Roberto Dini

I don't have an answer to NYCB's financial problems, or any arts organization for that matter. But I can say with certainty that closing the Fourth Ring is not it.

I find it odd that one can still purchase a 4th Ring Society Membership on the NYCB website. Why haven't they removed this page from their website?

I had a friend who was a faithful NYCB subscriber. She always purchased two extra tickets and would invite different people to join her throughout the season. After she died, her daughters kept only one of her subscriptions and then split it between the two of them. They complained that the subscription was too expensive. The sad part is that the daughters are both millionaires, so I suppose it's a question of priorities.

A very negative review of the ABT Gala just appeared in the NYTimes. It was written by Roslyn Sulcas.

http://www.nytimes.com/2011/05/18/arts/dance/american-ballet-theater-gala-opens-season-review.html

I was expecting a review from Alastair Macaulay. I can't believe he wasn't there!

Wow, the review was pretty negative, particularly the Majisimo thingie and the Splendid Isolation thing.

If she finds galas so distasteful, perhaps she should not attend them. They are, after all, generally fundraising events.

I agree that the Mercutios at both Saturday performances were below par. I remember about 7 years ago when Cornejo and Joaquin de Luz would alternate in the role, lighting up the stage with their incredible technical skills and charisma.

Those were glorious times indeed.

In one of the town scenes, Romeo sits in the street. Would he really do that? Wouldn't the street have been filthy with all sorts of refuse?

...secondly because I believe the day will go down in history as the beginning of a great partnership between Osipova and Hallberg, as important in the history of ballet as the Fonteyn-Nureyev partnership of decades past. I like to think that on my death bed (okay, it was R&J, after all) I will be able to look back and remember how beautiful was the budding of this partnership, and that I was witness to it.

Actually, their partnership began last year with Giselle.

-- "When the Capulets and Paris leave, Juliet wants to resume her play with the doll, but the nurse points out that her childhood is over, that she is a young woman now, about to be beloved. Juliet clutches her heart." More obviously when Kent performed this scene, but also when Gillian performed it, the ballerina let go of the rag doll and then seems to use both hands to clutch her bosom. It did not seem like they were clutching their heart to me, because the heart is off center and both ballerinas used each hand to clutch evenly. I did not like their interpretation, which leaves open the possibility of a more sexual interpretation.

I don't recall ever seeing Juliet clutch her heart.

The nurse is reminding Juliet that she has become a woman. I suppose that is ultimately sexual, but it certainly is not out of place, especially in a work inspired by Shakespeare.

I saw Monday night's performance and thoroughly enjoyed it. Part and Stearns' performance was engaging. Part was beautiful to behold. If she was thrown off by Stearns partnering, she didn't show it. I was surprised when she put her hand on Stearns' wrist during the lift because it did not look shaky before or after she did so. I thought her fouettés--that didn't travel at all(!)--were amazing.

Stearns did not appear nervous in the least, and I was impressed not only with his dancing, but also by his acting. His big smile in the first act seemed completely natural and unforced; his joy at receiving the crossbow was the most genuine I've seen.

The pas de trois was delightful, and Matthews, as a replacement, did not disappoint.

I also was there on Friday (Reyes) and Saturday matinee (Cojocaru) and evening (Osipova). I agree that Xiomara was the best all-around.

Also, a friend who went to all the performances had glowing reports of Xiomara Reyes as Aurora on Friday night. He said she had the most perfect execution of the choreography of any of the ballerinas including Gillian Murphy and Cojocaru.

I saw Reyes and Cornejo only from the end of the 1st Act (a sort of perfect storm of events, which began that afternoon, prevented me from seeing the whole performance). I agree. Reyes was delightful, but I have always enjoyed her dancing. I find her to be one of the most musical dancers in the company. I have never seen Cornejo dance poorly.

I attended Osipova/Hallberg/Wiles performance.

In my opinion, Natalia, although dazzling, is just not Aurora. This is not her role, and it was clear after few minutes of watching her dance.

But I can not wait to see her Juliette.

The rest of it has already been said - Hallberg was perfect Prince, Simkin and Lane were highlight of the evening, upgraded production is still painful to watch.

I disagree. I think her debut in the role was quite impressive, and I think this is a perfect role for her. Granted, I would love to see her in a different production. (What the hell is going on onstage at the end of Act I after Aurora pricks her finger? The cast runs around in what can only be described as a traffic jam. I think even I could come up with a better staging of that scene, which says a lot. )

I also think that the last act would be improved by having the fairies dance solos rather than dancing together because they were all over the beat. I found it distracting.

Yes, the costumes are hideous.

Simkin and Lane were great. He was definitely the best bluebird. His landings were incredibly quiet although he didn't land in position like Cornejo and Hallberg do. I thought Rudetsky (on Friday with Reyes & Cornejo) started out well and had lovely height to his jumps, but his passage with the beats was disappointing.

