Amour

Tonight was the first in the Art Series program: Serenade, Agon & Symphony in C. The casting was the same as I've seen before this season, except Anthony Huxley took Andie Vyette's role in Agon.

To my surprise, there were more empty seats in the orchestra than on a regular night. Row N, center, was empty except for about 4 people. I guess they saved seats for people who were no shows.

Since I've already reviewed this before just some brief thought. Tess was again wonderful as the Dark Angel in Serenade. She's really having a great season.

In Agon, Anthony Huxley did a very good job (IMO) of filling in for the injured Andie. The PDT and his brief solo looked near flawless. He has great attack. He is a little on the short side but made the partnering work. Maria was great again tonight but Amar had some difficulty in the partnering department. When he lies on the floor and gives resistance to Maria in her penchée, his arm was shaking like crazy. But the audience went wild for them. Megan LeCrone fell off pointe when she was going into a pencheé, supported by Devin Alberda and Daniel Applebaum. At first I thought it was their fault, their arms not being high enough. Now I think their arms were probably correctly placed and she just lost her balance before she could reach them. But it was a minor problem.

La Bouder was, as always, wonderful in the 1st movement in Symph in C. Mearns, likewise in 2nd movement, though she has a bit of trouble keeping up in the finale. The surprise for me was how much I liked Lauren Lovette in the 3rd. I have been disappointed in her recent performances ( I didn't like her performance in this role a few weeks ago, when she slipped) but she was fantastic tonight, maybe the best of the 4 female leads. Brittany Pollack and Adrian Danchig-Waring were again terrific in the 4th movement.

We received a book of photos of Dustin Yellin's work as a souvenir. Puzzlingly (for me) inside the front and back covers are ballet terms with what would seem to be definitions. But they aren't; for saut de chat they have a paragraph that begins "Seek a meaningful relationship with fireman". Déboule is " an intensive cleanse". Pas de cheval: "Locate small, plump white pony; grass fed in the South of France while dressed in red velvet pajamas". And so on.... Is this supposed to be funny? I don't know (I don't have a great sense of humor) but I simply didn't get it. But the inside has nice color photos, many of which are of the art installation on the Promenade.

The evening ended with a kind of party on the Promenade, free beer, loud music, people chatting. All in all a nice evening.

I've never seen the Eifman Ballet live but have heard some of the choreography is horrid. Anyone know anything about "Up and Down"?

To my eyes, Savannah Lowery looked remarkably out of shape, though she still managed okay in Agon.

I saw Savannah Lowery tonight in Concerto Barocco. To my eye she did not look out of shape, in that her dancing was fine. She did, however, look like she needs to lose some weight. For me, being "out of shape" means you can't practice your craft well, not whether you're thin or heavier. For example, Vasiliev with the Mikhailovsky seemed a bit out of shape with his breathlessness and occasional sloppiness of form. But I didn't think he looked any heavier than usual. I know being out of shape often goes along with weight gain but not always. My complaint about Justin Peck's dancing is that it's simply not where it should be for a soloist. Well, they pulled Adrian Danchig-Waring from tonight's Goldberg Variations (replaced by Tyler Angle) so maybe he'll be dancing Justin's pièce tomorrow.

Tonight Goldberg was a lot less wearing than last week. The second section had Ashley, Joaquin, Sara, Tyler, Sterling and Amar as the principals. If you thought Ashley was just an allegro dancer, think again! She was wonderful as the lead principal and made the adagio movements truly come alive. She well out danced Sara (who is an adagio dancer). Sterling and Amar were also very good. Tyler (who danced both pieces in the program) again showed himself off as a quiet virtuoso, not just a great partner. Sara was unmemorable, IMO.

I wasn't thrilled with Concerto Barocco tonight. Savannah and Maria K don't seem well matched to my eye. Maria looked better in the PDD with Tyler than on her own. Savannah was pretty good but, as I said earlier, could use losing a few pounds to lengthen her line. I preferred the Tess/Sara matchup from last week though even those two don't look that good together. Still it's a great piece. I just tried to look at the corps.

