rkoretzky

Here in Saratoga the Philadelphia Orchestra shows up in the wake of the departing NYCB. We also have a chamber music series and local theater productions. There is so much to do for the next two weeks that it is mind-spinning; then Labor Day comes and most of it ends. SIGH! If we could only spread it out a bit more, but then again, who wants to come here in the winter? Those of us who live here don't even want to be here in February. Tonight is the beginning of the third week of the Philly Orch. It is a perfect summer night and we'll be leaving soon to sit on the SPAC lawn, have a bottle of wine, and listen to Tchaikovsky. Friday night is Joshua Bell playing Brahms. Tomorrow night we're going to Washington Park in Albany for a performance of "Oklahoma". Next week we'll be in NY. What a summer!

Hi Steph! I was a SPAC usher for over 20 years. Last year I was offered a paying job as the usher captain, and yes I was on the right side of the house, where NYSSA sat every night. Thank you for saying what you did about my ushers. They are a wonderful group--dedicated to SPAC and to NYCB and I will pass along your comment to them. For the most part, the kids were pretty well behaved and it was a pleasure to see them at SPAC. It was the one performance of Dances at a Gathering that was a problem. after I talked with some of your staff members, things were much better. So please don't worry about it and I hope to see you there next year. My daughter has some friends who were at NYSSA. Maybe you know them.

It was such a pleasure to do this, really. I volunteer to be the Europe correspondent too! If only I could just take off.... Petitallegro: I hope you had a great time in Saratoga.

Sunday morning--the day that I dreaded has arrived. NYCB is gone. The 21 performances at SPAC pass in a whirlwind--would that three winter weeks go by so quickly, alas they don't. I'll try to wrap up the weekend, and offer a few humble thoughts. The Verdi preview: have there been any reviews in the NY papers? I didn't see any, but I haven't had a lot of free time to look either. If there haven't, why ever not? I enjoyed Viva Verdi quite a lot. The music is eminently familiar--greatest hits of La Traviata, without any voices. There were two substitutions--Janie Taylor and someone else (I am so sorry, I should have written this immediately because I have forgotten the other, but I think maybe Abi Stafford) for Ashley Bouder and Glenn Keenan. The piece broke no choreographic ground, but it was very charming and pleasant to watch. Of course any time Darci is on the stage is a time to celebrate. I'd like to see it again because I often find much more to see the second time around. I didn't care for the Quartet for Strings. It didn't offend me at all, as much of Peter's choreography has in the past, but I didn't find it especially interesting either. It was Margaret Tracey's last appearance on the SPAC stage. There were five dancers in a piece called "quartet". Maybe I am oversimplifying, but I would have liked a quartet of dancers. It seemed that there were two couples and Jennie was the "odd one out"-- duh, maybe THAT was Peter's point. Anyway Jennie was great as usual. The rest of 'em--the costumes were all alike (teal green things) and I don't really remember. It was all OK, but not memorable. Yesterday we were treated to two performances of the concert, with a different cast than earlier in the week. I've seen it so often that I now laugh hysterically before the jokes (leading those around me to wonder about the crazy woman). The Concert did not disappoint. For all the expression that I thought was lacking in Maria's Odette--she obviously put all her acting ability into The Concert, to the delight of the audience. Melissa Walter is a local girl here and we all love her and wish we would see her in more roles, and she is fantastic as the wife--but so was Dena Abergel. Stuart Capps, in a debut, was just fine and I think will grow in the part as he continues. Pascale substituted for Jenny Blascovich as the girl in glasses. I was laughing so hard at her in the Mistake Waltz that I was in tears. I love to see the humorous side of these dancers. The third Swan Lake brought Miranda and Damian. (in a debut for Damian, is that correct? I thought surely he must have done it before?). Miranda must have the cleanest and most precise technique in the company. Has she been cast in Ballo or Square Dance? But her Odette did not move me too much, as Maria's did not either, after having seen Monique amaze me on Thursday. I would have to put Monique's Odette as the highlight of my season--a revelation, if you'll forgive the cliche. I did notice with both Maria and Miranda that the final sequence--the famous backwards bourrees with the fluttering arms, was the best moment of their respective perfomances, and I'm wondering if perhaps that beautiful final moment is given a preponderance of attention in rehearsal. In any case, it works every time. Damian was a restrained (for him) Siegfried, but Charles Askegard was da man in that role for me, and Nilas was not. We got to see Morgen again last night too. I really do love it. I especially enjoyed Janie Taylor here--is the girl fearless or what? Who else would do this kind of leaping? Takes my breath away. Am I correct in thinking that Morgen was a Valentine's Day gift to Darci? If so, most appropriate. A few thoughts on our season here, and what seems to be happening at NYCB: Sometimes there is double casting, and sometimes there isn't. Why ever not? We in Saratoga were very anxious to see Polyphonia, and so we did. But because no one but Wendy knew her part, she worked through an injury to show us the ballet at the end of the first week, and by the third week she was out. I wanted to see Polyphonia as much as anyone, but in retrospect I would have waited until another season--gladly-- if I had been given the choice, knowing that Wendy, dependable Wendy who had never missed a Saratoga performance to my knowledge before, would have excacerbated her injury. By contrast, there were understudies for the Viva Verdi, and it went on with two of 'em. Which brings me to.... Pushing these kids. It seems obvious to me as an outsider. If Peter picks his current favorite of the moment--the newest corps girl to catch his eye, and casts her in EVERYTHING, sooner or later she will become injured and disappear for a while. Maybe a long while, as in the case of Alexandra. I can't stand to see it happen, and it does, over and over. I was looking forward to seeing the latest wunderkid--Ashley Bouder. But after her sprained ankle in the first Soiree, she was gone for the rest of the season. She is still a child--this should not be allowed. Saratoga programming. This third week featured Episodes three times, and Tchaik Suite three times--in a row, no less. People here are, in the vast majority, not going to attend the same program three times in a row. I will, and so will some of the other lunatics here, but there were lots of empty seats by the 3rd Tchaik....And I was doubtful about ending the season with The Concert. Even though I adore it and it is hilarious (and a great antidote for my depression as I realize it is OVER), Saratoga audiences look forward to a huge splashy production number as our swan song. This year it could have been Cortege Hongrois, since it was in our programming. I am quite fond of Symphony in C, myself. Ah, maybe next year. I see it is in the rep for Winter Season. This board has been a wonderful addition to my life. I thank you all (those of you who are still reading) for listening to me, and I hope to meet some more of you. At the moment, I'm planning to see ABT on October 27, and I am studying the NYCB brochure. And waiting for Wednesday when the Philadelphia Orchestra opens here.

