Amour

I admit I am curious about opinions on Kochetkova. There have been a lot of opinions about Lane on this thread, but she was a soloist and remains a soloist. One of the surprises to me on ABT roster changes is Kochetkova.

I saw Kochetkova as Nikiya in La Bayadere this spring. Once I got over the shock of watching someone who looks like they are about 12 years old, I found she was relatively good in the role. I like Lane but I think Kochetkova has more stage presence. And judging from the size of the audience (which may have been big because of her partner, Cornejo) she is more of a box office draw than Lane. I would have preferred that McKenzie promote from within, I can understand why he brought her in.

I believe Johan taught a bit in NYC at City Center. So sorry to read that he died. I've been trying to find an official obituary but no luck.

I couldn't find the section about "whatever happened to" the dancers on the First Position documentary but there was a nice segment on Miko Fogarty on tonight's Newshour. She's joined the Royal Birmingham Ballet. Here's the segment: http://youtu.be/-D3xhTYcBKY.

They brought it to NY in 2002. It was very long. I actually found it rather boring

I, too, saw that version of Bayadere in 2002. It was very long, (it got out after midnight) but Diana Vishneva was Nikiya and, as this was my first time seeing her, I found it not at all boring.

One version of Bayadere that has not been mentioned (but I saw when the Kirov came to the Met around 1992) is the Makarova staging with Altynai Asymuratova as Nikiya and Darcey Bussel as Gamzatti. It's out on DVD and really not bad. Neither is the Zakharova/Bolle version. I would avoid at all costs the recent Bolshoi version that came out with Zakharova as Nikiya.

An update of sorts. As many know, Preston Chamblee (Serenade) was not only made an apprentice but received his corps contract in early December, because he filled in for the requisite number of performances. Tonight I saw him in the Ashley Bouder Project. The first piece was simply a PDD with him and Ashley. He was great and it's a big vote of confidence that Ashley chose to dance with him. Clara Miller (Western Symphony) was also made an apprentice and received her corps contract when the season ended. Addie Tap joined Boston Ballet after the Workshop. I haven't heard anything about Christopher Grant because he was fantastic in Western Symphony.

Birdall, I am so very sorry this happened to you. i hope that you recover and heal quickly. I felt truly awful upon hearing of your ordeal. Please feel better soon, we are all thinking of you and wishing you a fast healing time.

Zakharova will be just fine, I think. But Olga Smirnova is one dancer I'm worried about. Should she decide to return to the Mariinsky, I think Fateyev would have to hire her as at least a first soloist (Kristina Shapran's level).

The film will be released on DVD on May 26. Amazon is taking orders.

BTW, I bought 3 Blu-Rays of Ballet 422. Each one was defective and I had to send it back and would get a new one. I could never get a working copy, so I gave up and bought the DVD (which worked, thank God). What's up with Magnolia making such a poor product?

This is streaming on Netflix, now, for anyone who wants to watch it.

I watched it last night and I thought it was pretty boring. It seemed to simultaneously want to audience to already be "in the know" (about ballet in general or NYCB) but provided no meat for that "in the know" audience. I am not particularly interested in melancholy walks through the streets of NYC or watching someone watch choreography on their computer. Seeing Albert Evans was bittersweet and he was a high point. Someone earlier in the thread mentioned they thought Peck's corrections of Ramansar to Evans were out of line or shouldn't have been included--I thought it nicely captured the weird space for Peck, both in charge and in the corps. He has to be a little brutal with people he would be usually be reticent with. I wonder if the dancers would have had push back in the rehearsal process if he wasn't a corps dancer (I'm thinking especially when Hyltin tells him she's going to change the arm as she keeps falling over). None of this was over the top; I just wondered if it's the same if Ratmansky is standing in front of you.

I thought the costume designers seemed like idiots. It's one thing to not know much about ballet as they state, but they seemed very novice-y. I was worried when the woman came up to Peck after the dress rehearsal and was panicking about the costumes looking too busy and how it made the ballet look dis-unified: duh, you couldn't have seen that coming in advance? The choreo looked extremely busy from the little shown of Tiler Peck, so I find it weird no one thought of that beforehand.

Overall not impressive, but I think worth a stream on Netflix.

I think you might like the movie better if you saw it on DVD/Blu-Ray because it has a commentary by director Lipes (who still never mentions he's married to Ellen Bar, head of NYCB's media operations) and Justin Peck. It's a pretty interesting commentary and helps make more sense of the movie. Also, the main costume designer, Reid Bartelme (the blond guy with glasses) was a dancer and only recently retired. He apparently met Harriet Jung (the frazzled woman) at FIT. They explain this was Reid's biggest commission as a costume designer but he has done the costumes for several ballets. But he definitely was a dancer first.

I also find these images of Albert bittersweet but I'm so glad we have them. They show him being funny, perceptive, helpful. Now that I can see this movie without crying, I'm really glad he's memorialized in it.

So did everybody "conch out" after ABT? Ha, it seems as if nobody has been able to see the great National Ballet of China at Lincoln Center.

Did any of our NY regulars see THE PEONY PAVILION? That ballet's run ended last night. Performances of the Mao-era RED DETACHMENT OF WOMEN begin today.

Who are the current top ballerinas & danseurs of the company? Last time that I saw them (2011 at Kennedy Center) the lovely Cao Suchi (gold medalist at 2010 Jackson IBC) was just coming into her own as a soloist. Is she now a Principal? Anyone else stood out? Any and all reports would be appreciated.

Well both abatt and I were there, as were many of our friends. I definitely didn't like the ballet. I found the dancing lackluster. The choreography dull, and the staging peculiar (throughout the first half there is big rectangular box that is hung from cable and off which the female lead rarely ventures). I went opening night and Zhu Yan performed the lead role of Du Linisng. She was alternating the role with Wang Qimin. Judging from the bio in her book, Zhu is 1 or 2 years older than Vishneva, which would make her about 40. Unfortunately, she has not been blessed by the dancing gods like Vishneva. I thought her lines were bad, especially her arabesque and she had little gift for acting or drama. I wish NBC had put a much younger dancer in the role. I think it would have worked much better.

I was also confused as to why this ballet, based on an opera, would use Debussy (Afternoon of a Faun) and Ravel (can't remember,sorry) in their score. The corps did look nice. Dressed in billowy white pants, they looked soft, elegant and well rehearsed. But that wasn't enough to have me stay and I left at intermission (as, also, did abatt).

This run did not sell well. I got my seat, opening night, at the Lincoln Center Atrium at 50% off. The entire run was being sold there, including Red Detachment of Women, All the unsold seats at the higher price ranges ($99 and up) were being sold. I definitely plan on using (or at least checking) the Atrium again.

The Bolshoi dancers gave away lifetime employment in the last contract negotiations.

I don't think Tsiskaridze had a leg to stand on: employees who repeatedly undermine a company and management publicly are rarely treated with turn-the-other-cheek kindness..

True, but the Tsiskaridze firing and the Zakharova casting fiasco had big fallout. Iksanov got fired only to be replaced by Urin, who is seeming more conservative and anti-West by the minute. Frankly, judging by this year's Vaganova grads, I wish Tsiskaridze would just go back to the Bolshoi. Just let him have the AD position.

Just came back from Friday night's NYCB performance at SPAC. The program was Square Dance, RŌDĒ,Ō, and Symphony in C.

First off, I would like to say (and thank NYCB) for the full page in the program devoted to Albert Evans. It has that iconic picture of him in the 4Ts and says, "New York City Ballet's 2015 Season at the Saratoga Performing Arts Center is dedicated to the memory of Albert Evans.

Dancer, ballet master, teacher, and dear friend, he is greatly missed by all of us." Very nice touch, Peter. Thank you.

Ok, first off, Ashley Bouder came out to introduce the program. Wearing white jeans, she looked very nice and relaxed. She speaks well and got the crowd revved up.

Square Dance was first. The leads were Erica Pereira and Taylor Stanley. I must admit I've always avoided seeing Erica in this role in NYC. What can I say? No mishaps but this role is a bit of a stretch for her. Also, someone in the corps slipped while dancing near her. I thought they were both going to fall but both were ok:) I really just watched Taylor Stanley. He is wonderful in the lead. Maybe not quite as eloquent as Anthony Huxley, but very, very good. Beautiful backbends, perfect feet. His solo was wonderful. We were sitting so close (row D) we could see how hard Taylor was breathing and how much he was sweating, Just in case we didn't know how tough this ballet is. I also always enjoy Devin Alberda in the corps. His upper body is always elegant, his legs fast and quick. They now gave him senior corps roles. But after the photo access brouhaha this week, it's clear he'll never be promoted, which, IMO, is a shame.

After that Justin Peck's RŌDĒ,Ō. When I first saw this piece I LOVED it. It's very accessible and has lots of great dancing for the men. However, completely opposite to Ratmansky's Puctures At An Exhibition, I find I like this piece less and less each time I see it. I just don't think it has much depth. The crowd loved it, though, and it got a standing ovation. It was very well performed. Sean Suozzi was out (he filled in for Andie V when he was injured in for the premiere and throughout the winter). Andie took his place and he, Gonzalo and Danny Ulbricht were terrific. Danny, in particular, is such a virtuoso and doesn't get to dance enough. Great jumps, turns, pirouettes! I especially love the section where Danny does the turns in a la seconde, goes into pirouettes which get progressively slower. So hard to do! But it's funny, somehow, and he always gets laughs. Amar was, as usual, the male lead but Tiler, not Sara was the female lead. I adore Tiler but think I like Sara just a bit more in this role. She hold her own with the guys just Slightly more effectively.

Finally, Symphony in C. Ashley Bouder and Andie did 1st movement, Sara and Jared 2nd, Ashley Isaacs and Anthony Huxley (both newly promoted) 3rd, and Lauren King and Adrian D-W (subbing for Sean Suozzi) 4th. I've seen the first 2 movements with the same casts several times before. Ashley is always marvelous. Her ability to hold balances and play with the music is just astonishing. I felt I've seen Sara do her movement better before. It's possible at those times her partner was Tyler Angle (who is a much better partner than his brother). I've never seen Anthony do the 3rd movement and he was just terrific; great jumps and pirouettes, speedy. Bravo to NYCB!'s newest male principal! Ashley Isaacs was also very good. However, I just watched Ballet 422 about 3 times this week and Isaacs has the dubious distinction of not being able to grasp a pretty simple correction of her arms (For the piece Paz de La Jolla). Justin demonstrates it about 3 times and she still doesn't get it:( But despite the embarrassment, she was still able to dance a terrific 3rd movement, the leads in the 4th were Lauren King and Adrian D-W (subbing for Seab Suozzi). It was a little odd to see Adrian in such a traditional role but he was fantastic. It was very nice to see this piece outside. It became just a little less formal and a little more real.

Anyway, Bravi to everyone tonight. Now on to tomorrow's matinee and the ballet gala!

It's a lead role for Simkin for one (who had very little to do during the Met season). Not suggesting that's the reason or the only reason they're doing it. I can see Lane or one of the new soloists, Trenary or Brandt, doing the ballerina role. Maybe Scott or Shayer will also get a shot. But Cornejo has also done this role in the past.

I hope to see Cornejo dance it. I think he can also make the androgynous part come off (unlike Kimin Kim with the Mariinsky).

Monotones 1and 2 I would love to see live. But can ABT can dance Ashton well? Not so sure. I would have loved to see the RB bring those instead of The Dream.

As for Balanchine's Valse-Fantasie, why, why?? As time has shown, IMO ABT simply can not dance either Balanchine or Robbins well. The dancers don't have either the speed or the attack. Just because NYCB isn't dancing it this year (or next) doesn't mean we have forgotten how they dance it. I don't care who is staging it. ABT should just leave those choregraphers to NYCB.

Just tweeted by NYCBallet: SPAC season dedicated to Albert Evans. https://twitter.com/nycballet/status/618572630203977730

That's very nice. It kind of makes up for the fact that NYCB has decided to limit dancers' photographic access. Here's the tweet from Devin Alberda:

Winter Season: the slideshow that led @nycballet to limit the dancers' photographic access. http://t.co/dduUvRMtUW

I also go to ABT to see ballet, abatt. For me, what make a dance ballet are the following: (a) ballet line, i.e., classical ballet placement of the body (very different in modern dance); (b) turnout, except when specifically choreographed otherwise, e.g., specific steps in some Balanchine ballets; © pointed feet and straight legs, except for certain steps and (d) not absolutely necessary but makes a big difference: pointe shoes.