There was a cable TV documentary maybe 15 years ago called "Fighting over Fokine" where his granddaughter Isabelle Fokine staged The Swan and Polovtsian Dances and maybe also Scheherazade for the (then) Kirov from Fokine's notes and other materials in his archive. There was a "bible" for The Swan which included Fokines's wife in photographs of each pose. She asserted that all current versions, including Lopatkina's were "improvisations" that had little to do with the original. She also maintained that Markova's version was not the original, although I don't recall whether she said anything about Pavlova's, though she did say that Diaghalev changed Fokine's ballets during his lifetime, to which he objected.

I recall that there was a lot of opposition from the Kirov dancers to changing steps that they considered traditional and eventually she taught Yulia Makhalina the original version, which was contrasted with Lopatkina's. I found this video of Makhalina in the Swan from 2013. It doesn't state which version it is, but it sure isn't the Lopatkina version!

https://video.search.yahoo.com/video/play;_ylt=A2KLqIWBw89UfXMArfr7w8QF;_ylu=X3oDMTByZWc0dGJtBHNlYwNzcgRzbGsDdmlkBHZ0aWQDBGdwb3MDMQ--?p=yulia+makhalina+dying+swan&vid=2e745afa08bade5154d297e4120a21c9&l=2%3A53&turl=http%3A%2F%2Fts2.mm.bing.net%2Fth%3Fid%3DVN.608006505860501025%26pid%3D15.1&rurl=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DcX_JkJUWg6Y&tit=The+Dying+Swan+-+Yulia+Makhalina&c=0&sigr=11bjhstt3&sigt=110nbo6jo&sigi=11rrv0vcv&age=1377313955&fr2=p%3As%2Cv%3Av&hsimp=yhs-001&hspart=mozilla&tt=b

nysusan, I saw that same program. Wow, it was a showdown between most of the Mariinsky (who were very hostile) and Isabelle Fokine. I thought Isabelle made it clear she simply wouldn't let the Fokine works be performed if she didn't approve of how they were being danced. And there is a huge difference between Makhalina's Swan and Lopatkina's. Maybe Isabelle gave up the fight (also you can't be everywhere to monitor everything). I prefer Makhalina's version to Lopatkina's

About Lopatkina, I think she is a life altering ballerina but she doesn't do everything well. Balanchine, for example. She dances the Diamonds PDD from Jewels as if it were Swan Lake. Blech, no. But generally, I think she chooses her roles carefully, ones that suit her. You don't really see her doing contemporary work, as Kondaurova does. But that's fine. No dancer is good at everything, and everyone has things they excel at. I will only say the Odette she did at BAM was SO wonderful, IMO. Much better than the already excellent SL she did in London in August. And I love how she makes every role so unique. I'm just sorry that unless I go to StP I may never see her dance live again:(

Well that's fine, you're entitled to your own opinions. I have heard that she has improved very recently; it's just a shame it's happened so late in her career, but there are dancers who are better than her I think and well, can you really call a ballerina a prima if she hasn't danced Aurora

I read an interview with Lopatkina where she specifically said she did not think herself suitable for Aurora in SB because she's too tall. She has chosen not to dance the role for that reason.

I just saw this film at Filmlinc (Feb 6, 2015). Let's just say that Jody Lee Lipes is no Frederick Wiseman. The film just not have the length of a Wiseman film (Ballet 422 is 72 minutes; Wiseman films run 3-4 hours). Wiseman usually spends at least 3 months with his subjects. Lipes explained he really knows nothing about ballet (though he is married to Ellen Barr, a former NYCB soloist and current head of their media operations). I think it really helps if you are (and have been) a NYCB frequent viewer. I was able to identify most of the dancers (even the corps). Albert Evans (who helps Peck) is a former NYCB principal and current ballet master. He is obviously in charge of Peck's work (in that he could set it on new dancers or another company). The person who talked to Justin about talking to the orchestra is Cameron Grant, a company pianist who both plays for rehearsals and class but also performances (Pictures At An Exhibition).

When I see a a Wiseman film I feel I really understand the institution he is portraying. Here, I didn't really feel I had any better understanding of the choreographic process. How did Justin pick this music? How did he pick the dancers? What were the money constraints? What was Peter's role (you know he had one)?