Two swans. Thursday afternoon gave us a performance with Maria and Charles, Thursday evening Monique (subbing for an injured Wendy) and Nilas. A completely unexpected reaction from me. I have adored Maria forever, and was not prepared to dislike this, or any performance from her. OK--overly high expectations, I admit it, but I had not been disappointed before. She never convinced me as Odette. Other than a slip at the very beginning, her dancing was fine, correct. Her expression remained the same throughout. Askegard, however, was a revelation. I have written here already of the transformation that I have seen in him this season. At the end of the ballet, when I was in tears, it was Siegfried who had moved me there, not Odette. His final anguish was heart-rending. Monique. I had an interesting, albeit brief, conversation with Manhattanik and Juliet last week. I think I indicated that she is not my favorite, although I like her quite a lot in those certain stock roles where she seems to be placed always--I did not think of her as a swan. I'm eating crow now. Whether the afternoon's disappointment primed me to be especially moved by Odette, or whether Monique was truly magical in this role--it happened. She TOTALLY convinced me that she was bewitched. Her final backwards bouree/fluttering arms sequence might have been the most beautiful moment of the entire season. The fragile vulnerabilty wasn't there. It just can't be--Monique isn't fragile looking. What was there was doom, heartbreak, inevitability. Then there was Nilas. The man just cannot get off the ground. I feel sad every time I see him on the stage. Is he just expressionless or would he really rather be at the dentist's office? I would have given anything to see Monique and Charles together.

Me, again. I have just a few minutes before going over to SPAC--another Thursday, another double bill, and our three weeks are coming to an end, alas. But I did want to say a few words about Morgen, since we got our first look at it last night. I've purposely not gone back and reread reviews, but I seem to remember that they were mixed-all over the place, in fact. That was the reaction here in Saratoga too. It ranged from: "I hated it" to "I loved it". As for me, I loved it. Surprised that I did, too. First of all, I do NOT like Strauss at all, and yet I found the songs to be beautiful and beautifully sung, too. Second, I am no fan of Martins' choreography. Ash was on the same program, for the 3rd time this season. Finally last night it came to me: this ballet is UGLY. Ugly costumes, ugly music, ugly movement. I had never put that term to it before, but oh my yes, it fits. After all that ugliness and a lackluster Romeo and Juliet pdd (anything would be lackluster after Jenifer and Nickolaj the previous night), the beauty of Morgen hit me like a rocket. I have to say that I was knocked out by Janie Taylor. She has always seemed to me to be a very competent allegro dancer with clean technique. Oh she was stunning in this. It was a whole new side of her for me, one that I had never seen. Jenifer Ringer is my favorite dancer and she was her usual exquisite self here, and Darci, well I think she is beautiful in this type of part. Jared Angle, I don't always like him, he sometimes seems stiff and awkward to me, well I certainly liked him a lot last night. I even found it agreeable to watch Nilas. I can't wait to see this piece again. And I'll be sure to tell you all about the preview of Martins' Verdi. OK? I'm leaving now, so I won't be late.

Hi there Bobsey: Different strokes for different folks, as they say. I loved Yvonne Borree when she was in the corps and a soloist, and I cheered when she was promoted. But, in my opinion, she hasn't gone anywhere since her promotion. In fact, I think she has regressed as a dancer. I've watched her in rehearsals-roles that she has performed over and over again, and she always makes mistakes, over and over again. I also can't warm up to a dancer who shows so little emotion--OK in the leotard ballets, but Dances at a Gathering? Romeo and Juliet pdd? PLEASE!. I wish I liked her better as a dancer, because I have met her and she is a lovely person. But even if we don't agree on Yvonne as a dancer, I think we do agree that the vast variety currently present at NYCB offers something for all of us. Yup, I'd like to see someone else in Violin Concerto--I truly would. Those of you who are in the city--who else has done it lately? Miranda, perhaps? Bobsey, I enjoyed meeting you too. Hope to see you again, in NY or in Saratoga. Another note: I said what I did about Kay Mazzo because I think it is precisely because of the physical resemblance that Yvonne continues to be cast in this part. I don't think she is suited to it. It was not my intention to disparage one dancer because she is not someone else. In fact, one of my earlier points is that Peter Martins is not George Balanchine, never will be, and we had all better accept it. And a question for you: what subscription(s) did you choose? As for me, I am renewing my membership in the Fourth Ring Society. [ 07-26-2001: Message edited by: rkoretzky ]