There's a Balanchine ballet in several parts in which, in one of the parts, the dancers are in soft shoes, and even though they have (a), (b), and © above, I still miss the pointe work. Pointe work elongates ("finishes") the classical line.

Modern dancers also need turnout, just not to the same extent as ballet dancers. Modern dancers also need nice, pointed feet and straight legs, just, again not to the same extent as ballet dancers. I would say ballet (in the past) required certain steps and positions. But beginning with Balanchine (and his use of flexed legs and arms) that all began to change. Forsythe really speeded up the incorporation of modern dance idiom into ballet. Nowadays, most contemporary ballet choreographers (Ratmansky, maybe not as much) incorporate non balletic steps into their choreography.

Still, as abatt noted, Paul Taylor does not consider his work ballet nor does he especially like ballet. Jose Limon and Martha Graham would be rolling over in their graves to think a ballet company is performing their work. I'd just say that as unprofitable as ballet is, modern dance is more so. That is the only reason I can come up with for why these companies allow ABT to perform their work.

"Dark Elegies", "Moor's Pavanne", "Glass Pieces". "Upper Room", uses both pointe shoes and sneakers. The list of ballets not using pointe shoes is quite long. What about the use of soft shoes in the first act of "Swan Lake", for example. Are these dancers not doing"ballet"

Jose Limon choreographed "The Moor's Pavanne" and it most certainly NOT a ballet. Those were the days when modern dance was pretty strictly opposed to ballet. When I did a residency with the company we saw a film (sorry, it's not on DVD), with Jose performing the role of the Moor. It had a lot of weight into the ground and looked nothing like what ABT dances.

About 10-15 years ago I also saw ABT perform Martha Graham's "Diversion of Angels". That is a piece I saw the Graham company perform many, many times in their heyday. It, too, is most emphatically, NOT a ballet. And ABT really did a terrible job performing it. You can not learn Graham technique in 10 days (or whatever they had). Not ONE ABT dancer did a proper contraction. It was awful to watch. The only saving grace was that when the Graham studio's costumes and sets were tragically ruined by Hurricane Sandy, ABT lent them the costumes for "Diversion".

Hadn't looked at this thread for awhile -- Green Table!

It's a wonderful example of expressionist ballet. Jooss was cross-trained in ballet and German expressionist dance (a student of Laban's) and so the movement is both meaningful and kinetic. The role of Death needs a man with gravitas (it helps if he's tall, but it's more important that he's strong --the gestures in his main solo were created with the scything motions that you use when you harvest grasses by hand -- it's got great torque) The Profiteer is a great role for someone small and quick. Of the women's roles, I've always loved the Partisan best -- lots of jumping and charging. When the Joffrey toured with this in the 60s and 70s, Christian Holder was often Death (after Max Zomosa died) and Gary Chryst was the Profiteer. I think they were both coached by Jooss before he died.

Back in the Ballet Russe days, we saw a lot of this kind of narrative/expressive work, but it's much more rare now.

I love The Green Table! I just wanted to add that I believe that Joffrey performance (with the great Gary Chryst) is on DVD. I would also say it helps if you know the history of Germany post-WWI and pre-WWII and all the reparations they were forced to pay. It's definitely a "political" ballet.

Thank you, California, for this clip of Nunez in Manon. She is so pliant and dramatic as well. I've seen Manon with three different ballerinas (Ferri, Kent,and Vishneva, I think) and I don't remember the lift triple twists.

Don't know about Kent but definitely Ferri and Vishneva did/do them.

I "third" everything said about Nunez! Her Cinderella was magnificent. Possibly the best menage circles I've seen in some time. Effortless, yet shimmering and precise. Her upper body all luxurious cream and her batterie work absolutely glistened. Pure delight. And I felt she brought out a new maturity and joy in Whiteside. Sometimes he seems to be just "doing the work", but last night he too shone with a new brightness. A good partnership. Please, ABT, bring her back!!