There were also a few things I really didn't like. One was Lipes showing Justin complaining to Albert about Amar Ramasar, one of his leads. Amar seems like a relaxed, good guy, but no one wants to be called out like that on camera. The other was Lipes final shot, which was of Concerto DSCH (which Justin is preparing to dance) with Bizet's Symphony in C (NOT its music) playing over the visuals. We only get about 2 minutes of what Paz de la Jolla looked like on stage. That was really a letdown and something a Wiseman film would never do. I mean, the whole film is about the creation of Paz and then show only 2 minutes? And end with Ratmansky's masterpiece? What a letdown. And if Lipes knew more about ballet, maybe he'd have realized a bit more what it means to end with another choreographer's work.

Anyway, I enjoy everything ballet and really like film, too. This is not a great film but if you like NYCB (and new work) this is a must see. If not, may be a pass.

I spoke to Justin Peck briefly about Rodeo after tonight's Ballet 422 screening. He said they are " still working on" a replacement for Andie Vyette. However he doesn't anticipate having to dance himself on Sunday (the ballet's next showing).

I wanted to ask him about still dancing while choreographing but I wasn't called on. Someone else asked a similar question, though. Justin responded that he likes dancing because it gives him another perspective on choreography. Apparently, he has just been cast in Symphony in C, a ballet he has long studied. I say, then, Justin get in shape. Sorry Kathleen, but I didn't like him in La Valse (which I saw twice with him as a Death). There's not much dancing in the role anyway ( he walks downstage, gives the lead some gloves, a necklace and shows her a mirror). And I found his acting unpersuasive. He wasn't really sinister or seductive. I don't know whether he really wants to dance or Peter is just making him. In any case, he needs to improve, IMO. Stil, kudos to him for Rodeo.

Thanks, Kaysta.

Also back from tonight's performance. Justin Peck's new piece, Rodeo (in which Andie was to have danced) was up second. There was no announcement at the start of the program that Andie was out so several of us were hoping against hope that last night was just a minor problem. But after intermission, (just before the work) Justin came out to announce there had been an emergency and one of his dancers, Andie Vyette had been injured in the previous night's Donizetti. In order to present a "finished" work, he and Sean Suozzi would take over Andie's role. Justin danced the beginning while Sean danced a later PDT w/Danny Ulbricht and Gonzolo Garcia (which somewhere became a PDD) and then the finale. I know this was an emergency but I have to say (my one complaint) that Justin is in terrible shape. He now dances worse than the worst corps dancer. Clearly choreographing is his priority and he shouldn't be dancing. He drew my eye away from the ensemble because he was so bad. Hopefully, by Sunday (when this program is repeated) Sean or someone else will have learned the whole role.

As for the piece, I thought a Rodeo was a resounding success. It is a piece for 16 dancers, all of whom are men, except 1-Sara Mearns. It was really great to see the opening ensemble with just men leading the way - no partnering, just doing male steps, a lot of jumping and turning and some just running around. Unlike de Mille's Rodeo, Justin's seems to have no story. It is just a visualization of the very upbeat, energetic Copland score. There is an opening where all the men (and Sara) dance. That leads to a group dance for 5 soloists led by Taylor Stanley, also with Danny Applebaum, Craig Hall (yay), Andrew Scordato, and Allen Peiffer. Ssomewhere in there are a few virtuosic solos for Ulbricht (double yay!) who executed them beautifully. There is a long PDD with Sara and Amar which, unlike abatt, I found a little dull. Sara wears no tights (Wayne MacGregor anyone?) so you can see her legs are made of steel muscle. There is also the PDT with Sean, Danny and Gonzo which became a PDD as Danny dropped off. That was just the basic structure though. I really need to see the ballet again to focus on it more. But it got a standing ovation and at the next intermission everyone was a buzz with how much they liked it. I thought it was great.