Bobsey: Thanks so much for coming over to chat--please do so again today or tomorrow, and I do hope you've enjoyed your visit to Saratoga. Thanks even more for the compliment re: technical expertise. I don't consider myself to be an expert in any fashion--just a long-time watcher. I enjoy reading your comments as well. Now--as to Tuesday night. From my perspective as a SPAC house supervisor, it was a BAD night. There was a medical emergency, which is always upsetting (and sirens are LOUD)during Ash, and I had problems with a group of rowdy kids (ballet students, no less) during Dances. By Cortege, I was pretty exhausted. But I'll give a few impressions. Dances at a Gathering is, if not my favorite ballet, certainly on my short list--top 3 anyway. Sadly, the fact that I was sitting with this group of kids really detracted from my pleasure. During Cortege, I don't know that it would have mattered so much, but Dances is so quiet and introspective that, for me, once I lost my concentration I wasn't able to fully regain it. I was able to see sections of it yesterday afternoon at an open rehearsal for SPAC members (a great perk if there ever was one)and I hope to be able to give it more attention this afternoon and tomorrow night. I will say though, about Tuesday evening, and I have said this before, Peter Boal is the consummate danseur. The opening sequence took my breath away. Any time that the stage is graced by Helene is a time to celebrate. Maria is darling in green--I think she is perfectly suited to the part, but I so wish that there was more to it than the two little solos. More Maria, please! Bobsey, I know you enjoyed Yvonne in pink--I am sorry, I can still see Patty McBride there and the comparison is very sad. Cortege Hongrois--Monique was a fantastic haughty princess in the tutu role, but I would prefer to see her in the character part. I think it is more suited to her. In my opinion, the dancer who may have grown the most over the past year, is Charles Askegard. Last summer, I had a sense of unease watching him--he always seemed a little goofy--not a very technical word but it is the best I can come up with. Now I would describe him as "noble". Bravo! Albert Evans was wonderful as usual, and Kathleen Tracey (not a favorite of mine) showed more fire than I would have expected. So, because I came home Tuesday night feeling somewhat out-of-sorts, I was worried that I wouldn't enjoy the rest of the ballet season. A very stupid and neurotic worry, I might add, chalk it up to being tired. Because Wednesday night made up for Tuesday. It was a "night off" for me, meaning that I wasn't working at SPAC. So where was I? WATCHING at SPAC, of course! We only have three weeks! My daughter and I had excellent seats. The evening did not get off to an auspicious start, beginning with a lackluster performance of Stravinsky Violin Concerto. Because my daughter is a violist and I am a viola-mom (my handle on another bulletin board, fyi), we contented ourselves with listening to and watching Guillermo Figueroa play the concerto--a masterpiece of composition and played beautifully. Yvonne, again. I do wish the powers that be would realize that Yvonne's resemblance to Kay Mazzo is all on the surface. Yes, when she comes forward in the opening sequence, you can almost imagine for a moment, that lovely Kay is back with us. Those of us who saw her in that role know of what I speak. But once Yvonne begins to dance, you realize that she is all wrong for the part--she has no sharpness and attack in the parts that require that edge, and she has no softness and sweetness in the gorgeous Aria II. She just looks floppy. At intermission, we met up with some friends and decided to play the "let's recast" game. So tonight we will compare notes on our ideal casting for Violin Concerto, and I'll fill you all in tomorrow. After the so-so Stravinsky, the evening took a marked turn for the better. I just loved Soiree, although it looked considerably under-rehearsed, especially in the last section and especially by the men, none of whom impressed me. Janie Taylor, not my favorite, dazzled in her part and Carla Korbes was exquisite. It was not a good evening for Ashley Bouder; she started out beautifully but there was a minor disaster with the strap of her costume, and then perhaps an injury? she didn't come out for the last section or the curtain call. I was anxious to have a close look at her since she exploded on the NY season, and didn't really have the opportunity. I certainly hope she is not injured. My favorite aspect of Soiree was those delicious tutus for the girls. Brava Carole Divet! They looked like rainbow sherbet. The choreography is reminiscent of Robbins--youthful, exuberant. The evening closed with the best Four Seasons of our season. The first three sections had identical casting to previous performances, with Rachel subbing for Helene in summer. Fall was incredible. I love Miranda (I love Wendy, but in this part I love Miranda more). Benjamin M. seems to be in a one-ups-man-ship contest with Damian. Last night Benjamin was the clear winner. He did not include the "Baryshnikov" hops, but he did an ADDITIONAL sequence of double turns that I have never never seen before. Perfectly. Antonio Carmena repeated the great performance in New York that I saw in May. All in all, a wonderfully satisfying evening. Back later--two shows today!

Manhattanik, you are right of course. The SPAC administration changed at the same time that the season was reduced. SPAC had a marvelous 10 year relationship with NYC Opera that ended several years ago. It is troubling, but I am thrilled to have what we have. I wish for more, but as long as we don't lose further ground, I'll take this happily. And rejoin the Fourth Ring Society.

Yes, DianaL, I got Gottleib's point, I just don't agree with it. The Four Ts that I saw last night is not disappearing--it was a performance that would have made Balanchine proud--at least I think so. It has been a long road back for many of these ballets. For years after Balanchine's death, certain ballets were painful to watch. I haven't seen a Barocco that did justice in a very long time, but I hope that eventually I will. I can enjoy Dances at a Gathering again without any of the original cast members, but it has taken time. When I saw it in January it was stunningly beautiful. Different in places, but beautiful. I trust that will happen with Barocco too. It has with 4 Ts., with Serenade, with Apollo. Four weeks at SPAC HAS disappeared for 20 years now. But we have three weeks. I'll take it. I heartily agree that corps kids with promise are pushed into roles before they are ready, are then injured and disappear. We are seeing Alexandra Ansanelli for the first time this summer sice 1999 I believe. I wish it wouldn't be done, but I also wish my boss at work wasn't a jerk sometimes, and that my kids would keep their rooms clean and that my husband would pay attention when I say something the first time. Well my boss is a great guy most of the time, and I am blessed with a fantastic family, and some things I just cannot control. Among them are the decisions that are made by Peter Martins. So I choose to enjoy the company and have decided to ignore the rest. and that's what I mean, I suppose, when I say that I am glad I am not a critic. My tongue was in my cheek when I made that comment, but I do think that Gottlieb was harsh and nasty and could have delivered the same message in a somewhat kinder way. And he is far from the only critic who writes this way. I don't enjoy reading it.

