Roberto Dini

While Tudor cheats by using Pachelbel's Canon, this was a winning lyrical piece for three couples.

I don't follow. How does Tudor cheat by using Pachelbel's Canon? Because the Canon is so familiar?

I haven't been able to attend any of these performances, but reading the criticism here and criticism in other forums about theater and opera, it's a wonder that anyone in the city performs at all.

Regardless of what any of us think, there are no perfect performances. Even if we think we've seen a perfect performance, I'd wager that if you asked the performer, he would not say that he gave a perfect performance.

On another note:

Flames was designed for a female who's as strong as an ox...

While I understand the incredible strength and stamina required of dancers, the image of an ox dancing made me laugh.

I would just about kill to see Larissa Lezhnina in this role.

Well, I suppose you'd be keeping with the theme "of women...whose passions of love result in tragedy and death."

"Born to be a Star "[/b]"...I really hope you'll all enjoy it.

Buena suerte, papi...eres el barbaro!!!!

Wow! That's incredible. I especially like the pirouettes at 2:23.

That's not true. Gottlieb is a fan of Murphy (not many critics are), and his assessment many of the NYCB ballerinas has always been very enthusiastic (Ashley Bouder, Sara Mearns, etc.) even as he deplores some of the decisions Peter Martins has made.

Yes, Gottlieb loved her in Don Quixote:

I'd still like to know something about the Sleeping Beauty things he brings up vis-a-vis ABT and Royal Ballet. Anybody surprised to hear what is the most positive report I've yet heard on the Burger King production?

I think "Burger King" production is no longer an apt description because they have replaced the Burger King costume.

Here are my two suggestions:

Investigation of a Citizen Above Suspicion (Indagine su un Cittadino Al Di Sopra Di Ogni Sospetto) (1970) R

A police inspector (Gian Maria Volonté) receives a mission to remove local protesters but instead brutally murders his married mistress (Florinda Bolkan). When the homicide team descends on the crime scene, the murderer himself is appointed to lead the investigation, which launches a twisted tale of corruption at every turn.

C.R.A.Z.Y. (2005) NR

There are five boys in the Beaulieu family -- Christian, Raymond, Antoine, Zachary and Yvan. But Zac (played by Emile Vallee and Marc-Andre Grondin) is the only one who's gay. That's why growing up in Montreal alongside his heterosexual brothers and his strict, emotionally distant father (Michel Cote) proves especially challenging for the blossoming outsider, who finds solace in the music of Pink Floyd, the Rolling Stones and David Bowie.

Thanks, carbro.

This idea, while not an alternate ending to a ballet, was inspired by Julio Bocca's final performance of Giselle, where he left his shoes by Giselle's grave.

After describing that incredibly moving moment to a friend, I decided that I'd love to quit my job that way. I wouldn't say anything to anyone or even give notice, but one day, I would just take off my shoes and leave them by my desk and walk out.

I realize that Julio's shoes were tools of his trade and leaving his shoes was much more symbolic, but I just love the idea of people saying, "He left his shoes by his desk and walked out the door. We haven't seen him since."

It's such an inappropriate and nonsensical way to leave an office job (no one would get the reference unless they read it here), which is precisely why I love it.

Does anyone have an idea when they'll announce the casting for these performances?

His final sentence galls me.

Why does Ballet Theater seem to take ballet less seriously than I do? (Review link)

I saw this on the last performance on Sunday afternoon. This was presented at the Rose Theater which is the new Jazz space at Columbus Circle.

Thanks for the review. I would have liked to see it.

I've never noticed tattoos on ballet dancers, but that's probably more a reflection of where I'm sitting/the seats I can afford.

lol /*sob* /

I don't mind tattoos per se, but I have an aversion to them at formal occasions. I just don't think tattoos and evening gowns mix. They cheapen the look. On the other hand, a tuxedo covers up the majority of tattoos. I suppose if men's formalwear exposed tattoos, I wouldn't like it either. I don't like ankle bracelets or anklets either, especially those worn under panty hose.

Ugh! I think I'm turning into my parents.

Gennadi Savaliev made Hilarion a real, sympathetic character. I thought him tying the cross to make Giselle's grave at the start of Act 2 was a nice touch.

* * *

I love how when dawn came she raised her finger towards the heavens, a touching vow of love for Albrecht.

Each Hilarion and Giselle in this production do these bits. They are part of the staging.

But there was nothing sketchy about the dancing. There was such a union of souls in Act I that led so inexorably to Act II. It was really a remarkable performance on so many levels, spiritual, dramatic and technical.

I agree. It was a beautiful performance.