Pictures At An Exhibition started the evening. There was a major cast change from the fall. No Wendy (Sterling took her part), no Tiler (Lauren Lovette). We also had Gretchen Smith, Indiana Woodward and the immensely talented Joseph Gordon. As cobweb noted above, Gordon is really talented: great turner and jumper, and a very good stage presence. What is most noticeable to me, though is his epaulement, use of his chest, arms, hands and head. This guy has definitely had some Vaganova training somewhere along the way because SAB doesn't teach this way. Anyway, he won't be in the corps for long, I expect. As for Sterling, I was surprised at how much I liked her in Wendy's role. While not an angular, unique presence, her technique was excellent and her jumps into Tyler (her partner's arms), his twining her around his body and occasionally throwing her in the air looked very good. I also loved Adrian here. This type of contemporary ballet really suits him more than something more classical like Chaconne. I did miss Tiler, but on the whole, liked the ballet more than in the fall (this was my 4th viewing)

Finally, Wheeldon's Mercurial Manoeuvres. I'm not sure I've seen this ballet before. As Canbelto noted during intermission, it's set to the same Shostavich piece to which Ratmansky choreographed Piano Concerto No.1 (with Vishneva and Osipova) for ABT. The opening of the piece begins with the wonderful Anthony Huxley dancing to the concerto's main theme. He always moves so quickly and cleanly, it's a joy to watch. Then Wheeldon uses a large ensemble of female corps, standing initially almost motionless on point. He creates shapes, patterns and formations with this group. In the middle, there is a long PDD gloriously danced by Tiler Peck and Jared Angle. She was gorgeous and musical in it but to remember steps, I need to see it again. Sara Adams and Kristen Segin were 2 demis. My husband felt the Ratmansky piece "got" the music better than Wheeldon but to be fair I'd really have to see both again (though I think he may be right). I still liked Manoeuvres a lot though.

So a highly successful evening for NYCB and its audience.

Tonight at NYCB we had Donizetti Variations, La Valse, and Chaconne. Same cast as last week (which I saw): Bouder and Vyette in Donizetti, Mearns and Angle in La Valse and Reichlen and Danchig-Waring in Chaconne.

Donizetti started out well. Different from the last 2 performances we had a different group of corps members. Replacing Devin Alberda, Daniel Applebaum and Troy Schumacher were Harrison Ball, Joseph Gordon and Spartak Hoxha. The women were all different as well except for Emilie Gerrity. Although I love Devin Alberda, I thought Harrison Ball was very good and Joseph Gordon is definitely someone to keep your eye on.

As for the leads, things started in a very promising way. In the first few lifts, Andy held Ashley very high and for a long time so she actually looked like she was hovering in mid air. He also really gave her traction so she could pull backwards and off balance in some arabesques. What a great partner! Ashley did her first solo and was speedy, had crisp footwork and could still play with the music. This remained true throughout the piece. She is such a virtuoso and artist. And those saut de chats with her working leg at 120 degrees. Wow!

As for Andy, his first solo was ok but, like last week, nothing approaching the excitement of Joaquin. But with the second solo, I sensed something was wrong. Andy looked like he was really struggling. Hr had virtually no elevation in his grand jetés and had trouble with the quick changes of direction. He completely bailed on the turns in a la seconde and only managed about 4 revolutions in the pirouettes where he gets the momentum from going on relève with his standing leg. He did a few off center pirouettes and then disappeared for the rest of the piece. He missed his final solo (the corps girls just kneeled there) and Harrison Ball came on to partner Ashley in her final supported pirouettes. Although it was obvious he'd gotten injured Andy did come back, once the curtain went back up to take his bows but he looked like he was having trouble moving and in pain. I know we all wish Andy well and that he recovers quickly from whatever happened tonight. It is quite the irony that he just gave an interview to Gia Kourlas for Timeout in which he talk about his aging body (he's 32). You can read it here:http://www.timeout.com/newyork/dance/new-york-city-ballets-andrew-veyette-on-the-new-justin-peck-and-the-aging-male-body

La Valse was again wonderful with a dramatic Sara Mearns and Tyler Angle. But when I saw Justin Peck as Death, the only thing I could think of was how was he going to replace Andy for the premiere of his Rodeo tomorrow. Someone is going to have a lot of rehearsing to do. What a shame all around.

