vipa

Yes, you do. That piece strikes so rich a chord, it cracks me up. Wolcott is married to Laura Jacobs, who writes about dance for The New Criterion, and who has published her own raptures about Ms. Part. From an essay entitled "Assoluta," much of which is about this ballerina, here's Jacobs on a Part-Gomes Swan Lake: This is really a bit much. I have seen Part in many roles and am still looking for the experience that others have had. In my experience she seems tense, flubs steps and under performs. Is it possible that those that love her are taken with her looks, body, Russian training and facial expressions? I just don't get it

Right now ABT has only 4 female soloists (correct me if I'm wrong). Are promotions in order? Maybe Lane, Copeland or Fang (although she seems to have fallen by the wayside recently). What do you all think?

Funny but the most beautiful fouettes that I've seen recently were Sylve in Tchaikovsky Piano Concerto 2. I also don't like the Russian style poke to the side type.

After an hour and a half intermission (all due respect to the hard working dancers for most of that time), came Violin Concerto. Did I miss something - was there a 90 minute intermission?

They are not that important to me. If the dancer has to really hobble through them, they should substitute another step. Odile has to show a dazzling confidence to bewitch Siegfried and to get through the series with obviously gritted teeth goes contrary to that. A different story is a dancer who can do the turns but something goes wrong in the actual performance. In that case , I think the dancer should try to salvage the turns (maybe cut out multiple pirouettes) if they can. Or if necessary, switch to another step. The key here is to try not to have it look too obvious. I think we are more or less stuck with the 32 fouettes though, they are a tradtion and audiences love the high-wire aspect of them. But I think it's a shame to have them subtract from a performer that does all the rest of O/O well. I think they are important. They are part of the tradition of the piece - standard choreography - a signature movement if you will (such as entrachats for blue bird, balances in Rose Adagio). I don't want to exaggerate but removing obstacles for every dancer would dilute choreography until everyone was doing only those things they were good at (this happened somewhat in Soviet ballet). Truthfully I don't see why any dancer with the technical ability to do Odette/Odile can't just learn to churn out 32 fouettes! It it not a super human trick, It can be taught. For audiences it is like hearing a soprano hit a particular note. Maybe the note can be written lower and serve the purpose, but it's part of the excitement

I saw Darci Bussell in NYCB doing Tatania in Balanchine's Midsummer Night's Dream. She was wonderful. Her amplitute and generosity of movement were very enjoyable. I don't know how her technique would measure up to Bouder or Sylvie (by the way, speaking just technique I think Sylvie is far more accomplished than Bouder) I think Gillian Murphy would measure up well at NYCB. She was trained by Melissa Haydn and seems very adaptable. On the other hand I'm sure Sylvie could handle the ABT rep but I'm not as sure that Bouder could (don't get me wrong, I am a big Bouder fan and look for her when casting goes up).

[of his mind by the fourth movement of Square Dance.... I have never heard it conducted faster.... Stars and Stripes was also done at a super fast tempi for the majority, and the ballet seemed under rehearsed for the female corps, or maybe they were just a little too tired to give it their all.... Bouder was all power and spit fire and camp. Some of that I very much enjoyed, but I also kept hearing Balanchine's words describing the grand pas as a straight "classical pas de deux" first.... then a sprinkling of camp and fun. Funny I thought the corps of S & S looked well rehearsed particularly for a 1st performance. I agree about Bouder. I enjoy her power and exuberance but wish she would tone down the camp. Ulbricht and Sterling Hytlin were wonderful in their roles. In Square Dance I found Fairchild lacking in attack until the last movement which was so crazily fast that she had to have attack. Liebeslieder was a wonderful performance Of course the Melissa Haydn remembrances made it a particularly special evening.

According to her site, it looks like you'll have (y)our wish! http://www.ananiashvili.com/georgia/nina/N...39;sReturn.html Nice photo of her with baby ballerina Helene, too! It is remarkable that she'll return to three such taxing roles at age 44, and after well over two years of not dancing (before the public). Still I'd really rather watch Lane (five years after medalling at Jackson) and Fang (seven years after winning the Prix Lausanne) have chances at the big roles than see any of the Company's regular Principals (Super Guests Annaniashvili, Ferri, Vishneva excepted). How much more experience do they need before retiring or escaping? I agree. There seem to be some big talents in the women's corps who are not given opportunities due to the nature of the repertory and hierarchy. I'd love to see more of Fang (Lang had been given more opportunities because of her size but I'd love to see more of her too). There are other talented corps members too. In NYCB, dancers have always been given opportunites even as corp members. Of course NYCB does more rep and has a history of that kind of casting. ABT depends on full length ballets with name principals.