Having Wiles as Myrta also contributed. Murphy seemed more the cheerleader of the Wilis whereas Wiles was truly a Queen. Murphy may do some of the choreography more strongly but Wiles' bourrees are smooth, small and way superior. And she is far more expressive in the role. In her long solo Wiles made clear that Myrta is preparing the ground for the upcoming sacrifice and not merely dancing a solo in the forest. Wiles is not merely working on her technique; she is showing imaginative growth as well. What a good season she's had after a bit of a plateau period. It's been well worth the wait.

I saw Wiles dance Myrtha twice this week. While I thought she danced beautifully both times, her performance was much stronger dramatically Thursday night than it had been on Tuesday. On Tuesday, I kept wanting more drama. She wasn't commanding enough. But on Thursday, she "brought it." I hope she does even more. I loved how imperious she was on Thursday.

I don't think Wiles' bourees were way superior to Murphy's. In fact, the audience audibly gasped at Myrtha's entrance (the bourees across the stage) both nights. If I had to choose, I would say I prefer Murphy's bourees although I think they both bouree well.

Overall, I prefer Murphy's performance to Wiles'. Gillian has this way of rolling through her spine when she does the reverence that begins many of Myrtha's phrases. It adds to the character's other-worldly quality. The movement is so fluid it's almost as if she has no spine for just a moment. She uses her back so beautifully throughout her opening solo. I love it!

Okay... who was the Wili with the INCREDIBLE bourre, who sailed across the stage just before Myrtha appeared? Or was that Ananiashvili herself?

That WAS Myrtha--Gillian Murphy last night.

Then Julio started having his knees replaced.

Julio had both knees replaced? Wow! I did not know this. I've seen people have trouble with a knee replacement. I can't image dancing on one let alone two replacements.

Did anyone watch Hallberg and Wiles' debuts? I'm quite interested to know how they went against the 'hesistation' people have of them dancing the leads (as David said himself).

I saw Hallberg and Wiles. Overall, I thought it was very good. Hallberg never ceases to amaze me. Every performance seems to get better. He was great as Espada too earlier in the week. I thought Wiles could use more "Spanish" flair, but I think that will come with time. My favorite Gamache was Alexei Agoudine. I thought he was perfect while Salstein, who I usually enjoy, pushed the comedy a bit too hard.

Nina and Angel's performance tonight was very good. Her balances were spot on. Veronika Part's balances were good too, there was one that was especially amazing in her Queen of the Dryads solo in the dream sequence. I thought the corps was pretty sloppy tonight.

I will try to post more about the performances I saw this week when (if) I have more time.

NYSusan found Nina's arms "over the top", I just found them ultra-Russian and typical of Nina Ballerina's romantic style. I judged her still a lovely Odette but the Odile is on borrowed time.

I wouldn't say her arms were over the top - they were Bolshoi.

Yes, I did think her arm movements were excessive, but that's just my taste.

I wasn't bothered by Nina's arms. I enjoy seeing these differences in interpretation.

It seems to me that there was another ABT dancer who incorporated many more birdlike gestures a couple of (several?) years ago although I couldn't tell you who. *sigh*

The policy is that of the individual companies, not the Metropolitan Opera House. That's why ABT has one set of policies, and the Metropolitan Opera has a different set.

How are they different? I thought the official policy of both companies is no refunds - no exchanges.

Third, It appears that the injury was not properly evaluated. I know nothing about "sports medicine", but these artists have the best tuned bodies in the world and presumably the best trainers and doctors to care for them. This may not be an exact "science" but there seemed to be a "let's see how she feels approach" and that sounds more like a mommy than the professionals that should be attending to this matter.

You state that you know nothing about "sports medicine" and that the dancers presumably have the best trainers and doctors, and yet, you second guess them. I'm sure the doctors and trainers are doing what is best for the dancers. There's not much that one can do for many injuries besides rest and/or physical therapy. I'm sure the doctors and trainers reassess the injury periodically and alter the course of treatment accordingly. What else do you propose?

There is little accountability here. The company simply changes the schedule, announces an injury (no real explanation is ever offered) and no refunds or real economic consequences.

What sort of economic consequences should there be?

This recent incident has exposed the bizarre nature of the ABT refund exchange policy...Why PUNISH those who purchase individual tickets with no privileges so subscribers have more?

I believe this is the policy of the Metropolitan Opera House, and not specifically that of ABT, but seeing as ABT is performing at the Met, they must follow the Met policy, which is the same: No Refunds/No exchanges. I'm not saying that this is the right policy, but the policy is posted every where--on the website, under the signature line when you pay by credit card, on the ticket envelopes, etc.

Right now, she really is the superior technician at ABT.

Really? What about Nina?

Has the casting for the pas de trois been announced anywhere? Is Cornejo dancing at all? Thanks.

I saw this production first at Boston Ballet long before it came to ABT, and don't remember gagging then.

I agree. Judging from her costume, Medora arrives at the Pirate's lair by way of Disneyland.

Here's a link to my post from ABT 2007 MET season. Michele Wiles' fall emboldened her performance