Everyone is entitled to Robert Gottlieb's opinion I guess. Boy, I feel guilty if I mention that a dancer didn't do well or isn't a favorite of mine. I guess I could never be a critic--you have to be real MEAN. In all seriousness, it was most interesting to read this article after having just seen 7 consecutive performances of NYCB, and having 2 more weeks to go. I will refrain from comments on ABT, only having seen them once last season and once the season before, but I think I can say a little about NYCB. Last night I saw a performance of 4Ts in which not one single dancer was in the company during Balanchine's lifetime. I left the theater thinking that Mr. B would have been very pleased with this performance. It was wonderful. Alexander Ritter, so-so in the matinee, was miles better by the evening. The three opening themes were magnificent, particularly Jennifer Tinsley and James Fayette in the third theme. I've never seen Jennifer dance better than she is this season. We finally saw Polyphonia. Interesting, following 4Ts. I think it is a worthy successor, not only to 4Ts, but to the great Stravinsky works. I think Christopher Wheeldon is paying homage to that tradition and I think he is doing it nobly. And I think that the dancers in both pieces do understand that tradition. Balanchine has been dead for close to 18 years. I miss him too, and I miss Robbins, and I miss Patricia McBride and Suzanne Farrell and Eddie Vilella and Helgi Tomasson and Kay Mazzo and Merrill Ashley and all the rest....you get the idea. I decided a long time ago that some things weren't going to look the same and I decided to accept that. I am not a member of the Peter Martins fan club. I scratch my head at some of his decisions. I question casting, promotions, scheduling, and while we're at it--why not have NYCB at SPAC for four weeks the way we did 20 years ago? Or five, or six. or more. Why isn't Rachel a soloist? I was sure she was and made a bet with my daughter. You know who won. Why was 4Ts the curtain raiser last night? Such a complex ballet doesn't work, in my opinions, as an evening opener, particularly at SPAC where stories and pretty costumes are very popular. Well the answers are it isn't my company and I am damn glad that they are here and I accept the company for what it is now. I think the roster of principal dancers is stronger than it has been in years. I think the men are better every year. I see a lot of promise in the corps. Yes, there have been disappointments. I loved Yvonne Borree as a soloist and feel that as a principal she has gone nowhere. But then I see a Dances at a Gathering the way it was in January and I know it will be all right. I see a phenomenon like Maria Kowroski or the total joy of a Jenifer Ringer, and I know it will be great--it won't be the company that it was 20 years ago but it will be great. Myabe I'm just a Pollyanna with stars in my eyes, but I love NYCB and I love that they spend their July with me.

OK, between perfs now. The word is that Wendy is injured--"slightly" is what we heard, so Polyphonia was out and 4Ts was in. No complaints from me about adding 4Ts, but I didn't have a chance to see the Wheeldon piece in NY so that was a great let-down. I did see a corps member who told me that Wendy was going to try to do it tonight. I badly want to see Polyphonia (it is the last scheduled performance here) but I am afraid for her. So--Divert with the same cast as Wednesday except Abi Stafford for Jennie S. It was fine. I love the music and the choreography fits it nicely, but the only part that I truly love is the Andante. Divert is another ballet, I think, like La Source, that is much much harder to pull off than it looks. I will say that stylistically it was done very well. 4Ts with Alexander Ritter for Peter Boal and Jennie for Miranda. Every time I see this ballet I love it more, and every time I hear the music I long to see it. If you don't have a recording, I highly recommend the NYCB Orchestra recording made years ago with Robert Irving conducting. I bought it at the Tower in Lincoln Center as a CD reissue. Anyway Peter Boal is much superior to Alexander, but Alexander was fine. As much as I like Jennie (and I do, very much) I didn't think was a good performance for her. The three themes at the beginning were outstanding, as they were Wednesday nights. No complaints about any of them, only kudos. Brandenburg: I know this music very well and thought the orchestra sounded just wonderful. I had seen it in NY in January and thought the orchestra sounded ragged and unrehearsed--even unprofessional in spots. I also thought the dancing was much better than in NY, and especially liked the ensemble in Concerto #1 (the third section). All currently corps members, although some are on the way up I think, and rightly so, they pulled this section off wonderfully, and each couple shone in their solo moments. Heading back to SPAC now. Later!

