Amour

In Ismene Brown's blog, she wrote that the latest agreement between the Bolshoi administration and the dancers's union puts big restrictions on guesting. Thus, though Smirnova and Obraztsova might drop in for 1or 2 performances, I don't think they would be allowed to join ABT as a guest principal. And given how well Smirnova is treated at the Bolshoi, I don't see why she would want to join what I see as a struggling company. (Obraztsova, on the other hand, does a lot of guesting in Paris and London) I really don't see anyone other than Kotchekova being imported as a principal.

I saw Skorik in London this last August perform the PDD in Act 2 of Balanchine's Midsummer. I guess my first question is are you seeing other SLs? And if not, can you exchange your tickets for another performance? When I saw Skorik my expectations were very low. A lot of people really dislike her and I've seen YTs of her losing her balance, falling off pointe, doing the hops in Act 1 of Giselle on releve instead of on pointe. What I saw was a very tall (taller than Lopatkina), thin dancer with a nice line and pretty nice feet. However, she is weak and her epaulement is not really what one would expect of a Vaganova dancer (Skorik trained in a Perm). Though you could see she was struggling a bit during the PDD (she danced with Askerov), she smiled gamely throughout it. In the end I felt she was not nearly as bad as some people complained about but was not in the same league as other principal dancers in the Mariinsky. If this is your only SL and you can't exchange your tickets, I would see this performance, if only to see the gorgeous corps. I don't really like Parish. I find him bland; okay for the pas de trois in SL Act 1 but not really up to Siegfried. But the corps is gorgeous and you never know who might be performing the Act 1 pas de trois or the folk dances in Act 3. So try to exchange or see another performance. If this is your only option, see it just to see the Mariinsky.

Great article and yes, very generous of Tereshkina to name Lopatkina as the best worldwide Odette (I agree so far but haven't seen Tereshkina perform the role).

Sarah did get 2nd cast in Liam Scarlett's new work this fall. And unlike Misty (whose performance, with its breast juggling offended many) got plaudits for her performance. I don't think Sarah speaking out about Black Swan affected her career (except maybe to make her more cautious about doing things without an agent or lawyer). She waited until the Oscars were over (Natalie got hers) as requested. Meanwhile, Misty spoke to Gia Kourlas in a NYT article about 2 years ago. When asked about guest artists, Misty complained about not being appreciated and having to constantly prove herself. She directly criticized ABT. Yet here she is, practically a principal. No, I think promotions are partially political, partially about the hope of bringing in new or bigger audiences. Then there is the prevailing aesthetic that dancers have to be tall, skinny, hyperextended and hyper flexible (that works against Sarah but apparently not Misty for reasons discussed at length). Also, Sarah being so short limits the partners she can dance with. But I still hope if SB does well and Ratmansky likes her, she might get promoted.

I,too, predict Copeland will be promoted and Kotchekova poached. If Sarah does well in SB, there's some small hope she'll be promoted. They need small women for Herman and Daniil. I think Obraztsova is small and Kotchekova is tiny. I think they got tired of Cojo's injury record.

Heads up there is now a "buy 1 get 1 free" offer for NYCB. The code to use is SAW15. It's good for seats that are $134, $94 or $59. You can use it for the All Balanchine II, All Bach or All Balanchine III programs.

ABT is as always continuing the practice of using guest artist rather than give company members from the ranks a chance. It's not like these guests are household names and will sell tickets. On the other hand perhaps I'm wrong. Maybe ABT ticket buyers are impressed by a Russian connection. If you're thinking of Kim, he is not a known name here but should be. I saw him in London and was awed. I think he could be the next international male star. I'm certainly now going to a performance I would have missed.What is mystifying is why the Mariinsky isn't bringing him to BAM. As for Smirnova, Obraztsova and Chudin, I think most balletomanes now know them. And everyone knows Osipova and Vishneva. I simply don't think ABT has anyone inhouse who can compete with these Russians in terms of virtuosity, artistry and excitement. Of course, not giving them a chance just perpetuates the problem. But I'm happy these Russians are coming.

I'd say Kim is about 5'10" or 5'11", just short of 6'. Polina might be a bit much to handle but I don't think Fateyev would let him come if he didn't think Kim could handle her. It should be an interesting pairing because she's kind of a cool (dull) dancer whereas he's all fireworks (think Vasiliev or Simkin). I'm glad to be seeing him as a principal in a full length ballet because I've only seen him in short pieces or as a soloist in a full length ballet. But I predict the audience will love him. He's a crowd pleaser.

Tickets for Film Society members go on sale Jan. 8. Tickets for the general public go on sale Jan. 13.

