Amour

I posted my impression of tonight's Giselle but on a separate thread I opened. I assume Helene will move it over here but for now it is there. It is less enthusiastic than Ilya.

I think it is also confusing that the Mikhailovsky changed their name back (during the soviet years when the Mariinsky was the Kirov, the Mikhaiovsky was the Maly theatre).

As for acting, both Sarafanov and Vladamir Tsal (Hilarion) walked around the stage barely gesturing and rather expressionless. This underwhelming "natural" miming drained all the drama from the Act and left me puzzled. If I hadn't known the story I'm not sure I would have gotten it. Thank goodness Osipova was acting her heart out but there really was zero chemistry between Sarafanov and both Osipova & Olga Semyonova (his fiancée). In Act 2 Sarafanov had more dancing to do and the solos he did well. Nice, clean line, good jumps and fantastic 32 entrechats sixes, where he kept jumping higher and higher. On the other hand the partnering was a bit weak and still no chemistry with Osipova. When he lifts her in front of him (the overhead lifts were fine), she should look weightless and she did not (this was also partly her fault). So dancing great, acting and partnering not, leaves me a bit disappointed. Osipova, in Act 2, I have mixed feelings about. She is not quite the whirling dervish she was a few years ago but she still has her jump. And she definitely likes to use it, rather than go for less and make Giselle a more Romantic style ballerina. For me, she chose to be athletic rather than ethereal. The rather weak partnering of Sarafanov contributed to this impression. I love Osipova's jumps but are they suitable for Act 2? And at age 27, how much longer will she have them ( a question Ashley Bouder pondered for herself in city.ballet.)? I guess I would prefer Osipova stop relying so much on herself and her jumps. Let the partner do some of that work and she can concentrate on using her arms and bending torso to look weightless. I was very impressed by Ekaterina Borchenko as Myrta. She is a blond, tall, regal dancer with a lovely line and confidant manner. She isn't the fierce b***h that Gillian plays Myrta as (and that I love) but her dancing is just so beautiful I easily go with this interpretation. I have to say that at the end of the performance most of the audience in orchestra seats gave Osipova and Sarafanov a standing ovation. I stood,too, but I have to say this was not my favorite Giselle by a long shot.

Just came home from the opening night of the Mikhailovsky run in NYC. The performance was Giselle, with Osipova as Giselle, Sarafanov as Albrecht, Borchenko as Myrta and Tsal as Hilarion. For me, the performance was a mixed bag. First, the production is different than either ABT's or POB's (the ones I'm most familiar with). Hilarion doesn't put any game and Giselle's door and a lot of what Giselle's mother's role ( especially in the mad scene) is performed by Hilarion. Now to the dancing. In Act 1 Osipova was wonderful. Her jumps, ballon and actin are all there. Her feet and her turns seem to have actually improved since going to the Royal. And I have always liked her interpretation of a very shy country girl, easily awed and then defeated once deceived. Her mad scene is thankfully not hysterical but just the right amount of "crazy". I have never seen Sarafanov live and I was really looking forward to his performance. Sadly there is little for him to dance in Act 1. As for acting, both Sarafanov &

Ok. Asked the Mariinsky via Twitter whether Kim and Skorik were coming. The response was "its too early to ask these questions":-)

When does it ever hold?

Oy, looks like I will have to see Cinderella again for both Vishneva and Pavlenko. Also. I'll bet the 1/21 Swan Lake cast has not been published yet because they've only published the principal dancers. So we can expect to see soloists like Skorik/Askerov or maybe Matvienko or Kolegova. Or Stepanova or Shirinkina. But my money is on Skorik.

YID, I CAN'T believe they will leave Skorik behind. And I am praying they bring Kimin Kim. He's fantastic! Also, how long has it been since they let Pavlenko dance? Seems like ages.

Also 1 night of the opera (probably a stage version) of The Enchanted Wanderer by Schedron.

Subscriptions (4 or more events) go on sale 3rd week in Nov. single tix for non-member go on sale Dec1.