Good morning. It is now Saturday and NYCB has finished the run of Midsummer here at SPAC. Cheers from me--as much as I love the music, the woodland setting, and sections of choreography, I have had enough of the lovers' quarrels, and donkey dancing for now. Bring on the repertory programs!! As I expected, I am busy enough with my two jobs so that it is difficult to post after every performance. I will keep trying though. Met the first Ballet Alerter last evening, and as it turns out, I know his parents. The rest of you, don't be shy! If you're here, introduce yourselves. So after four Midsummers: Hippolyta: Monique is incomparable. I enjoyed Jennie both times, found Jenny Blascovich was just not "enough" (big enough, attacking enough, fierce enough), but Monique was stunning. She is not my favorite dancer, but in this part no one can touch her right now. Titania: Darci was radiant and regal, Carla was youthful and delightful, and Maria (twice: a sub for Wendy last night, hope everything is OK) was, in my opinion, perfect. She was all of the above and more. Every time I see her, I think of what Balanchine would have thought of this wonder. Oberon: Peter Boal continues to knock me out with his perfection of technique but here he is a master of characterization as well. Last night Damian was well-controlled and really fun to watch. I don't always enjoy his tendency to wildness and showing off. The divertissment: Wendy and Jock were from another world in the first performance,a nd they took us there with them. After that, no other performance quite took me to that level, although I found Miranda and Philip very lovely and Darci was beautiful--although as her partner, Nilas, left much to be desired, as usual. He just looks so miserable up there. And, again I don't like to be mean but Margaret (not a favorite of mine) and Nikolaj (yes a favorite of mine)were flat and, frankly, boring. The music is sublime and the choreography is so lovely that it is painful when this pas is not given full justice. Puck: I liked all of 'em and saw positives from everyone, but just let me say: ALBERT. My favorite part, even more than the Act II divertissment, is the pas between Titania and her cavalier. special words for Charles Askegard who was perfect. And special words for James Fayette as Bottom, too. Now I am late again. Off to the matinee. I'll be back.

Oh yes, Alexandra, I know that this may be a solo act at least until a few of you make your way up here. It is well worth the trip. (OK, enough of a Saratoga commercial..). I have passed this website on to a few local ballet fanatics/internet savvy types, so there may be a discussion going yet. Meanwhile I am happy to just share my thoughts. So Juliet- oh yes we will have four Titanias, one for each of our Midsummers. We had Darci Tuesday night, Carla this afternoon, Maria tonight and Wendy tomorrow night. Darci was radiant. I was thinking about how Titania is so much an adagio role--she was perfect in those s-l-o-w, stretching passages. Her back is beautiful. I loved watching her. Carla is a very young and impetuous Titania. I thought she was gorgeous, too. I have to add here that because matinees at SPAC are very hectic, due to my job I wasn;t able to watch every minute. I did make sure to see my favorite sections though. The Act II divertissment, surely among the most lovely choreography and music in the world was danced beautifully both times, today by Miranda and Philip and Tuesday by Wendy and Jock. Back tomorrow with more stuff--I'm now running late, as usual. Thanks for reading!

Good morning. Impressions from last night's performance of NYCB at SPAC: It was a repertory evening. I thought the programming was ingenious, in that it was comprised of a lovely, elegant opener, a complex middle piece, and a rousing finale. Parenthetically, the way the program currently stands, Saturday evening begins with 4T's. I don't know about that.... Divert #15: After all the talk here I was eager to have a look at Carla Korbes and was I ever NOT disappointed! In the turning sequence where she is paired with Yvonne Borree, well, let's just say that if one didn;t know who the principal was, one would likely guess Carla. I am sorry, I hate to be mean, but I enjoyed Yvonne as a soloist, and feel that she has become lazy and unmotivated as a principal. And I BEG that Carla not be overused this season so that she can stay uninjured. We have seen this happen so many, many times. Divert is so sparkling and elegant. It is perfect to raise the curtain and last night was a lovely interpretation of the Mozart music. I felt it got off to a bit of a sluggish start, but quickly picked up and built to a magnificent andante and finale. I noticed some unusual tempi, though--some variations seemed v-e-r-y slow, and others were a bit fast. It was Hugo on the podium. Four T's. I adore this music, keep the CD in my car player, and was eager to see the ballet after several years absence. Again I was not disappointed. For me, the standout was Peter Boal, who gets better each year! At the end of his variation I was almost in tears, he conveys a broken heart to me. And Albert Evans, who I have seen in this role so many times, never stops amazing me. It is as if there are no bones in his body, only stretchy sinew. I would also like to single out Jennifer Tinsley in the third theme. I thought she was magnificent. Could we PLEASE see Jennie Somogyi in Choleric? And the Four Seasons: it is just so much fun, how can you not love it? In Winter, I thought Janie Taylor gave a controlled performance, I know that she can be a bit wild. To pun, though, it left me a bit cold. And Rachel Rutherford in Summer, was on fire. Please, a promotion for Rachel. This is overdue and very deserved. She is one of the most giving dancers: everything she has is offered to the audience. Spring: I can not do justice in words to Jenifer Ringer. She is my current favorite. The joy that she expresses in her dancing cannot be measured. To think we almost lost her to ballet! and Fall: When I saw Seasons in NY in May, Damian was completely out of control. He was sliding all over the stage (in fairness, I think it was very slippery that night, there was a lot of slipping going on), traveling in his spins, wild. Last night he was wonderful. He did come down hard on his knee and I hope he was not injured. He was very steady and did all his usual tricks. Ben Millepied was a perfect foil for him, and in my husband's words "they stole the show". Today a double bill of Misdummer. I'll be back tomorrow to compare casts.