I loved Hallberg. I admit I did not appreciate his dancing when he was first promoted to principal. I found his performances cool, but I think part of this is due to the fact that his fair features do not read well in such a large auditorium as the Met, especially if one is far from the stage. At any rate, after seeing him tear up the stage (for example in Le Corsaire), I thoroughly enjoy his dancing and marvel at his feet and his exquisite landings.

Wiles is always dependable, if not always exciting. I wish she would dance with abandon. She seems to do this as Myrthe in Giselle and also danced with incredible abandon and determination after she slipped during Swan Lake a year or two ago.

I agree Hee Seo's Gamzatti was quite impressive, especially in the betrothal scene. I saw her dance the part twice, the first time substituting for Abrera and then the 2nd time as scheduled with Murphy. Cory Stearns looks much more confident this year unlike his deer in the headlights presence in Le Corsaire.

I agree that Osipova was phenomenal; however, I found tonight's performance disappointing. Ospiova seemed to be dancing in a completely different production than everyone else. She did not seem truly engaged with anyone else on stage. I got the impression that Kitri didn't care about Basilio. I preferred her performance in Giselle because I found it much more integrated than her performance this evening.

She didn't seem to be dancing with Carreño as much as against him. I felt they had only a limited connection to one another although the connection seemed to grow as the evening progressed.

Simkin was amazing as the gypsy. Misty Copeland was very good too as his partner although she has much less to work with choreographically. Kristi Boone was thoroughly engaging as both Mercedes and the Queen of the Dryads. Julio Bragado-Young was very entertaining as Sancho Panza.

The corps was very sloppy tonight, especially towards the end of the dream scene and in the last act. There were several times when the orchestra audibly sped up to keep up with the dancers on stage (during the Queen's variation and during some of Kitri's variations). I thought the orchestra playing was unenergized, especially in the interludes.

Carreño is 42 according to wikipedia and 43 according to a 2006 article in the Times. I was quite pleasantly surprised by his Ali last year (I'm pretty sure it was last year). He danced beautifully then. He still danced beautifully tonight if in a "technically diminished" capacity.

I don't know that the ushers are cracking down on seat stealers. In my experience, they have never allowed people to move into unoccupied seats before the first act of any opera or ballet, provided, of course, that the ushers witness the person attempting to move to a better seat.

Of course, these comments are only my opinion. YMMV.

I saw Corella and Herrara and found the overall the production was quite enjoyable. Some of the corps appear to have new costumes in the first act, but the costumes that really need to be replaced are the men's gypsy costumes in the 2nd act. They look like heavy metal rejects. I think they are truly some of the worst costumes and wigs I've ever seen in a professional company. The men also had some curious steps, which could be described as bad disco moves, that I don't recall seeing before.

Craig Salstein as Gamache and Isaac Stappas as Lorenzo were very entertaining as usual. Joseph Phillips and Luciana Paris were impressive as the gypsy couple.

It was wonderful to see Stella Abrera dancing again.

I was delighted with the many long balances Part held last night--even having to scramble off one to stay on the music. (Take That --all you Rose Adagio critics).....more later, I think.

I agree. Veronika's dancing was ravishing last night, as it has been this entire season. Her Myrthe was ruthless, which I loved, and her sylph impressed me very much.

I admit, openly and unabashedly, to being one of the "Rose Adagio critics." I felt the criticism was warranted at the time, but I'm thrilled to see her dancing so beautifully this season.

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Was anyone else sorely disappointed by tonight's performance? (Nina/Hallberg). I thought Airs was especially awful tonight.

I skipped Airs on Tues. I really enjoyed Hallberg's performance. However, Nina was disappointing. She seemed to be lacking in energy, and was very earthbound. I enjoyed her acting, and she played the death scene to the hilt. However,her diminished technique resulted, for me, in an unsatisfying performance overall.

I thought there was much to enjoy about Nina's performance. I was not disappointed in the least and did not find her performance earthbound or lacking in energy.

Of course, it's difficult to compete against one's former self, but practically every performer must deal the consequences of aging, and aging beats the alternative.

Nina is still a wonderful dancer and has much to offer. I will be sad to see her go.

As bad as the sight lines are at City Center, that venue is far superior to AFH for dance.

City Center far superior? That's a scary thought, considering how many seats at City Center have lousy site lines.

I just wanted to add that Xiomara Reyes danced beautifully in Désir on Friday. I was struck by how beautiful, non-frenetic and non-athletic her pas de deux with Roman looked compared to Monday night's performance. She made the choreography look effortless and completely natural.

Reyes really danced every ounce of music, filling the phrases completely, and all the jumps and turns had a beautiful quality to them. That isn't to say that I didn't enjoy Monday night's performance, but the two performances were so different. Monday night was impressive, but Friday was a thing of real beauty.

...was not impressed by Hallberg (where are the brises?)....

Gomes and Bolle didn't do the brisés either. They do the entrechats that I believe Nuryev introduced as a varation.

I thought Hallberg danced beautifully, but you don't seem to like him (at least you didn't in On the Dnieper either).

