I don't see why this should be the end of the road for her, and i hope it is not.

So Tsiskaridze's influence colours Vorontsova's views on Filin? Strange spin to put on the words of a girl whose boyfriend is in jail and has lost his career, From the interview she sounded more concerned about Dmitrichenko than her former coach to me.

Nothing at all indicates Dmitricenko's being in jail/losing his career is in any way Filin's fault.

Let's try this again. A woman is raped. Her attacker (who confessed) is jailed and his career is ruined. Is it the rape victim's fault?

Assuming (which I doubt) that Dmitrichenko is innocent. It is STILL not the victim's fault that he is in this situation. He was not in any way set up by Filin.

I want to see Veronica Part on Sat., but I want to see Herman Cornejo on Fri. Mr. Puppytreats prefers that I go on Friday, but I think Veronica would be a beautiful Aurora, and Stella would be a wonderful fairy, and I have a front row ticket. Is the part for Prince Desire very small in ABT's production? If Herman has a small part, such as he did in "Corsaire", that could weigh in favor of seeing Veronica.

The part is smallish. This version tries to give it a bit more heft but I'd always choose my sb based on the female lead. Plus Part is dancing with Gomes, so not too shabby on the prince either

My prediction for 2014 Met season complete (almost) list:

La Bayadere

Giselle

Manon

All Shakespearean program with The Dream

Ashton Cinderella

Swan Lake

Coppelia

Don Q

What about the tempest?

Abatt: wouldn't shakespeare program count as mixed?

Abatt, any opinion on how Jared Matthews did in his debut as Aminta?

I thought people might enjoy this on fb: https://www.facebook.com/photo.php?v=987782594043&set=vb.15817871857&type=2&theater

(a tiny bit of dress rehearsal footage)

Reyes debut was actually tonight. I thought she acquitted herself quite well all things considered

I saw "Sylvia" on Monday, Tuesday night and the Wednesday matinee. Here are some comparisons:

[re Part]Her Act I was excellent throughout though there were places where I felt the last-minute change of partner and the lack of rehearsal and experience showed. She seemed a little unsure of how to place herself on the Amazons' bows in the Act I entrance pas. Also Veronika still has bad trouble with unsupported pirouettes - supported ones as well - she has a tendency to spin off-center, tipping off the vertical and nearly falling out. I have seen her struggle with these in the Shades scene in "Bayadere" and also in a recent rehearsal of "Corsaire" she had problems with a combination in the Act II pas de trois based on unsupported spins. Here the trouble came in the Act III pas de deux where Sylvia has to do an unsupported pirouette and Aminta rushes in and catches her - she nearly collapsed on the first one and Marcelo jumped in early to steady her. She did better on the second one but it was a fraught moment.

I didn't think she was insecure about how to place herself on the Amazon's bow as much as her hand got stuck in one of them (you could see the strings).

I've actually felt that her pirouettes have been much more secure of late. She may have had an issue in the Corsaire rehearsal (I didn't see it), but she certainly did not in the performance.

I did notice the Act III issue you commented on, but that is a quite difficult series, involving the partner coming in, and I'm guessing this was indeed a place where their lack of rehearsal time together really was an issue. Given the difficulty of the partnering for Act III, I was amazed that there were no other miscues.

Terrific performance this afternoon. There was no program insert for Gomes, just an

announcement. Must have really been last minute - hope Stearns will be OK.

Veronika Part was gorgeous. Authoritative, commanding, and yet very feminine. This

is a great female role. Her pizzicato solo in the 3rd act was worth the price of a ticket.

Beautiful footwork and musicality to die for. Just as strong as Murphy on Monday.

Part was presented with 2 bouquets and she tried to give one to Gomes - he declined

with an "aw shucks, it was nothing" gesture and graciously accepted a single rose.

What a guy! And looks great in a tunic.

Looking forward to Cornejo and Reyes tomorrow night. I bet Reyes will be fabulous as well.

We are very lucky with our ladies this season. I hope this Ballet stays in the rep for a long time.

It is a treasure.

I want to second all of this!

It really was an excellent role debut.

I love Part and think that persona-wise it is a great role for her, but wasn't sure about all the intricate footwork and hops.

Well as Balanchinomane noted, this was not a problem. I saw one bobble in the partnering, but her performance was clean and strong throughout.

I was very impressed at the partnering. Yes Gomes is amazing as a partner but given the lack of rehearsal time, their ability to work together in what is a very challenging pdd was really astonishing.

The gesture of offering Gomes the bouquet was really charming!!

Paloma is very tall for Herman.

I wouldnt call osipova "very short" at all. She is taller than Reyes, I dont think Herman can handle Osipova in Don Q or Corsaire, for example.

I wouldn't call Whiteside tall either, he is more mid-heigh like Angel, but he seems to be a very good partner, it looks like he can easily handle Murphy, Herrera and prob Kent too, although at this point Kent only dances with either Bolle or Gomes.

Part and Semionova are the ones in a different league, they can only dance with Gomes/Bolle/Stearns. After seeing Semionova/Hallberg like three times, I really wish they stop this partnership, they are both gorgeous but she is way too much of a woman for him. He can partner Zhakarova, but Semionova (and Part too) are not the super skinny type of SZ.

The problem is a little aggravated because Gomes and Bolle are claimed by the Vishneva and Kent all the time, so there is less chance for the other two ballerinas to dance with them (luckily for Part, neither of them is dancing SB, so she finally got Gomes !!!)