Completely agreed, mimsyb! And Nunez lifted up everyone's performance. Roman and Craig, who seemed a little OTP on Monday were just very funny Thursday. The fairies and Prince's friends were really on their game, too. I think, due to the July 4 holiday (as well as it being ABT's final show at the Met) the supporting cast on Saturday night might not be as good. But as long as Nela and James can show up, I'm there.

Did Stella get a good welcome at her performance today? I wish I could've been there to scream a few extra bravas for her! Hope someone posts the bows on YouTube.

She got loads of applause. I was so focused on my video during the bows and kind of tuned out everything else. Here's the brief video:

http://t.co/fVNn4MS1mC

I thought Stella was beautiful and radiant. Her mime sections were very clear, much clearer than Seo's. I thought Stella's pique manege was quite lovely, but then again, to my amazement, so was Hee Seo's. Joey was wonderful. Such an elegant dancer. He does need to work more on his partnering (the off-kilter supported pirouettes Balanchinomane mentioned). Stella fell off pointe very briefly, right after her supported, luxious, developpé into second in Act 3. If I hadn't been sitting so close, (orchestra row F center) I wouldn't have seen it. I have to commend Aaron Scott as the Jester on Monday. He was both extremely virtuosic and funny in Act 1. Gabe Stone Shayer, the Jester at the Wednesday matinee) wasn't nearly as good on either counts. And to compare Veronika's immaculate Fairy Godmother on Monday to Wednesday afternoon's Devon Teuscher is unfair. The fairies at the matinee were very good: Sarah Lane was a perfect (and I mean perfect) Spring, Stephanie Williiams was Summer, Luciana Paris was Autumn and April Giangeruso was Winter. As I said, they were all very good but Sarah stood out for her classicism. The shtick with the sisters is also a bit much for me. Not my favorite ballet but somehow I still have 2 more to see (Nunez and Gillian)

At intermission it is very clear which seats are empty...

Not true, actually, especially if it's a mixed bill. Just this past Sunday at the RB I moved only 2 rows ahead at intermission. When I came back (I met friends during the break), the person whose seat it actually was was patiently waiting for me to remove my jacket and bag. They had simply decided to skip Infra. Also, several years ago at ABT at the Met my husband and I moved from the rear orchestra to something further front. While we were sitting there, who should come by but Alessandra Ferri! She, too, had skipped the first piece and we were in her seats:( She is an idol of mine so I found it very embarrassing.

If you take a seat that's not yours, just don't assume it's empty; it might or might not be. Be prepared that you might have to give it up.

A plethora of excuses for Hallberg, Seo, and a million and one explanations for why the online venom aimed at Misty is "different" and excusable.

Who is excusing Seo? I was at her Cinderella last night. She didn't mess anything up but was her usual bland self. Ditto Cory. And when did Hallberg need any excuses? Every performance I've ever seen of his has always been wonderful.

I consider today a sad day for ABT. When a dancer who can not do the choreography is promoted to principal is a sad day in my book. Last night, as a fairy, Misty danced in her usual clunky manner. Ugly arms, heavy feet (where all the other fairies looked light). Like abatt, I think McKenzie is just trying to get a new sudience into ABT; an audience that generally does not see ballet.

I am thrilled that Stella got promoted. Now I'd love to see Gorak promoted to principal. As one of the Prince's suitors, he was the best thing on stage last night.

Where is Cirio from? What companies?

Cirio is from Boston Ballet. He was just made principal there about 2 years ago. His older sister is Lia.

If there was a white (or even Asian) dancer who could not do the steps or choreography, no way that dancer would get the free pass Misty is getting. And get promoted to principal?? No way in any other company. I wonder how many RB dancers not doing a show have seen ABT this week (I'm venturing a guess none, since I've seen them in the audience or at the stage door). No wonder NYCB dancers have such contempt for ABT.

Oops. It was a dark set in Infra and hard to distinguish who was whom from fourth ring.

Ooh! I'm glad the 4th ring was finally open (though I was in the orchestra). And finally some good NYC thunderous applause tonight for basically everything:))