Amen

I enjoyed Sylve's performance. She has a fullness of movement that is wonderful. I can see that she lacks the "mystery" of some other dancers, but I think she has a kind of majesty. I thought Askegard was very weak (enough said). Reichlen did well but I find something lacking in her use of her upper body. Also, I saw Monique Meunier in that role with ABT fairly recently and it will be hard for anyone to top that. I loved Ulbricht's gigue in Mozartiana - everything was clean, beautiful and joyful (funny I thought Victor Castelli, who I saw in the role many times originated it, but the notes available at theater say it was Chris D'Amboise). Wendy Whelen & Hubbe were good, but didn't reach the greatness of the Suzanne Farrell/Ib Anderson performances. I even looked at the video again to make sure I wasn't falling into the "good old days" trap! All in all it's good to see the company back in rep.

I didn't know that there has been a fuss over Sarah Lane, but I have been a big fan of her's since I saw her do the principal part in Theme & Variations in NY a couple of seasons ago. One partnering glitch but an otherwise outstanding and refreshing performance. I worry that some of the outstanding females in the corp won't have opportunities to move up because the rep is so full length ballet heavy. Lane is not the only one.

I love this thinking. I have not been a fan of the Martin's regime but realize that he has been in a particularly difficult position, one of succeeding a genius who often made exciting casting choices. I'd vote for Suzanne for the Balanchine rep.

Isn't it interesting that neither came up throught the ranks of SAB.

I think overdancing typically comes with youth - You want to show your stuff You want to prove that you can do it - that you are worthy You don't have the maturity to be nuances or have a developed sense of values. It's the same with writers, instrumentalists, singers etc. The young ones want to pull everything out of their bag of tricks instead of saving some things!

It's perfect that Sinatra Suite still only lists the man!

I would love to see the Tudor Romeo & Juliet again. I saw it many years ago with ABT. Music by Delius (correct me if I'm wrong). A subtle and beautiful ballet

Everyone talks about the ABT principal men but it seems to me that there is a lot of depth in the women's corp -- Zhong-Jing Fang, Kristi Boone and Sarah Lang just to name a few. Are there sufficient opportunities for outstanding talents like these? Particulary in the big ballet Met Season; Sleeping Beauty being the exception because is variation heavy

I'm very disappointed in the ABT "Repertory Performances." It's not repertory as much as Dream is not long enought for a full evening to lets add a ballet.

This is a very good question. We know that Balanchine changed things for dancers who couldn't do a certain step or lift. He changed a part of Apollo for Suzanne Farrell because her knees were bad and she couldn't jump. To me that doesn't mean that the steps don't matter and anyone can change things. For one thing, Balanchine was there to provide an alternative. He might have changed the turn the Veronica Part had a problem with to something else entirely, not just a double. We don't know. On the other hand the integrety of a piece can and should be able to withstand changes for a dancer who delivers the real intent of the ballet. On the other hand ballets can't be watered down for no good reason. One more thing. Who staged SC? Usually people from the Balanchine estate have a strong opinion on what is acceptable or not.

I agree in some ways but don't think that it is an either or. Part is gorgeous in many ways, but I am one of those who finds her technical mishaps jarring. Improving her technique won't ruin her artistry, it will just add to the choices she and make. Ballet technique isn't magic (of course some have more facility than others) it can be learned. Not everyone can reach the level of Murphy but believe me technique can be learned.

WOW! I too saw Gregory & Van Hamel years ago. It was wonderful. Isn't it strange that ABT with its reputation for technical depth would have to change something that was done in 1947 and again in the Gregory/Van Hamel era? In respect to Part; she can be gorgeous but I can't relax when I see her dance. I agree with a Haglund that you can sense her uncertainty. I wonder if she is going to be made principal.

I just came from the Sunday afternoon performance (I spotted Freddy Franklin entering the theater). It was a terrifically fun afternoon. Drink To Me Only With Thine Eyes - Joyful, witty and wonderfully danced. Black Swan - I am not a fan of that Soviet style of presentation but it was well done in that style. Corsaire - Jose Manue Correno gave one of the best performances I've ever seen of a male dancer in a pas de deux. Aside from that the adagio was beautiful. Green Table - A wonderful performance. I saw the piece many years ago with the Joffery Ballet, and I'll so happy it holds up and is still relevant (perhaps I should be sad that it is still relevant). All in all I admire the integrety of ABT and the dancers.

What addition of New Yorker? I can't seem to find it. Have a great time Wednesday. Report back!!

I'm going to see Sinatra Suite (I actually bought my ticket because Sarah Lane was listed). No female is listed even for the opening which is 2 days from now. What's up?

Is Sarah Lane doing Sinatra Suite or is it just a publicity shot?