I again very much enjoyed Tess and Adrian in Chaconne. She seems to really have found personality and confidence this season. There was a minor bobble again in the beginning (not as noticeable as last week's) but it didn't affect my enjoyment of the piece. I also really liked Lauren King and Antonio Carmena in the PDD. She is a great turner and the 2 of them have good chemistry. The rest of the corps was also very good. Again, just a change in casting really affected my enjoyment of the piece.

Here is Androsova: http://www.mariinsky.ru/en/company/ballet_mt_women/androsova1/

She is blonde with a heart-shaped face and strong pointed chin. The picture on the Maryinsky site makes her look uncharacteristically dumpy and mature. She is neither in person - piquant and tiny.

You know how in every company there is one ballerina in the corps who you always notice and look for? For me it is Androsova - she joined the company in 1996 after training in Perm, so she is a veteran.

Yes, thank you. That's exactly who I was talking about. She's had a really long career for a corps dancer. In the U.S. I think the longest career a corps dancer can have is 10-12 years. Then they are either expected to leave or do so voluntarily.

Just for fun, I fished out my DVD "Kirov Classics" to watch Paquita to compare it to what we saw at the Kennedy Center. Filmed around 1990, the Paquita leads are Julia Makhalina and Igor Zelensky. Larissa Lezhnina does the 4th variation and Vinogradov was the AD. Boy, watching this you can see the old Vaganova epaulement has now totally vanished (except maybe in Brileva). Most striking is the use of the head. Back then it was lifted up and back (really pretty far back). Now, seeing that is a rarity. In the PDT, one of the women in the DVD does a series of brise volées. I don't recall seeing that at the Kennedy Center. And Lezhnina is gorgeous in the 4th variation (as always); so much better than Marchuk was at the Kennedy Center. Of course Lezhnina was a principal and Marchuk (who is lovely) is, I believe, a coryphee. Back then, legs are lower, balances a bit less sustained. But seeing this made me feel sad about the current state of the Mariinsky. But of course, NYCB has also changed how it dances radically in 25 years. I guess time moves on, styles change and ballet is a living art. Still, I'm feeling nostalgic.

I'm on my way home from the Sunday matinee.

A very last minute announcement made just before the curtain went up for Spectre informed us that Kim was replacing Stepin. This was my first time seeing him, and while I agree that he was not the most evocative spectre, I was till very impressed with him. Tall & lean his jumps were beautiful and high and he really hung in the air. I look forward to seeing him with ABT this spring

Yes, Kim is so terrific, a real virtuosic dancer. Spectre might not be the best role for him but ABT's Bayadere should be great! I think NYC will love him. I hope Stepin (who was supposed to dance) is ok.

No. I know who Marchuk is (blond, big smile) and she is a lovely dancer. But something about Asaben ( darker hair, green tutu in Paquita) reminds me of NYCB's Tiler Peck.

Another thought I missed before is that Asaben (3rd variation in Paquita) kind of reminds me of Tiler Peck in her musicality and attack. I'd love to see her dance Balanchine.

You are talking about Oksana Marchuk, not Asaben! You are right that Oksana is a beautiful Balanchine dancer - I have seen her in Emeralds pdt and also as chief fairy (can't remember exact name of role!) in Midsummer Night's Dream, and she has softness, lightness and speed. Her musicality and use of arms are some of the best in the company in my opinion.

More thoughts on the Tuesday opening night:

Cinnamonswirl, I totally agree about Oksana Marchuk being a standout soloist among the PAQUITA variations (Pavillon d'Armide solo with celeste accompaniment); beautifully controlled and adorably sweet aura. Oksana is a lovely doe-eyed blonde with a charming smile, reminding me of Lezhnina in this solo. Interestingly, she also danced one of the two demi-solo 'glitter girls' in golden tutus...so she bowed twice after the performance - with her 'glitter' partner, then stepping forward with a bow for her solo. I feel for her this week, quickly changing tutus twice at every show...from Gold Glitter Girl, to the red/white Pavillon-solo tutu, then back to Gold Glitter for the finale!