I generally agree with your assessment (especially the last bit), but would disagree on Whiteside's height. He isn't very tall (like Bolle) but he is considerably taller than Corella and partnered Part quite well in Don Q (I know it was reported there were awkwardnesses, but I didn't see them, I thought he partnered her very well).

A few quick notes on last nights Simkin/Boylston Swan Lake:

• This performance confirmed for me that Jared Matthews, like Cory Stearns (though perhaps not to such a great extent) has improved. His purple Rothbart was much more engaging and alive than in the past. He nearly botched the long balance, but otherwise it seemed technically solid.

I'm glad to hear it, I sadly won't be seeing his purple Rothbart.

He was supposed to dance Benno in the Part/Stearns performance, but was out (those dreaded cast change slips!).

I'm very happy to know that he isn't injured. He has been having such a nice season and he has a debut to look forward to.

Thanks, Aurora, for the wonderfully detailed report on the Osipova-Hallberg R&J. I'm curious about one thing: I saw their R&J a year ago at the Met and the audience went wild at the end of Act I, demanding a quite unusual curtain call (which many found inappropriate, I later learned). Did that happen again this year?

It's also interesting that this was apparently the only R&J of the last four performances that did NOT go on sale at the TKTS 1/2 price booth. What have the houses been like this week?

The audience went wild, but there was no curtain call (unless it was very much delayed...I had to use the facilities and darted out asap)

Regarding the house--it was quite full monday. I have to say I didn't look around as much this time. But I do know that the upper level side boxes were quite full, which never happens unless the house is packed. And there were a lot of people in standing room.

Thanks for all of these reports. I confess I would love to read about last night's R&J with Hallberg and Osipova . . .

Well since you asked, and no one else has written...

I thought it was probably one of the best performances I've ever seen.

I saw Monday night (Gomes and Vishneva) as well, and thought it excellent, but this was something else.

As a friend said, Vishneva did a wonderful job of playing Juliet...Osipova was Juliet.

The passion of Osipova and Hallberg was tangible. It was completely believable and compelling.

Hallberg was in wonderful form. Beautiful in his solos (and dances with Matthews and Gorak), and had none of the difficulty partnering Osipova that he apparently did with Semionova.

She was magnificent. Touching, innocent, no mannerisms or anything out of character with Juliet.

Their dancing was so fresh and natural that it seemed almost improvised.

While other dancers are excellent in "death" in the last scene (Vishneva, Ferri), I've never seen someone look so completely dead and limp. Their trust in each other (her trust in him I guess one should say) was complete and heartbreaking.

As for the supporting cast, I loved Gorak and Matthews with Hallberg. I felt that their lines were a wonderful complement and they really seemed to have a believable rapport. Especially Matthews and Hallberg, who you truly believe are friends. I loved the touch where, instead of Matthews skipping the last leapfrog in the Mandolin dance as Salstein does, Hallberg came over and Matthews jumped over his head while he was standing hardly bent over at all.

Matthews death scene was more naturalistic than some others but I liked it and thought it worked very well.

I really feel that in the last season he has developed stagecraft, a compelling personality on stage, magnificently. He now seems to love dancing, love being in front of the audience, and have developed the knack for drawing the eye of the audience. He is very enjoyable to watch perform. I hope, like others, that this stellar season, and his forthcoming debut in Sylvia will put him in line for a promotion.

The rest of the cast paled somewhat. Tybalt was danced by Patrick Ogle. I enjoyed his performance but after Radetsky's scene-chewing turn on Monday it was less vivid a characterization, although in some ways I like him played with less malice.

Radetsky was fine as Paris, but he seemed a bit menacing throughout, not just later, and I don't think it is a terribly effective role for him, though it was a fair performance.

The Harlots were a bit out of sync and didn't have the oomph of some other trios. They were Isabella Boylston, Sarah Smith and Melanie Hamrick

Lastly, I'm sorry to say but I think that lady Capulet needs a dancer of more experience and presence than Nicola Curry. Abrerra was wonderful and moving in the part on Monday, and Part has done it exceptionally in the past. The dresses were ill-fitting on Curry, she looked frumpy, rather than rather haughty and elegant. Her reaction to the death of Tybalt was decent but not fully tragic. She didn't have the emotive abilities for this role.

But those last are minor quibbles. The performance overall was just incredible. It was one I wish I could see over and over again.

A last note, while Osipova does the death scene rather differently than Vishneva, she too ended in the full deep backbend.

Yes, and yes, Colleen. But I find him extremely unrefined, compared, for example, with the likes of the triumvirate of Hallberg, Matthews, and Gorak. Do go yourself and see what you think.

It is true I've seen him (Whiteside) in roles where "refinement" is not necessarily a critical category (basilio in don q, slave in corsaire) but I wouldn't say this was my impression at all. I thought he was a very strong actor in Don Q. Very affectionate with Part and a good, strong, partner. They had much greater rapport than I've found her to have with Stearns traditionally (he was very much improved in Corsaire though so we'll see).

He wasn't knock your socks off as the slave, but was good and relatively elegant, even if this is not his best role

He was also excellent in the Hallberg part in the new Ratmansky.

Except that he is an "outsider" I'm not sure why there is a rush to dismiss him.

Based on talent/experience etc, I think he is certainly the most likely the next male principal (barring something dramatic). And rightly so, despite the fact there are several men in the corps, as well as a male soloist that I would like to see promoted as well.

Hopefully we will see some of the men promoted to soloist soon and they will be given further opportunities.

I apologize for contributing to the offtopic-ness.