rkoretzky

http://m.timesunion.com/news/article/SPAC-plans-golden-anniversary-ballet-in-2016-6277206.php It certainly seems that they plan to be here!

It's possible.....June can be cold here (or hot, July too, who knows what the weather will bring anywhere?). And I shouldn't make assumptions about what anyone can afford either, but rentals here during track season are ridiculous. Philadelphia orchestra has been at spac in August for decades, but many of the musicians own homes here or at one of the nearby lakes. And if the orchestra is here, the ballet can't be. July 9, 2016 will mark 50 years since NYCB inaugurated the SPAC stage with a performance of Midsummer. Of course our expectation has been that our company will celebrate here with us.

Oh no! That's our Saratoga time. If they don't come here until late July, it will be during the track season. I don't think the dancers can afford those rents on their per diem. And yet we've heard that we'll have two weeks, including midsummer. So this needs investigation. Thanks for the heads up.

Friends! Last minute decision. I am here in the house. Are you all meeting at 1st intermission. Please confirm location. Will be here tomorrow matinee too. That was planned.

Another shout out to the very kind performance manager at the opera house. I chose row A family circle for a May 13 performance and was dismayed that I couldn't see over the bar without leaning forward-uncomfortable for me and rude to the person behind me. There were many empty seats but rather than just take one farther back, at first intermission I requested another seat and he write me a pass for dress circle. Appreciated and above and beyond what I expected. Note to self to avoid that row. I have it for another performance and plan to switch to another section, glad to pay for the new SB. I've sat in FC many times for opera and ballet (when my credit card has been on fire due to many ticket purchases) but I must not have sat in row A before. Not a good seat.

Wish I could agree on that. I've loved her for years. Time to give that role up though.

Saw that program Friday night and concur on all. Did a veyette dance? There was a big bobble on Friday that looked like another injury--hoping not. Time for some new casting in second movement. Sara can do Faust all by herself. No partner needed! And I'm adding kudos to Alexa maxwell.

Yes, but isn't it also very damaging to be given a golden opportunity and waste it? I'm very torn about this. The only Apollo I could see this season was Saturday matinee. No Saratoga, none in the next seasons. As soon as I saw the casting I knew I had made a bad choice. I am very much a supporter of Adrian and I was thrilled that he had this opportunity, hoped and sensed that he would make the most of it. Sadly I had the 180 reaction to Zachary's casting. After seeing the debut reviews I almost cancelled my matinee plans. Zachary must have worked very hard between Tuesday and Saturday to bring his performance to a minimally acceptable level, which is what I saw, based on the reports of a total meltdown on Tuesday. Perhaps he will further grow in the role, let's hope so, I don't think any of us wants to see someone crushed. But the growth work should be done in the studio with careful coaching so the dancer moves beyond knowing the steps, which he did, for the most part. There's a lack of partnering skills, no development between Apollo's two solos and no clear character. For sure Mr. Balanchine frequently gave opportunities before dancers might have been ready. But this was way premature and should have been spotted before the guy was thrown onto the stage in such an iconic role. It's not fair to him, or his colleagues, or to the audience who want to see new faces, want to see our dancers succeed, but are entitled to a beyond bare bones performance.

Oh dear....autocorrect. Did that say prison time? What a slip....or maybe not. Prospective teachers.

Re poor writing, yes yes I agree! I score the national teacher exams for prison time teachers......and I'm shocked at what I see! Not only poor writing, but errors. A letter supposedly from Andrews Sill (conductor at nycb) asking me to respond to: "Dear Andrew". That's inexcusable!

Just yesterday I received a brochure from San Francisco opera clearly directed toward out of towners with programming that allows one to see several operas in just a few days. I also received an email invitation to join the Philadelphia museum of art. I'm surmising that these offers came to me as a result of membership in the met museum and frequent ticket purchases at the met opera. This is brilliant marketing. I'm not planning a trip to SF soon, but when/if I go there, you can bet I'll keep the opera schedule in mind. And while I'm not likely to join the Philadelphia museum, I'm certainly going to go there when I'm in philly, as I have many times. I appreciate the reminder. I'm fine with arts organizations sharing their lists and sending me stuff. I'd prefer email rather than throwing colored glossy paper into recycling. And I detest phone calls and refuse to respond to them.

I detest the new women's costumes. Cut down to "here" in the front, up to "there" in the back. Gaudy and vulgar. I long for Karinska's fussy little bow. Yellow? No--they are the color of cream. The new ones are blazing, glaring arctic white. So, other than that mrs lincoln, how was the play? The ballet remains a masterpiece.

Carley's all too soon passing was a devastating loss to everyone who knew her virtually or in person. I think of her every time I enter the State Theater. Rest in peace Carley. We love you.

It's the Pastorale from The Queen of Spades. I've always thought that Tchaikovsky was especially good at "period" music. Oh thank you! Not an opera that I've seen. Not yet.