I,too, thought the Raymonda was incredibly dull. No one really had the right Hungarian character manner and Hee didn't seem regal enough. The worst, though, was the variation for the 4 male demis. They were sloppy, not at all in unison and the beats and tours ranged from ok to bad. Very disappointing. I was also disappointed in Fancy Free. Every season ABT does it, it loses more detail and seems blander. I much prefer the way NYCB dances it. I have to disagree with Vipa in that I thought Julie Kent (whose dancing I always hate) was one of the best on stage. She had the right attitude, even if she seemed a bit stiff. At this point, Julie is the only ABT dancer who worked with Robbins and knows how the piece should be danced. As for Stella (who I usually like) she must have been having an off day because she seemed very stiff and wooden. There were loads of empty seats (virtually all of row Q in the orchestra). Also, compared to NYCB programs, this was quite short - 3 pieces none of which was even 1/2 hour. I'm glad I didn't spend much money on the seats.

I don't think this will ever happen but I wish Devin Alberda would be promoted. I have always loved his dancing but on Saturday, his dancing in La Somnabula really stood out for its cleanness and elegance. He has nice lines, beautiful epaulement, great beats, long legs. I don't think Peter likes him, though, so I'm afraid he might be in the corps forever.

Atmosphere at Wendy's farewell was electric! The number of dancers, past and present, unbelievable. And I have NEVER seen the promenade level so jam packed.And the outpouring of love from the auduence; a standing ovation for La Sonnambula and, of course at the finale. At the first intermission it took us 5minutes to get from one side to the other. Wendy is such a unique and beloved dancer. The only reason I can write now (and not cry) is that I kmow we will see more of her with Restless Creature and other projects. She's not done yet, only this first chapter:)

Actually, Chris Wheeldon came out first. Then Jock and after that Peter.

Ok, found Smirnova & Chudin on June 5 for Bayadere. He should be a vast improvement over Muntagirov.

I must be blind because I can't find Smirnova or Chudin on the schedule. Very excited to see Nunez! And Obraztsova! And Osipova!!!! We get Osipova back for a large part of the season. I know I'm in the minority but after her Giselle (plus 2 years of SL cancellations) I was not surprised to not see Cojo on the calendar. I'm not at all upset about that. I'm glad that Sarah gets SB (and evening ones). I don't plan on seeing Misty but can't see her as either O/O or Juliet. I also think they must have mixed up the pairs with Diana and Natalia's Giselles. But can't wait to see them!

I just came home from tonight's varied program. For the third time I saw Clearing Dawn and I still don't like it, despite some great dancing from Ashley and Andy. Scarlett's Funerailles, however, is really growing on me. I love how this very dramatic piece (in the vein of Lady of the Camelias or Onegin) is being danced by a company that generally doesn't do this type of piece. Tonight Gretchen Smith and Zachary Catazaro danced it (I had seen it twice with Tiler and Robbie). I thought they did a terrific job although in the middle they seemed just a little tired. Still, they brought the drama and from where I was sitting (rear orchestra) the partnering looked pretty seamless. Buried in the program was a premiere, Jean-Pierre Frohlich's "Varied Trio". This is a PDD that was danced tonight by Sterling and Amar. I thought it was inoffensive; neither good nor very bad. The piece is set to music that sounds vaguely Balinese and contains a lot of arm and hand gestures that are very South/East Asian. The costumes are identical light blue unitards, very simple. It had some of the requisite complex partnering that seem de rigeur today but there were some solo moments for each dancer, as well. I think with more charismatic dancers (neither of these are my favs) this ballet might be more interesting but tonight it just seemed undistinguished. Wendy and Craig Hall performed a gorgeous After the Rain and received a standing ovation. Since Wendy is (I believe) dancing something every night this week I am calling it WWW (Wendy Whelan Week). It's like an extended farewell. This definitely brightened up after intermission. In Peter's tango based Todo Buenos Aires, Joaquin was the lead and Adrian, Amar, Jared, Ask, Maria and Ashley Laracey were the other dancers. Set to great music by Piazzola, this piece is full of high spirits and energy. Joaquin did some incredibly virtuosic dancing but really all the men got to shine (I especially love Adrian). Sometimes they are in trios (2 men, 1 woman), sometimes all 4 men (excluding Joaquin) dance together, sometimes 2 men will dance with each other. Peter's choreography can be pretty difficult but none of it seemed needlessly tricky. The evening concluded with Justin Peck's In Creases. I haven't seen this piece for awhile but I still like it, with its unusual formations. I find Peck using a kind of new ballet vocabulary, which is exciting (not the same old steps, just rearranged). I also really like that the 8 dancers all come from the corps or soloist ranks. Good for him, letting these talented individuals really dance! So while the evening began a bit slowly, it ended on a strong note.