Opening night was fully as enchanting as I expected it to be. No cast changes for "Midsummer", and it was a wonderful and cohesive ensemble. No surprises here: the standouts for me were Jennie Simogyi (Hippolyta), Albert Evans (Puck) and Peter Boal (Oberon). Jennie is an amazing dancer. To be completely picky, her fouettes traveled a bit more than I would like to see, but her legs are steel and her grand jetes are huge!And she is able to make the transition to lyricism in the second act. Albert Evans--well what can you say? He is a devil in this part. And Peter Boal has the cleanest and purest technique. He soared across the stage. He is an absolute joy to watch. Tonight is a repertory program. See you later or tomorrow morning!

Hello again, Mary: Yes, when I realized how young your daughter is I also remembered that there are two other intensive summer programs in Saratoga. Both are outstanding, by the way, and your daughter is in wonderful hands. I do recommend the NYSSA program when she is old enough. Good luck to her!

Hi Mary: I was watching the NYSSA kids in class yesterday. If you don't mind telling me your daughter's first name, I will look for her when I go to watch again. (they wear nametags). Do you plan to come to Saratoga at all? If so, let's try to meet. My daughter is a music student and will be attending the NYS Summer School of Orchestral Studies. This will be her third year. She just loves it. Hope your daughter is also having a wonderful experience!

My daughter and I are huge fans of Aesha Ash and feel that more opportunities for her are long overdue. We had a chance to chat with her briefly after a performance at SPAC. She is utterly charming, very humble and appreciative of compliments from fans. She is also exquisite. A beautiful dancer and a beautiful lady.

Hello everyone: About sixty hours remain until my home town of Saratoga Springs comes alive with the return of NYCB. I'll be at every performance: either as the usher captain in house right or in the audience. Anyone who comes to Saratoga for a performance or two (or all of them!) please come and find me. Any of the ushers in the orchestra sections knows who I am. I'd love to meet you. As time permits (in the summer I work two jobs--my same old, same old day job and my wonderful job at SPAC), I would like to post my reactions to the season. "Midsummer" is truly a Saratoga ballet. It was the first ballet ever presented at SPAC at the opening season in 1966. I've never seen it indoors, and I don't know if I would want to. The combination of the setting sun, the twinkling of the fairies and the bugs, the buccolic setting of the ballet and the place, that glorious music--it is so perfect that you all should experience it. After reading this board, I think I am anticipating seeing Carla Korbes more than just about anything else for the season. Or maybe not. We have "Polyphonia" on the weekend, we have the Saratoga return of "Dances at a Gathering" (which I saw in NY in the winter==wonderful!--but this is another ballet that is spectacular in an outdoor setting, we have Four T's, I could go on and on and the season hasn't even started yet. I am so excited!

Hello from Saratoga, where we are counting down the days until NYCB comes back for three weeks of magic--JULY 10 is opening night. I am most anxious to get a good look at Carla Korbes, after all this recent talk and her casting in Midsummer. Yes she did Fairy of Generosity last summer, which is a lovely variation, but just to split hairs for a minute, I would not call it a principal role in the way that Titania is. Merde, Carla! I do remember being impressed with her in Fanfare during the winter season. Elizabeth Walker--I was fortunate to meet her a few years ago. She presented a program at the public library in Saratoga, where I work. what a charming and delightful person she is, as well as a beautiful dancer. I actually had to confirm with my daughter that Rachel Rutherford is not yet a soloist. This is shocking. Rachel is one of the most generous dancers I have ever seen--she does seem to reach deep inside herself and gives it all in her performances. I look forward to posting often when NYCB is here. I go to every performance.