Her second act was one expression throughout, rather like a mask. I sensed a lack of "soul" to the performance. Compare with Nina's final "Giselle" when she broke our hearts, not once but twice. Osipova is young and will most definitly improve and grow. I also would prefer a bit of color to her first act dress which looked like a frilly nightgown all in white. Very girlie, girlie.

mimsyb

That's interesting. I found her performance quite moving and was not bothered by her first act dress. Perhaps that's because I forgot my opera glasses. I loved her mad scene.

I enjoyed the entire performance and thought Part danced beautifully. I had forgotten what a commanding presence she is as Myrthe.

Gillian Murphy was spectacular as Myrta in her own way. I can't say that she is a true romantic ballerina but she impressed me in so many other ways. Her jumps were high and her control was excellent. She is so musical and her technique is so impressive to me. I really wish she would change her pointe shoes, so badly.

What bothers you about her shoes? It seems many dancers wear Gaynors, including Osipova, Part, Boone, Riccetto, Fang, Cornejo and Tanatanit--just to mention ABT dancers, former dancers and guest artists.

Isaac Stappas bungled key blocking (blowing the hunting horn in Act I) and seemed unfocused in his acting. Some good dancing and less business with props saved him in Act II.

I enjoyed Ricceto's dancing in the peasant pas de deux Monday night and would have liked to have seen her dance Giselle today because . Her balances were beautiful. In reference to a comment above, I imagine it must be difficult to develop one's characterization in a role when there are such long periods of time between performances.

I saw Monday's performance and loved Nina and Marcello. I'm sad to see her retire.

I thought Gillian was great as Myrthe. Her bourées are amazing. I probably said this in years past, but I love the way that Gillian rolls through her back at the beginning of several of the phrases in her opening solo. I'm afraid I don't know what the step is called. It's like a reverence at the beginning of some of the phrases, but where other Myrthes do the step, Gillian rolls through her back on the way up, giving the movement an other-worldly quality.

I loved Marcello's acting at the end of the ballet. He collapsed on Giselle's grave and when he got up he looked as if he couldn't tell whether his encounter with Giselle and the Willis was real or a dream.

The cumulative effect of Prodigal, Desir and then Dneiper was too bleak and heavy. It cried out for something light and fluffy.

That's interesting because I see Désir as an enjoyable, light piece. I don't see it as bleak and heavy at all.

The other oddity is that after the first scene, no one is alone onstage even in the most emotionally revealing moments. Like the Soviet Russians squeezed into communal apartments, no one seems to have privacy. All the forbidden liaisons seem to occur in public and often in front of the betrayed original partners. Sergei starts to make romantic pas de deux overtures to the affianced Olga right in front of his old love Natalia. At first I thought they were acting out his internal thoughts but no, it was happening in real time and space. Sonya also has a romantic breakdown because of her longings for Sergei right in front of her parents and friends.

I thought the lack of privacy further demonstrated the oppressiveness of a small town, in which everyone knows everyone else's business.

I hated the men's costumes in Désir. I don't think they matched the women's gowns, which were quite glamorous in comparison to the men's loose-fitting, untucked shirts.

(No one seems to be doing the jumps into deep plié that Vladimir Malakhov used to do, too dangerous?)

Hi Faux Pas. Danil Simkin did the jumps into deep plie on Tues evening. It reminded me of Malakhov.

I saw Tuesday and Friday's performances. Jared Matthews did the jumps into deep plié Friday evening, and Herman Cornejo has done them in the past.

David Hallberg danced beautifully Tuesday evening. I enjoyed Paloma Herrara and Yuriko Kajiya's dancing too. As others have pointed out, Daniil Simkin was very impressive as Lankendem.

The corps in the jardin animé was sloppy. The jardin animé was better Friday night, but everyone's shoes were so loud that you could hear, as well as see, that they were not dancing together.

Craig Salstein was wonderful as Birbanto. Gennadi Saveliev danced well too, but when Craig and he danced side by side in the first act, I noticed how little elevation Gennadi has on the smaller jumps. Craig really seems to push off and point his toes on all his jumps while Gennadi does not, which I found puzzling because he has no trouble with elevation in the big jumps.

Craig's acting, as always, only added to his vivid portrayal. His dancing was great throughout.

I enjoyed Xiomara Reyes' performance--her pirouettes were very impressive. She stayed in place for the majority of them, only traveling downstage towards the end.

I need to go to sleep. I'm having trouble putting sentences together.

My husband turned and asked them to please stop talking, and they looked at him as if he was crazy.

I had a similar experience at Lar Lubovitch tonight. A couple started talking very loudly during one of the pieces. I, along with other audience members, shushed them. I told him that they were being rude. He replied that I was rude to shush them. This was a man in his 40s. Where were these people raised that they think it's all right to talk out loud during a performance?

At a another performance at City Center last year, a man in the row behind us, making way for someone in his row, practically sat on my father's head. When I pointed this out to him, he got indignant and said, "Where am I supposed to move?" as if the fact that he was moving for someone else made it okay. :sigh: