Amour

Given his history, I can't see any UK company wanting to hire him as a guest. I also don't think ABT would be so inclined. So other than what you named, Mathilde, I wonder how much dancing he'll really do.

Possible cast changes as Kristina Shapran and Oksana Bondareva are no longer listed in Mik roster: http://www.mikhailovsky.ru/en/theatre/company/ballet/

According to Laura Capelle, a Paris based journalist, both Bondareva and Shapran have joined the Mariinsky. In fact, since Olga Essina is now out of the Mariinsky London tour, Shapran is covering for her in the Balanchine program night.

These casting changes are getting ridiculous. I deliberately bought a SL for Steoanova and now I have to see Somova (who I don't hate but don't love, either). I won't be in town for the SL with Parrish and except for returns (lucky you, Mathilde) it's sold out. I guess I'll just have to resign myself to seeing whoever they put on stage (I expect these changes to keep coming). I think we are lucky here that there seem to be few changes in the Bolshoi casting with the exception of one principal (Shipulina out). However, with Shapran and Bondareva now at the Mariinsky and Osipova essentially double booked with the ROH, the Mikhailovsky tour casting is in grave doubt.

It has been reported that Sergei Polunin has abruptly walked out on the Stanislavsky, including his role in Manon which is due to open shortly. Supposedl, he will be performing as a "guest artist" from now on. The UK critics are abuzz with this new news of "Polunin's disappearing act" although no one has been able to confirm the news of his "guest artist" status. I find it disappointing and puzzling that Polunin would do this to Igor Zelensky, whom Polunin said he got along so well with

Where are the prices listed. Nothing on the Koch website yet. Is this from a mailed brochure?

As I said in another post, someone on twitter posted the prices. She took a snapshot of the prices, maybe they are posted at the Koch box office. I don't know what her source was.

No info on any discount if you buy multiple performances. I assume there will not be any such discount. Also, these tickets will be subject to the per ticket Koch theater facility fee. It is strange that they skip Halloween.

I certainly hope there are some discounts offered soon. Someone posted the prices on twitter and they are very high -$152 for center orchestra and first ring. I don't understand why ABT's prices are so much higher than any other company (including NYCB) that performs at the Koch. Really, at those prices, the house will be half full.

Kathryn has been posting a lot of videos on twitter lately. She did some demonstrating in the latest on (on feet and pointe shoes). I am sad to report that while she seems quite upbeat she looks totally out of shape and maybe about 25 pounds overweight. I don't see her being able to resume dancing at this point. I truly wish her well and that she gets completely healthy again.

I was very sad to see the ROH videos blocked. Luckily, I downloaded the Osipova/Acosta Manon but the performance that had DGV, Rhapsody & McGregor's disappeared before I had a chance to capture the bits I liked.

Has anyone seen the ticket prices? They are IMO outrageous : $152 for prime orchestra & first ring; $122 for orchestra "B". At least NYCB offers it's subscribers a 15% discount on extra seats they want during season and, if you subscribe, you get the discount up front. Also NYCB seating is more nuanced so you can pay $29 for an orchestra seat if you're willing to sit far over on the side.

I doubt many tourists stand on line for returned tickets at the Royal Opera House. It requires a significant investment of time, the tickets aren't cheap, and there isn't much tourist-worthiness in the plain white wall next to the returns queue.

I think the ROH simply put the tickets back up on their website so, as I did, tourists can simply select their tickets online, no investment of time necessary (although I do wonder whether the online prices are higher).

NYCB has just announced that Justin Peck will be named it's resident choreographer. His 3 year contract will require him to create 2 ballets a year for NYCB. Unlike the deal offered to Ratmansky, it will not prevent him from creating works for other companies. Peck, who is a soloist, has said he will also continue to perform.

http://www.nytimes.com/2014/07/10/arts/dance/new-york-city-ballet-names-justin-peck-as-choreographer.html?ref=dance

I had a "create-your-own" subscription last year, so I got the big package on subscriptions a few weeks ago. The only mention of the Whelan Farewell is on p. 13: "Program TBA, not available on subscription."

I, too, have a "create-your-own" subscription and was told, by phone that those type of subscriptions are not being given priority. However the phone rep told me subscribers of programs created by NYCB are being given priority. Those subscribers will have to reply by August about whether they're going to the farewell. At that point NYCB will decide how to distribute the rest of the tickets (if there are any).

Bolshoi Ballet at State Theater is completely sold out. There're some wheel chair accessible seats available and they will be released to general public on the days of performances. And they are not selling standing rooms and It's unlikely they will sell them but they may change their mind. I don't know why there're no performances on July 24 Thur. and July 26 Sat. matinee, they could easily sell out 2 more performances.

Why the Bolshoi is performing at the Koch instead of the Met is a mystery to me. Yes, the sight lines are MUCH better at the Koch, but the stage and audience capacity is so much smaller. When the Mariinsky came 2 years ago and the Bolshoi about 7 years ago, they played the Met to, I believe, totally sold out houses. (Of course when the Bolshoi came in, I believe, 2002, they played the Koch.)

Between the lack of casting info early on, the confusion over selling tickets (both to programs & singles) it seems the LCF is incompetent.

The details are here, under "Can you sell a ticket for me...": http://www.roh.org.uk/visit/tickets.

Thanks for the link California!

I, too, am amazed the ROH will take unwanted tickets (we should be so lucky in NY). Yay for British kindness and good manners!

For anyone going to London to see the Mariinsky, Kondaurova is again off the schedule. For her Swan Lakes, the first one (for which I have tickets), she has been replaced by Skorik. The second Swan Lake shows Matvienko as the replacement. I've been told the Royal Opera House is very good about both returning and exchanging tickets. Since I really don't want to see Skorik (Mathilde K notwithstanding) I plan to call first thing tomorrow to see about exchanging tickets for that night.

Did she get a real farewell (like Sascha) or was this treated as just another performance?

somehow the orchestra went from about 1/2 sold this morning to maybe 85% sold tonight.!

I know people who waited until today to buy their tickets because it was very unclear whether Sascha was actually going to be able to dance tonight (he's been out the whole season). Thank goodness he tweeted early in the day that he was dancing so that gave many people the green light to buy tickets.

It was really a great send off. Everyone seemed to be there: Stella (of course, and who sat 2 seats away from us), Ethan, Gillian, Gennadi, Joaquin de Luz, Wendy Whelan, Maria Kowrowski, Gonzolo Garcia, Paloma, Isabella Boylston, Max &Irina (and their 2 daughters) and more. At the conclusion of the performance, Xiomara gave Sascha her bouquet. Then Stella came out, gave him more flowers and several kisses. Then Kevin came out and gave Sascha a flower wreath. On one side of the stage were several dancers who hadn't performed (including David Hallberg) applauding and cheering. Sascha came out on his own for a few curtain calls and seemed very touched.

As for the performance, what can you say. Coppelia is, in my opinion, not much of a ballet and Swanilda does most of the dancing. Tonight Xiomara as Swanilda was fine, did a good job with all her hops on pointe, her developpes, enveloppes, and pirouettes. However, she doesn't excite me; I've always considered her a glorified soubrette who lucked into being a principal because ABT has so many short men (Angel before, now Herman and Daniil).

As for Sascha, though Franz has almost nothing to do in this ballet (in Act 2 he basically just sits in a chair) he barely got through it. He clearly struggled partnering Xiomara in Act 3 and his timing was off in his solo. His tours were off balance (luckily there are either no pirouettes or very few) and I held my breath every time he jumped (praying he would not worsen whatever injury he has). This is not the ballet a full strength male star should retire in.

But all this performance critique is really beside the point. Tonight was about coming out to celebrate a very well liked dancer's career and the hopefully fulfilling future that awaits him. So bravo Sascha; we will miss you and hope all the best for your future.

Have to say that foremost on my wish list (before any particular ballets or artists) is a new Artistic Director. Kevin has been ABT's AD for more than 20 years. Time for a fresh vision!

I would definitely second that if it weren't for a huge chance that he might be replaced by Ratmansky.

I don't think Ratmansky has any interest in being an AD (he's been there, done that). On the other hand, at Sacha's farewell, Ethan was schmoozing with everyone. If anyone else is going after the ABT AD job, I'll bet it's him. But I'm totally fine with that.

If I were casting for a tour, I would know that te opener would be reviewed, regardless of the dancer, and I would consider casting a star a little later in the run, on a night less popular, when he or she wasn't coming right off travel and could get feedback from colleagues about the quirks of the stage and the theater and after the wrinkles of the first live performance were ironed out.

I can understand not opening with a star but to start to the SL run with Skorik defies my imagination. Why would you want to put this insecure, unreliable (and often very bad) dancer in the critics' line of fire? Fateyev really is an incomprehensible AD at times. (Then again, he is giving the much beloved Stepanova 1SL).

Although I didn't notice any diminishment of the Vaganova port a bras, I have to say I wasn't thrilled to hear Tsiskaridze had the students dance part of a Grigorovich ballet (Golden Age). I still think bringing him in to replace Altynai was a terrible idea that will eventually have repercussions.

Have to say that foremost on my wish list (before any particular ballets or artists) is a new Artistic Director. Kevin has been ABT's AD for more than 20 years. Time for a fresh vision!

I don't think Vikharev's reconstructed Raymonda makes sense in ABT, the costumes are dated and won't look good on modern day dancers, and there is always the "politically correctness" issue in this ballet.

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What is the PC issue in Raymonda? Just curious.

Also, in the Russian versions the kids come out in either black face or garbed in brown leotards, head to toe. Very insensitive racially.

The fall season will be at the Koch Theater (the former State Theater), after the NYCB season and before the Mikhailovsky season.

Interesting. Has ABT ever performed at the Koch-State Theater before? I guess Mr. B is on the repertoire.

With the demise of the NYC Opera, the Koch theater has become the world's best stage for dance.

They performed at the Koch last fall (2013). I doubt they'll return to City Center when the Koch is a bigger stage with much better audience sight lines.

No. Not for her retirement. Because there are very few roles Kent can still perform. The Merry Widow is an easy role that she can perform twice in one week.

Why retire when you can go on dancing a handful of nights each season and making $187k per year?

Why, indeed.