Ivannikova delivered a lovely 1st solo (Little Humpbacked Horse water goddess), with exception of end of Italian fouettés. Anastasia Matvienko, while an elegant presence, could not muster the soaring jetes that one expects to see in the opening diagonal of the 5th solo (from A3 of Petipa's full Paquita); Matvieko kicks the front leg way-up high and back leg is low...not a natural soarer.

Asaben (Amour solo fm Don Q) was a disappointment, as she fell off point during the mid-way diagonal of pique turns. The other big disappointment for me was a somewhat raggedy Batoeva in the pas de trois solo (Demi pointe in what should have been a diagonal of piques on pointe); however, I loved her high floating jetes in the entree. On the other hand, Jana Selina was perfect in her pas de trois solo! (I've already reported the greatness of Filip Stepin as the male member of the Pas de trois.)

The three pairs of 'glitter girls' dancing in the midst of the corps segments were very good, with each duo featuring one blonde and one brunette. The ones who I identified are:

Blue tutus: Ostreikovskaya & Brileva

Salmon-pink tutus: Androsova & ???????

Gold tutus: Marchuk & Lavrinenko

!

Do you know if Androsova is blond? We've been seeing this one blond corps girl for AGES. She's even in the SL Blu-Ray with Lopatkina (and I think that dates from 2006). And I'm not thinking of Marchuk, I know who she is. Plus, again I will stress how brilliant Brileva is. She dances like a previous generation of Vaganova dancers: the epaulement, long neck , slightly tilted back head, the perfect arms. I hope she will be promoted but,sigh, Fateyev doesn't like Vaganova:(

You said Marchuk did the 3rd variation again. Only point this out because there was confusion throughout this thread. Marchuk did the 4th variation. Don't mean to correct but people were confused and it keeps staying confused. Marchuk was listed in the program and on the Kennedy website as the third, but that is incorrect. She was the 4th variation.

The problem is that Marchuk appeared onstage third so unless you know the choreography and the right order of the variations (which you clearly do, Birdsall), you assume it's the 3rd variation, when it's really the 4th. Same problem with Asaben. And tonight the Kondaurova/Matvienko switcheroo.

Speaking of Fokine's Dying Swan.... I was at Carnegie Hall this evening for a concert. In its museum area, Carnegie has a TV screen with video excerpts of important historical events that have occurred at Carnegie. Tonight they had video of Gelsey Kirkland doing Fokine's Dying Swan at Carnegie. Gelsey was before my time, but people always rave about her. Tonight I understood why. Her performance was absolutely gorgeous. Nothing was overdone. Such eloquent and fluid use of her arms and her back. Isaac Stern was the violinist. Upon arriving home I found out that the performance was in 1981 at a Carnegie Gala. Did anyone see this performance live?

Unfortunately,no. Gelsey is just a few years older than me and I did see her dance but infrequently. I simply didn't have the money, especially for a gala. Also in 1981, NYCB was really the company I wanted to see (the years of Merrill, Maria, Heather, Stephanie Saland, Lourdes, even Suzanne and Peter were still dancing). Gelsey was already at ABT so I saw her infrequently. Misha did dance then, even as AD, and I tried to see him (he was still the best guy in ABT even during the late '80's) but I didn't go to ABT nearly as much as NYCB. I never saw Gelsey's Dying Swan but her T&V with Misha is on YT and I think it's the best one I've ever seen. Also, Makarova really kind of had more press and attention as the '80's progressed while Gelsey became a coke addict and was finally fired from ABT.(Have you read her book, Dancing On My Grave?) I do wish I'd seen Gelsey when she was with NYCB but I was in college, I think.

You said Marchuk did the 3rd variation again. Only point this out because there was confusion throughout this thread. Marchuk did the 4th variation. Don't mean to correct but people were confused and it keeps staying confused. Marchuk was listed in the program and on the Kennedy website as the third, but that is incorrect. She was the 4th variation.

Ermakov was divine in the matinee performance. He did such elegant movements with his hands and arms that most males never do.

Yikes! Sorry, I'll correct it now.