I've seen the NYCB version many, many times since 1978, and the Royal Ballet once, last year. I much prefer the NYCB. In the Royal production the principals were Leanne Benjamin and Angel Corella. I was SO excited to see Corella, because I had seen him in La Bayadere at ABT, and in various things on TV. I thought he was an amazing dancer. But in the traditional Coppelia, Franz is given absolutely nothing to do! It was so disappointing to know that this fantastic danseur was on the stage, being wasted. Leanne Benjamin was a lovely Swanhilda BUT... I saw Patricia McBride--many times. To my mind she is the gold standard for contemporary Swanhildas. I never saw Danilova, but I can only imagine how charming she must have been. Patricia McBride was a delight in this role. Nichol Hlinka came close, after several years to grow into the part. They were so expressive--you knew every thought in their heads. And in the NYCB version, Balanchine was kind to Frantz and gave him a few good solos. Helgi Tomasson, well, what can I say? In more recent times, I do like Damian Woetzel in this part. Damian is NOT my favorite (OK, please don't shoot me!). I prefer the elegant look of a Peter Boal or Nicolaj Hubbe to Damian's wildness and hot-dogging. But I think Frantz suits Damian perfectly, and he makes the most of the part.

I certainly hope that you WILL have a chance to see Jenifer Ringer and James Fayette dance together, because it is utterly amazing. I have never seen such chemistry between partners--married or not. Seeing them together last summer (just before their wedding) in "In the Night" took my breath away. I have seen and adored "Dances at a Gathering" for years, but I had never seen "In the Night" before. I describe it as a companion piece to "dances". It is very similar in feeling, but with a darker mood, suited to the night theme. Also Chopin piano music and very very beautiful.

I was at NYCB on Thursday May 17 as well. Giselle at ABT was very tempting, but I couldn't resist the lure of Appalachia Waltz which I adore and which is not coming to Saratoga this summer. I found it to be a very mixed evening choreographically and quite uneven. I had brought my sister, who is not the rabid fan that I am, but who loves the O'Connor/Ma/Meyer music. I wanted her to see what Miriam Mahdaviani had done with it. So in that sense I was glad for the variety. It gave my sister a chance to see Balanchine (although not Balanchine at his best, IMO, more about that later), a new young choreographer and vintage Robbins. Personally I don't get La Source. I call it "cotton candy ballet"--pink, fluffy,pretty, s-w-e-e-t. I think it is far from the Blacnchine masterworks, very far. It was danced carefully, precisely, and pretty cleanly by Margaret Tracey and Peter Boal. There are a few moments of sublime beauty. The rest I find repetitive, with music that is not memorable. I will say that I did enjoy Abi Stafford though. I have concerns that she is pushed so hard at such a young age (can you say "Ansanelli's injuries?"), but I liked her in the soloist role. What really has me scratching my head about this ballet is that I think it is much, much harder than it looks. I don't think the dancers (or the audience) get a lot of bang for the very hard buck in this piece. Not everything is a masterpiece, even if done by a master. Appalachia: does any one else who was there think the musicians were out of tune and/ or out of sync in the beginning? I thought so. My sister didn't though, and so maybe I was just being overly sensitive, since I anticipated it so keenly.By my favorite part (the dance for the four couples) the musicians were playing beautifully. I think this work IS a masterpiece--musically and choregraphically. The above-mentioned dance for eight is breath-taking and it was done to perfection. It is worth the ticket to the ballet just to see those few moments. Bravo. I also agree that Jennie Simogyi owns that part. I have never seen her look lovelier. My sister actually enjoyed Four Seasons the most. How could you not love it? I had hoped to see Jenifer Ringer in Spring, as she is my personal favorite among the women. However, seeing Pascale was a revelation. She was fresh and lovely, and made me think years back to Kyra. I also loved Rachel Rutherford in Summer and hope that she will be getting more opportunities again. She is a STRONG dancer with real presence. Damian replaced Ben Millepied. Truthfully, I had never seen a bad performance from Damian until this one. He was all over the place with his turns, he slid twice (perhaps the floor was more slippery than usual, there were a few other near-misses from others), I thought his performance was out of control. He was outshone completely by Carmena. Well this was my first real post and it turned out to be a marathon! Thanks for listening....