I could be wrong, but if they butt heads I peg Gergiev as the winner. Gergiev is a famous international conductor. He regularly conducts at the Met and has an appointment in London (and too many others to name). Tsiskaridze is known mainly in Russia and to international balletomanes. I know he is a schemer but not very subtle. I think Gergiev even more shrewd, politically connected and practically untouchable. Yet Gergiev thinks little of ballet so it's not as though his presence is enhancing either the Vaganova or the MT. I think it's more likely that Filin will be replaced (there has already been a rumor someone was offered the Bolshoi AD job), maybe by Tsiskaridze. All I know is I bet Ratmansky is very glad he isn't in Russia now.

Tickets for Works & Process went on sale today. If you want to see the programs, buy tickets or see the livestream url go to guggenheim@emails.guggenheim.org.

If I remember correctly Palais Cristal has 2 demis with the soloist for each movement whereas Symphony in C just has the 1 soloist.

It's actually Symphony No. 1 in C major.

Phooey! I hate all these Mariinsky cast changes. I may sell my ticket for that day because though I love Segeyev, I'm not a Matvienko fan and I don't know Petushkova.

Thank you, abatt. Great casting for opening night! No Mariinsky for me that night.

Of course Mariinsky casting antics:( But I'm excited because now Kim is performing Spectre both nights I'm there (1/30e, 1/31e), the first night with Shapran, the second night with Selina. Yay!!Meanwhile, also in Spectre, Popov (dancing with Krasnokutskaya) has been replaced by Latypov (never heard of him). That's too bad because from what I've seen on YT, Popov is a gifted dancer with great ballon and beats. The leads in Pacquita, the Swan and Sacre seem unchanged.

I've heard very good things about Ida Praetorious but other than Marina Harss' NYT article and knowing about Alban Lensdorf, I'm totally unfamiliar with this company.

I hope that Vasiliev rejoins the Bolshoi. Based the dancing we saw from him with the Mikhailovsky, he needs some discipline (and to cut down on smoking) and good coaching. I think he can find that more readily at the Bolshoi. Without Osipova, his career as a guest artist isn't really happening. Better he rejoin his old company than be out in the wilderness, so to speak.

BTW, in thinking about it, I'd have to say Batoeva is to the Mariinsky a bit like Lauren Lovette is to NYCB. A young, highly promising dancer but, IMO, without the depth, real artistry or technical command of a principal. That is just my impression from seeing Batoeva in soloist roles in London and in seeing Lauren here. Since the only other day that I can attend that particular Balanchine program is Feb 12 ($29 night, so who knows if I'll get tickets) I'm simply going to stick with the tickets I have and wait and see what happens with NYCB casting and tickets. All I can say is aren't we lucky to have such an abundance of ballet riches (plus the Royal Danish principals are here) in NYC at this time of year? I wish every month I had to make these choices:)

Amazon.jp carries it too, but I think I'll wait for the European/American version - hopefully, it will be less expensive:) I ordered it but they don't expect it to arrive until January 20, so it won't be any help in casting decisions:(

HMV in Japan is selling the Vishneva/Shklylarov Cinderella so if you have a DVD/Blu-Ray player that plays international discs, you can buy it now.

Abatt, we saw Batoeva in London this summer in featured roles (Concerto DSCH) and she is quite lovely. She has the distinction of being the only Vaganova grad that Fateyev has promoted above coryphee level. The whole video of DSCH is on YT (Batoeva is the featured female soloist who dances with Kim and Stepin) so you can get a feel for her. Leena saw her do Cinders in London and liked her better than Diana and said that she had great chemistry with Shkylarov. I personally am debating going since I'm going to every Mariinsky performance other than Skorik's SL and funds are a bit depleted. Also, we, too have tickets to NYCB's opening night and it is a good program. And finally, given that most don't seem to like this version of Cinderella, I'm not sure I want to see it 3 times. We are also traveling down to DC to see the Mariinsky on the 30th and 31st. So unless I exchange Kondaurova for Batoeva (I'm considering it but then miss Pavlenko) I won't be going.

I've read The Days of Abandonement and Troubling Love. Days was especially brilliant.

Mimi's last name is Staker and she is now officially a member of the corps, no longer an apprentice. According to my program, she danced in the snowflake section of at least 2 of the Nutcrackers I saw. I'll try to keep a look out for her during the winter season. Interestingly, a few of her fellow students (who were selected as apprentices at the same time) are still apprentices. A few others simply aren't there and a few, like Mimi, have corps contracts.

I was impressed because Ferrante is a somewhat obscure Italian novelist, some of whose books have been translated into English.