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About vipa

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Former ballet dancer, former ballet teacher, fan, ballet lover
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    New York
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  1. Totally adorable and their parents are for sure in a haze of exhaustion!
  2. Cobweb, we are amazingly on the same page with all of your comments. I was never an opera fan until the Met started their live broadcasts into movie theaters. Now I'm really enjoying the rebroadcasts. I also enjoy a podcast called, Aria Code.
  3. Thank you, I hadn't read that quote. but I did see that ballet at ABT back in the day. It's a great piece, but it never received the same audience response as a full length to the famous Prokofiev score did. The music is Delius and it's one act so it's on the program with other ballets. I remember reading that Kevin McKenzie said it would be enormously expensive to revise. They've spend a lot of money on Ratmansky ballets that didn't fair well (Tempest as one example), but I think funding is probably easier to get for a new Ratmansky than an old Tudor. Still it would be a piece well worth bringing back.
  4. Did I see correctly? Ashley Laracey is back? What a treat.
  5. Looks like Brandt is doing all she can to have some control over her career. I don't mean this as a derogatory statement. It's a competitive business and casting is a zero sum game. Dancers try to be noticed in classes, rehearsals and in the roles they are given. Sometimes guesting helps. It boils down to - I hope he (it's almost always a he) notices me. Brandt is going beyond, and doing it blatantly. Good for her. I say that because he has the goods to back it up. I hope this kind of thing doesn't become a trend - I guess.
  6. I really don't think Lane was referring to Brandt in her statement. I agree with aurora that there is no evidence that Brandt is getting favorable casting. I don't know if Lane is still being coached by Irina and Max, but she was coached by them in Giselle and Swan Lake just before she became a principal. She was all over social media with it. Presumably she paid for the coaching. Lane is also on social media with videos of her fitness training, presumably she pays for that too. If Copeland pulls out of SL and it goes to Brandt instead of Lane, it will feel like the end is truly near for Lane as far as ABT goes.
  7. Thank you. I'm not familiar with Nathalia Arja as a dancer. I guess I'm left wondering if Morgan knows somehow, that if she was thinner she would have been cast. I am totally supportive of Morgan's message to young people. At the same time she must know there are a lot of reasons management chooses one dancer over another. Back in the day, when I was a dancer, I didn't get a role because I didn't fit into a costume. I've also heard - I just don't see you in the role. One thing to keep in mind is that casting is a zero sum game. If Morgan had been cast someone else would not have been, for one reason or another. I guess I'm just saying it's difficult to sort out, but the body image message is a great one, particularly to young dance students.
  8. Does anyone know MCB well enough to answer two questions. 1. Who was cast in the role? 2. Are there other dancers who learned it but were not cast?
  9. I was there too and agree with much stated by nanushka in her review. I hope that Haieff remains in the rep. This was my second viewing and I'd like to see it again. Unity Phelan looks great, managing to combine glamour and clarity. She's been given a lot of opportunities and has made the most of all of them. I see principal in her future. Unlike Nanushka, I love the last movement of Episodes. For me the patterns and use of port de bras reflect the music perfectly. Mearns expansive movement is very right for it. Rodeo is alway fun to watch. Meija did the Ulbricht role and was fine but is not the complete artist (yet) that Ulbricht is. Tiler Peck is not in top form, but still has technique to burn. She was able to make small moments in that pas de deux come to life. She is a dancer of such tremendous imagination, that I'm thankful she is back on the stage. It was a great pleasure to see cobweb at the performance, and to have our own intermission ballet talk. Thank you cobweb.
  10. I don't disagree with Emily12 but I find fault with ABT casting in that Kevin M seems to believe that a few dancers such as Boylston (as one example) have no limits and can dance any role, and other dancers such as Lane, have severe limitations. I believe that Lane has transformed herself into a fine dramatic dancer but management has not expanded her rep. Boylston remains unchanged as an artist (as far as I can see) and is cast in everything.
  11. I agree. Lane was coached by Max and Irina in both SL and Giselle and posted about it on IG. I don't think she's referring to Brandt. Brandt's put in plenty of hard work.
  12. I agree, I think the point of the fouette mention was that in that initial rehearsal she was going to do 10 turns, ended up doing straight doubles and then stopped and said she thought it would be fine. I wouldn't be worried about the fouettes.
  13. I agree with Juliaj that it was a wonderful show today. I very much enjoyed my very first viewing of Haieff Divertimento. It's a lovely ballet that IMO deserves a place in the rep (it can be done with another short piece with just a pause in between). Motifs, such as the dancers bowing to each other, were developed through-out, giving the ballet a true flavor. I particularly enjoyed Unity Phelan's solo. A unique solo and some of the movements are both simple and exposed. Phelan brought class, grace and musicality to even the simplest port de bras. Her arabesque line was so beautiful and in the the moment, it sang!. This is not on my A list of Balanchine ballets, but I'd love to see it again. Robbins' Concertino was very well danced by Reichlin, Danching-Waring and Furlan. I've never been much of a Reichlin fan but she was sharp and musical, and showed a kind strength in her movements that I'd only seen from her before in Rubies. I love watching Episodes, yes the music can be challenging, but watching the dancers respond to that music so sensitively while making shapes and moving through space has a special pleasure. It was nice to see Veyette on stage, looking to be in good physical shape. The last movement is amazing and again Reichlin looked great. Rodeo is one of my favorite Peck ballets. Mearns still looks amazing in it. My only complaint about the pas is that, although Peter Walker isn't bad, he disappears when dancing with Mearns. I feel she needs someone with more stage presence. Speaking of stage presence, I couldn't take my eyes off of Daniel Ulbricht in Rodeo. To me he is a genius dancer and I'm not talking about jumps or turns. He has a fabulous movement quality including an openness in his chest and port de bras the telegraphs generosity. When making shapes with his arms or body, he gets to the shape immediately, (I don't mean getting ahead of the music). This give my eye an extra split second to register the shape. The same thing when he changes his focus, as part of the choreography. His eyes and attention take a nano second to tell the audience where to look. And his overall stage persona is very real and human. If I ruled the world, Daniel Ulbricht would be a Broadway star! A fine afternoon at the ballet. What a great company.
  14. I quite agree. There are many things in a dance career (or any career), that an individual has no control over. Brandt took action. She spoke more frankly to Kevin M, paid for coaching, put in hours of hard work on her own time, and put the results out there. Good for her. On another note, I seem to remember that Sarah Lane got coaching from Irina and Max, before her ABT Giselle debut. The article mentioned that Boylston is now seeking their coaching. It seems that quite a number of ABT dancers are getting coached on their own time & dime.
  15. Personally, I think it means that social media makes it easy to sign petitions for whatever cause one wants, and feel like a crusader for doing it. In any event no one gets fired from a union gig because of a petition.
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