vipa

So interesting. How much will the company become a museum for Paul Taylor's works? They aren't done in a lot of companies so see them there or nowhere for the most part. New works are still a hard ticket sell.

One interesting thing about the hops is that the more flexible the foot the harder they are to do. With a less flexible foot and more tighly knit ankle, there is less concern about going over on the arch and/or your ankle giving out (particularly if you are trying to cover space). From when I was a dancer eons ago, to now dancers have more and more been weeded in for super arched feet and flexibility. I mean in general. I'm not saying there are no exceptions or it's the only criteria. Osipova, who had great facility in doing the hops is an interesting case. She is less turned out than many dancers and has super strong legs (as evidenced by her jump). Her body type is better suited for the hops than many others.

I was not able to catch Lane's performance this year. I saw her 2nd one last year (she subbed for Kochetkova) and agree it was great. One of the best I've seen. A problem, I believe, is that she is given so few performances in these roles. Every show takes on a huge importance to a ballet fan and, no doubt, to her. No matter what happens tonight with Osipova, whether she lives up to expectations or not, she will (and should) be considered a great Giselle. One show won't do much for how she is viewed in the role one way or another.

Thank you all for your reviews of the Lane/Simkin Giselle. Last year I saw Lane/Cornejo and thought is was amazing. Unfortunately for Lane, she is in her prime right now (IMO) but got one Giselle this season, and a Wed. matinee at that. She was a great Giselle last year in the performance I saw. For those who see her as a great Giselle in the making, how is that going to happen? One show a year!!

I'm so disappointed not to be able to see Sarah this year. She did one of the best Giselle performances I've ever seen last year. I'm counting on you all for reviews!

This is true for many young people. I know many college educated young people with full time jobs who can't afford an apt. in NYC without house mates. If you don't enter a field in which there is a lot of money to be made, like finance or corporate law, it's tough to find afford housing in an expensive city.

I would never accuse Veyette (or any other dancer) of phoning in a performance. Veyette seems to be a very hard worker. He turned in some of the best Theme and Variations shows I've ever seen, including his guest appearance with ABT. He's carried a lot of the "white tights" work load at NYCB, along with DeLuz, for years. That said, the last time I saw him was in Divert 15 and I felt horrible for him. He had no line, his shoulders were up, and everything seemed a huge effort. I think he is coming to the end of his career, and it's not a good looking end! Maybe I'm wrong and he'll have a resurgence. However, I would never accuse him of doing less than his best at any point.

Goodness, I thought these days were long gone. I was in a ballet company many years ago (co. to remain nameless). The company manager came to each of us the day before payday and said the words, "How much do you need?" Seems there wasn't enough money in the bank to cover payroll, and he was asking how much each person needed to get by for the next two weeks. I still remember the horrified look on his face when I said that I needed my paycheck.

It should have said dancers of American Ballet Theatre. Why did this happen? Did the person captioning recognize Copeland and assume she was the "star"? I really wonder how this works. Does anyone know?

So agree. Shame on the NYTimes.

Interesting abatt. I didn't realize Wellington had been given that role. Her performance could certainly have had an impact on her casting after that. I wonder about Claire Von Enck's fate. She did Tarantella shortly after joining the co. but doesn't seem to have been given much since.

Lydia Wellington has been outstanding for quite some time. I certainly am rooting for her (so is my husband).

Being the greatest of a generation is a big statement. I can't know what to say. Suzanne Farrell was one of the greatest artists I've ever seen in any field. Did she "rule"? I don't know how to begin to answer that question.

I think the actual footwork at the start was accurate before she started goofing off in a very cute way.

So sorry to hear that. His voice will be missed. condolences to all family and friends.

Seemed to me the steps were Swanilde's from the "scottish dance" in the toy workshop. At least that's what I think.

Pereira got promoted to soloist quickly after joining the company. That was a while ago. She's stalled out since, and hasn't been cast much. I have to admit I'm not a fan, but I wish her well. I'd love to see her blossom.

I agree with the general sentiment expressed already. I've been at several shows with "see the music" and I start wishing it would end as soon as it begins. Let me enjoy the dancing and get home 15 minutes sooner. Are there certain programs that the administration feels are too short, so they add this on? As others have said suggested, it would be better as an intermission option.

Thanks Nanushka. I have been wondering about Lovette. I m missing something she hasn't been cast much. I'm glad to hear she's dancing.

I agree that Woodward is a good bet. Pereira would be a surprise. She seems to have stalled out. I haven't seen much of Lovette, Is she injured? Re the Van Ench sisters, I haven't seen much of Claire recently. She joined with a splash, did Tarantella early on, but hasn't been cast a lot since. Correct me if I'm wrong about that.

That is wonderful. Suzanne?

Lane should have been cast as Juliet.

I agree. I love the little steps - something different. I never assume a that dancer who does the version with the steps in between can't do straight fouettes. Certainly Bouder can, and we are not talking about 32. I always assume it's a choice.

There is an interview with Lowery in which she said that her parents are doctors (I think both) and that she grew up being comfortable in a hospital setting. Also that if she wasn't a dancer she'd be a doctor.

I second everything Drew said. Laracey seems to grow more beautiful with each performance. I think she is principal material. I have to say a word about my seat before mentioning any other dancers. I decided very last minute to go, and at about noon looked online for a seat. Rows A & B in the fourth ring were for sale. I bought a ticket right in the center of row A. I happen to love that seat. I arrived and was alone, literally. Row A was empty except for me & Row B was empty. Row C onwards were not fully lit. No tickets had been on sale. After Concerto Barocco, a woman came over and said she'd been in a partial view seat, she sat down at the end of row B. After Agon a couple came over (I don't know from where) pointed to a couple of seats, 2 seats down from me and said "Is anyone sitting here?" I just said "Welcome to my row." I mean the whole row was empty! This is crazy, is it not? If NYCB is going to open up part of the 4th ring, they should have a way of announcing it AND sell them at a discount. They could have filled those rows. BUT it was a lovely show and gave me much hope for NYCB's future. Ashley Hod was in all three ballets, including Gaillard in Agon with Unity Phelan. Quite good I thought. Emilie Gerrity did Sanguinic in 4 t's with Catazaro. The part can be treacherous, but she did it with joyful exuberance. Reichlin in Barocco & Kowroski in Agon were the only women from the principal ranks. The others were soloists and corps. To me that says a lot about the company.