We're getting the Balanchine starting next year -- I hadn't thought about tempi yet, but this is an interesting comment. Oh with regard to tempi, I noticed differences between nycb and pnb, of note is the final dance in the party scene where deCou takes the tempo much faster. And one lovely moment at the end of flowers, where there is a grand Ritard before the final phrase. Took my breath away.

I was delighted to see the stowell/Sendak nut over the weekend. It's been on my "wanna do" list for so long, I'm only sorry I waited until the last possible opportunity to see it. A question to those who know this production so well: The music in the masque section. This isn't in any playing of the nutcracker that I've ever heard. Is it papageno's aria from Zauberflote? Mozart meets Tchaikovsky ? In any case it is charming. I loved seeing a supported adagio where balanchine has the bed moving around the stage, especially since it was most likely my last opportunity to see carla korbes. Ravishing. The boat with the jumping fish (the Angels in balanchine) made me a little seasick frankly. In reply to sandik, Marie and the prince are often transported to the land of sweets in a sleigh. The flowers costumes are possibly the most exquisite ballet dresses I've ever seen. I'm in love with them. However I miss dewdrop, even though Flora's solos are similar choreographically the costume headpiece and virtuosity of the variation sets dew far apart from the rest of the bouquet. I have such admiration for peter boal. He was my favorite of the NYCB men in his time and I think he has done a stellar job at the helm of PNB. But this nutcracker is so unique, so extraordinary, that I wish they would not shelve the production. So many companies do Balanchine's nut, only pnb does this one....I think this is a loss to our beloved ballet world.

Tickets are certainly scarce, a happy problem! On Helene's advice I grabbed one in second tier for Friday night. Thrilled to be seeing carla korbes and to finally be seeing this production. We've had our Saturday night tickets (also second tier) for months. I wasn't going to let this chance slip away.

Thanks Sandi and Helene for the gentle push. Of course I'm going.

Husband, son and I have tickets for Saturday evening. Since my son moved to Seattle four years ago I've seen PNB a number of times, but never at their home. Seeing this Nut has been on my wish list for years, so this is the time! Two questions: Will any of you Seattle residents be there on Saturday night? Having had the pleasure of meeting many East Coasters, I'd love a chance to put faces to you west coast names. When I booked tickets, neither casting nor Korbes retirement had been announced. I'm considering adding a Friday night ticket for myself. No way will I get the guys to see it twice but I feel compelled to see carla one more time. Would those of you who've seen it recommend two viewings? I've certainly enjoyed back-to-back perfs of numerous ballets!

Heads up! $20 tickets available for restless creature at the joyce! I just bought three for Sunday matinee may 31. It's the only matinee of the run. With phone service charges the cost was $69 for 3, one center ticket a few rows back is $75. I'll crane my neck a little!

You mean you don't like the look of ballerinas in plunging necklines decorated with dark blue crystals that simulate the appearance of chest hair? Uh, nope. Nor do I like the, shall I say cut, of the trunks. Oh how I long for Karinska's fussy bows!

Thanks for the response! I knew someone would have delved into the question. I saw the Culturebox version as well, which I thought would satisfy my curiosity. But what a difference on a big screen. It was fascinating to compare with symphony in c as danced by NYCB and other companies. In fact in 2004 I scheduled a (planned) trip to Paris to include an announced performance of palais on the centenary of Balanchine's birth. Much to my dismay, symphony in C was substituted. Ever since I've made it a mission to see Palais. I didn't care for POB's symphony in c but I loved Palais, perhaps because it is THEIRS. I was fascinated by the choreographic changes from one ballet to the other, hence my curiousity about the faithfulness to the original. I wouldn't say it was a different work to the same music, they are definitely siblings. Palais is softer, more rounded, in keeping with the softer style of POB. In the finale the corps form a semi circle behind the principals, with the colors interweaving it looks like a shifting kaleidoscope. About the colors : except for a jarring difference in the red between the principal and corps first movement costumes, I loved it, loved it. Give me those costumes any day over NYCB's hideous new ones which almost, but not quite, ruin the ballet for me. A great experience and an important piece of ballet history. I'm equidistant to Montreal, New York and Boston--a nice place to be.

I don't know who, but it's likely in-house. I agree. I imagine POB has rights and the trust would have nothing to do with this. I'm so curious about how much of this film is faithful to the original Palais.

Three of us made the trip northward to Montreal to see the film on Sunday. I cannot find anywhere a credit that mentions who staged Palais de Cristal? Does anyone know?

Bringing this thread forward in the hope that any of you who are Bolshoi knowledgable will provide opinions about the castings for Don Q here in Saratoga. I'm likely to fork over the $ for only one performance. Any guidance most appreciated, and thanks to those who have posted. From what I've read it seems that you can't really go wrong with this bunch.