tutu

One of the things that struck me about the performance was that it seemed like a number of the principals were part of the organism, not performing solos or pas de deux, but were so wholly committed. I’m not sure how many companies I can think of where that would be the case, so I’m struck by the level of teamwork and camaraderie at PNB — kudos to the leadership team for fostering that culture.

Wow, the Pite really was spectacular, monumental, moving. What a feeling it must to have been to see it live. Edited to add one more thought: I’ve watched a few times, and I just keep seeing Clara Ruf-Maldonado as Persephone and Amanda Morgan as Demeter.

Thanks for the reports! You’ve convinced me: I’m springing for a digital ticket.

Any reports? Especially curious to hear about the Pite.

I know it’ll never happen this season, but I’d love to see some debuts from the new generation coming up — Zimmi Coker comes to mind.

Based on the recommendations of those in this thread, got one of the last few tickets to today’s matinee. I could only stay for ITUR but oh, it was magnificent. Best I’ve seen it look across countless performances and companies.

Is there a rush program as well?

Watched it on digital today and agree as well — the new Ratmansky is an exceptional work and brought me to tears.

Any word on whether Peck has another Tchai Pas coming up? I didn’t see any on next week’s casting.

Same here! From a video posted by Peter Boal, it looks like Ratmansky was present, and waved the Ukrainian flag. https://www.instagram.com/reel/Ci4QpYIsdkG/?igshid=NjZiMGI4OTY=

Thanks for the color here. Would to have been at that Nadon workshop performance…

Funny how you and I left with opposite impressions! It’s my first time seeing Scotch Symphony (I know, I know…) so maybe that’s part of our different reactions here. Who have you really enjoyed in the role in the past, Cobweb?

Good showing from the company tonight. Divertimento looked clean, and Joseph Gordon was especially excellent, making a huge impression in his short solos. Bouder is BACK indeed in Scotch Symphony! Didn’t think of it as a natural role for her, but she was absolutely lovely — gorgeous épaulement, and her movements seemed to extend beyond the tips of her fingers. Bouder’s changed a bit, but the technique and charisma is very much still there. You wouldn’t think that she’d just spent a year away. Sonnambula was a dream. The drama worked and, despite the ridiculousness of the story, didn’t feel overwrought, because Mearns, Hyltin, Stanley, and Veyette struck exactly the right balance acting-wise. Divertissements were stellar, particularly Ulbricht as the jester. Hyltin was absolutely stunning as Sleepwalker. Edited to add: There was a before-curtain announcement that Lars Nelson would be replaced in both his featured roles tonight. Here’s hoping that whatever took him out tonight will be short-term!

So if I’m reading the casting list correctly, does that mean Gerrity’s debuting in the fiendishly difficult fourth movement principal role on gala night? Talk about pressure.

But physical strength is a really important component of a leading male dancer’s dancing ability. Very hard to make this not sound like a slight. Oh, how I wish that Lane would get some media training — for me, many of her more imprudent offstage public statements detract and distract from her onstage performance. Wish it weren’t so.

Norwegian National Ballet really has gotten to be just a spectacular troupe of dancers. I got the chance to see the company live in their (awe-inspiring) home theater a few years back and they were just fantastic. Glad Parish found a good home.

Staatsballett Berlin has taken a number of Vaganova Academy graduates over the years, particularly those focused on careers outside Russia. There’s also quite a bit of reporting on a large increase in young people — particularly multinationals (believe Avsajanishvili is Georgian) — leaving Russia, given the political situation and the way life has been changing inside the country. Of course, saying that Avsajanishvili is part of that trend is pure speculation; she may simply be seeking out a different repertory, director, or even pay scale. Dancers move around, and we just don’t always know why.

There’s a new video going around of Renata Shakirova’s debut in Paquita and Shakirova is just stunning — a throwback to another era. While there’s only so much you can tell in a video of excerpts, this seems to have been a debut to remember. I don’t know if Americans and Europeans will have the opportunity to see these dancers on stage during the remainder of their careers — certainly the Kennedy Center tour days are over for those of us in the U.S. — so I’m quite grateful for videos like these being available.

I was a bit disappointed with some of the ways that she was talking about increasing audience education and engagement (the podcasts vs filming vs etc.) — was hoping for something a bit more visionary — but the more I think about it, the more that seems like it’ll be a function of effective hiring in marketing and PR. ABT’s already come miles from where they were a couple years ago on that front and hopefully the upward trajectory continues.

Oh thank you @canbelto @Heleneand @California, my anticipation is only building! I’ll be there with bells on

I’ve never seen Sinfonietta but I will put in a hearty “Yes, please!” to ABT doing more Kylian — or doing Kylian at all! I can’t remember when, if ever, I’ve seen ABT perform Kylian in the past, but I figure that they must have at some point, right? Would be a criminal omission not to have the work of one of the late-20th-century masters in the repertory. And if Sinfonietta is to the gorgeous Janacek Sinfonietta? Oh, I might just die and go to heaven.

Likewise was blown away by the maturity of Park’s performance in Seven Sonatas, which was recorded and is available on YouTube.

With those big eyes? Yes please. Could be really interesting. I think I’m only going to be able to get in one R&J, and I’m thinking I’ll make it the Seo/Camargo performance if I can get the timing to work. Sounds like it’ll be a perfect way to appreciate Seo’d strengths, and I can finally see Camargo in action.

Oh how I wish I could see this!!!

Amen to that. Names may change, but the amount of forgettable new work never seems to… Helene, are there choreographers who you saw produce chaff who then went on to produce effective work with more experience? I get in theory the idea that choreographers become better choreographers by, well, choreographing, but I can’t really think of any dance-makers whose work I found forgettable for, let’s say, three years, who then turned around and wowed me down the line. (By contrast, I can certainly think of many dancers who all of a sudden catch my eye as if I’m seeing them for the first time)