I certainly second that. Definitely some world class ballerinas now at NYCB. Unfortunately, most of the men at NYCB are not world class at the moment. The golden age of Woetzel, Boal, Hubbe and Soto has passed. And that's why I'm getting such a kick out off re-introducing myself to NYCB lately. (I'm a much more frequent ABT attendee). In any given program you have the chance to see one or more of these world class ballerinas - what a treat! Out of curiosity who would you in the know consider the world class men currently in the company? Veyette, deLuz, and Fairchild? I don't think you can forget Ulbricht. Even if his physique is a bit odd, I find him the most exciting and virtuosic male in NYCB. It's a shame they give him so little to dance. He could definitely do some of the roles de Luz does.

I was there but have no idea what a Sara is talking about. BTW I feel the same way about Clearing Dawn as you.

I saw this Fall for Dance. Really, for me Mark Morris' new work "Words" was the only piece worth seeing on the program. It was quirky, funny, joyous & (of course) musical. The music was by Mendelssohn and live, which really helped. The 16 or so dancers wear brightly colored cotton shorts & t shirts. An ongoing theme is a square piece of cloth that a few dancers carry across the stage and that announces the arrival or departure of other dancers. There is a lot of pairing off in twos and threes. There are skips, hip thrusts and graham style open arms at the end. In short, inventive and enjoyable. Black Grace I really didn't like but ethnic dancing is just not my thing. The San Francisco ballet offering -Hans van Manen's Variations for Two Couples- would be utterly forgettable were it not for the wonderful Sofiane Sylve (paired with Luke Ingham. The other couple was Vanessa Zahorian and Carlos Quenedit). The Russell Maliphant piece "Two x Two" for Yuan yuan Tan and Fang-Yi Sheu was slightly better but also basically forgettable. This program was worse than the one at the Delacorte one month ago. Generally, I feel the quality of programs in Fall for Dance has been declining over the past several years. It's too bad because it's a great concept. But if you get one small piece you like in an evening, you're lucky.

I know others don't feel similarly, but I bought tickets today for the Maryinsky for their performances on January 30 & 31. Really, I saw Marguerite & Armand in London in August (twice, once with Vishneva, the other Lopatkina) and it was dull. Even the Londoners didn't like it. I'm hoping to see both Shklyarov & Kimin Kim in Spectre. I'd love to see Tereshkina in anything and frankly, despite Russian grumbling, Skorik (who probably will come) is pretty good. In fact, the whole company is fantastic. Sergeyev, Stepin, Novikova, Shirinkina, are all VERY good. I guess I'm not alone because tickets just opened to the general public Oct. 1 and already for both Friday and Saturday the orchestra is more than 50% sold & first ring sold out!

IMO, Julie's departure is long overdue. On the other hand I'm mildly surprised by Xiomara and Paloma. They both seem to be holding up pretty well. Since Xiomara is small, it'll be interesting to see if Kevin poaches someone ( like Maria Kotchekova) or promotes from within (Sarah or Misty). If those three- Stella, Sarah & Misty - are not all promoted, it will be a slap in the face of whoever is turned down.

SARAAAHHHH!

I thought Daniel and Ashley were terrific were terrific in Suite #3. Too bad they didn't their second curtain because Peter probably wanted everyone out of there as soon as possible (what a horrid opening speech: you will get to see the whole program even though that means paying everyone overtime)

What is it about this beautiful Stravinsky score that brings out the worst in choreographers.. We just saw the Maryinsky perform Fokine's version in London. I think it's the most complex of the 3 ( uses the entire score, not just the suite) but seems rather dated. Balanchine's seems like Balanchine light. I also did not like Tess Reichlen as the Firebird. She's great in certain ballets but here she need to project much more personality. I don't remember much of Ratmansky's except that I didn't like it and the costumes were ridiculous. Maybe Justin Peck should try his hand at it.