I'm starting this evening's review off with Paquita because it was utterly confusing to me (until YID thankfully explained it). Matvienko and Askerov were the leads. She danced with confidence and few mistakes. However, I'm used to seeing much taller dancers in the role. The confusion came during the variations. Ivannikova danced the 1st variation (as in all 3 performances I saw), Shapran danced the 2nd and did a nice job, like this afternoon, Marchuk danced the 4th variation (reddish tutu)although she appeared on stage third, Asaben the 3rd variation although she was on after Marchuk. Again, Asaben dances with great speed, musicality and attack, to my eyes similar to Tiler Peck. Then my confusion started. Out came Kondaurova in a purple tutu but she didn't dance the 5th variation. I wasn't sure what she was doing but YID explained it was part of the lead variation. Meanwhile, she looked a bit ragged and fell out of 2 or her 3 pirouettes. Then Matvienko came out in her white tutu and danced the 5th "jumping" variation she's done at all the performances I've seen. She was fine. Her grand jetés are great! She did all single fouettes and travelled a bit but that was ok. Askerov came out and did his solos adequately though nowhere like Yermakov this afternoon. YID also noticed there were fewer lifts. Despite all that, they got a standing ovation. Go figure!

As for Sacre, it was Petshkova tonight. The corps was better than last night but I still far prefer Pavlenko as The Maiden for the reasons stated earlier.

Tonight, Spectre was Selina and Kim. I like Selina's interpretation. It looks well thought out and practiced. I'm sure that Shapran will get better with time. As for Kim, he was the same virtuoso as last night and I have the same complaints. I think he uses his arms and upper body to gain elevation, so they seem very stretched out and proud looking. If you do what Latypov did (go more limp and delicate in the upper body) it's hard to achieve that same elevation. I prefer Latypov but I still went Wow when Kim did his triple air tours.

I liked Skorik's Swan a lot better than Shapran though she, too, had a bit of hysterical arm flailing. Still, I thought she had some soulfulness in her interpretation. She really has gotten overly negative reviews from some in Russia, IMO. I don't know if she'll ever be a star but she's truly not bad.

And that's it for me and the Mariinsky this year (unless we go to Russia). It's been great:)

Marchuk has been doing the 4th variation. Asaben has been doing the 3rd "Amor" variation. The website and programs have the two mixed up.

You're totally right. Sorry. Asaben is 3rd variation in the green tutu.

Another thought I missed before is that Asaben (3rd variation in Paquita) kind of reminds me of Tiler Peck in her musicality and attack. I'd love to see her dance Balanchine.

A few quick notes on the matinee. Sacre was better; corps was more together and Pavlenko far superior to Petushkova ( bigger jumps, more perfect profile poses).

I liked Spectre a lot with Selina and Latypov. He is not a big jumper like Kim but his limp wrists and elegant upper body gave him the androgynous quality Kim lacked. Selina had a more thoughtful interpretation of the girl than Shapran.

Did not like Shapran's Dying Swan. At all. Her rapidly flailing arms looked like she was hysterical.

Paquita had 2 mishaps. Kondaurova fell off pointe towards the beginning and Batoeva almost landed on the floor during the PDT (which was Batoeva, Selina and Tkachenko) Luckily, Kondaurova regained her confidence ( she looked like she was going to lose it) and ended up doing a nice job. But now I've seen her have mishaps several times, too many. Yermakov was fantastic, especially his split air jumps. Shapran did a nice job in her variation (2nd). Viktoria Brileva (corps couple in blue) dances so beautifully, like the Vaganova dancers of yesteryear. She should get promoted.

On to the evening performance.

Hi maps,
I'm sorry, there is one error in the program and that is that Asaben takes her curtain call (brunette with green tutu) before Marchuk (blond in glitter tutu). They had that reversed in the program. Otherwise the program accurately reflects the leads and demis.

For the Nijinsky/Hodson Rite of Spring, I'm wondering if the complete colorful designs will be presented in DC? Hope so. Sometimes they omit certain design elements - such as the colorful flooring - when on tour. Let's see.

From what I saw the floor was omitted. Just gray marley.