vipa

Thank you for that report nanushka. On thing about Erica P I've noticed is that, for me, she had a very immature stage presence. To me she still looks like a talented student.

At the moment, it seems like this was based on one remark, not a history such as James Levine's. The question is, is a remark that is found to be offensive a firing offense. We are not talking about a history of sexual abuse. I believe that a sense of proportionality is being lost.

It seems that Copley had established a good working relationship with singers at the Met. I still an puzzled that one inappropriate remark, reported to Gelb, got the man fired. If this is the way of the world few people will remain in their jobs. Again I say that the chorister being so traumatized as to not be able to go on at the evening show is weird.

Just throwing a name out there, Debra Austin. An African-American woman who was a soloist under Balanchine and then a principal in Pennsylvania Ballet (wonderful dancer). She's been teaching and is a ballet mistress in Carolina Ballet. I don't know what kinds of administrative experience she has. If not a candidate for director, perhaps there is another role for her in NYCB. Especially if the duties of director are divided in some way

It would seem that the chorister didn't find the banter innocuous, but I think the situation should have been handled without firing Copley. We are talking about a man in his 80's who, I assume, has engaged in that kind of banter for years with no repercussions or even with getting a laugh. Times change and he needs to be educated, but firing him seems an over reaction. The chorister not being able to go to work that evening, and not wanting to see Copley again, even in the hallways also seems an out of proportion reaction to an inappropriate statement. I fear a sense of proportionality is being lost.

I agree. I like NYCB SB, and think it reflects the company's values and style very well. I agree with Helene that the tempi of the prologue variations are often taken too briskly, but overall this is a minor complaint and easily fixed.

Glad you mentioned that sandik, the film of her is amazing.

I'm afraid I disagree that R&J should be cast very young. I believe that dancers have to have a youthful quality, but it usually takes a mature artist to deliver the range of emotions required. I'm not saying a young person can't do it, but it's a rare apprentice/new corps member who can pull it off IMO. The greatest Juliet's I've see were (I'm old so I've seen a lot) Fonteyn who was in her 40's and Ferri, back in her ABT days who was in her mid 20's when I saw her. Mid 20's is young but not a teenager and she had already developed a lot of stage craft.

Just want to add that, although corps members teach & do gigs in the off seasons, soloists & principals have more opportunities to augment their salaries with guest work, whether it be performing or teaching.

Wonder what stage managers got

If I remember correctly Peter Martins wanted very young dancers in the role, as close to Juliet's age as possible. I have always found mature, experienced performers best in the role.

Thanks for the reminder canbelto. I saw them, but don't remember Huxley at all. I remember thinking Sterling Hyltin had the start of something great. I'm afraid I'm one of those who sees Maria K as no longer up to the task. She is a beautiful woman with the kind of arabesque line that can touch your soul. However, I just don't see the steps that are in the video of Suzanne or my memory of Kyra Nichols and others. It is a technically challenging role, as are many of the roles created on Farrell.

Yes, very unfortunately Veyette's downward trajectory has been quite rapid, perhaps stemming from that injury. Prior to that he had been delivering stellar performance in role after role, including Oberon and T&V (including a great performance as an ABT guest for that ballet).

Sorry if this has been posted before, but I just came across it. A short documentary about Bujones in his early days. Some brief but nice footage of Balanchine & Danilova coaching, and some wonderful dancing with Cynthia Gregory are highlight for me.

I won't comment on a dancer's belief that Martins' comment was a sexual proposition. One would have had to have been in the room to make that judgement. However, dancing in a way that makes the AD notice you, is how anyone gets promoted in any company. An AD notices something special about you. That doesn't necessarily mean being over the top. Rebecca Krohn, Jennifer Ringer, Miranda Weese, Stirling Hyltin, Lauren Lovette and others became principal dancers because of qualities they had that were noticed by the AD.

I was at last's night performance of Divet, 4 t's & Chaconne. For me it was mostly good but a mixed bag. I lover Divertimento # 15. A piece of heaven that should be in the rep more. Megan Fairchild has become a ballerina that can hold the stage. Sterling Hyltin gobbles up space in her own lovely way, Lauren King sunnily owned her variation, Ashly Laracey was lovely, assured and musical (principal material IMO) and Abi Stafford still has great beats and is a quality dancer in terms of musicality. Veyette is an amazing partner. His light touch and one handed partnering are almost magic. Unfortunately in his solo work his tours and turns are there, but there is a real stiffness in his upper body. I'm not a person who wants or needs bid extensions from male dancers (in fact I'd rather not) but his stiffness distorts his line. Loved 4 t's from the moment the curtain opened to Lydia Wellington to the last. Favorites were Huxley in Melancholic and Tiler Peck in Sanguinic. The woman has no fear. Chaconne was the biggest disappointment. Maybe because I had such high expectations for Mearns. She and Adrian S-W had partnering struggles. No disasters but things that sitting there rooting or them to get through this or that. In the solos he really struggled with temps an things got kind of mushy. For Mearns, I don't know how to describe this accurately but, it seemed like wasn't responding to the music as much as she was making things as big as she could whenever she could. As if going for broke whenever you can is a virtue i itself. I'll never get Erica Pereira. She is a good turner but she always seems to move in pieces, nothing holds together. Indian Woodward was lovely i the pas de cinq. I'm interested in reading other opinions. IMO the Suzanne/Peter video of Chaconne really holds up. Last note - I wonder if anyone has given thought to casting it with shorter dancers. The chances of finding someone of Martins' size, who can move as quickly, cleanly and elegantly as he did, are small!

There is also the matter of fitting into the look of a company and being adaptable in terms of their rep. I've never seen Womack live. On video I've only seen her doing very classical parts, and in those I think she's quite competent. I don't know how she'd fare going from Balanchine to Peck to Crystal Pite to Wheeldon etc. I also don't know how well she would cope with dancing in a group whether corps or as a soloist. I may be wrong, but to me she always seemed pretty set in her ways in terms of performing. It's hard for me to imagine her working with a choreographer. Again, I've never seen her live and I have limited knowledge, it's just my impression.

At the moment there are too few opportunities to see Lane IMO

John Kriza goes on my list. I studied with teachers who danced with both ABT & NYCB back in the day. They often spoke of John Kriza's power on stage. So he and LeClercq are on my list. For recently retired dancers, I always regret that I never saw Carrie Imler live and there is not much video of her.

Great thought Canbelto. I'd love to see Bournonville too.

LeClerq is very high up on my list. I knew people who were in the company with her and they always said that she could create an atmosphere on the stage like no one else.

There was quite a fun one a number of years ago. Everything but the mat. & eve. performances were free. There was a movie about Balanchine, numerous panel discussions, Martins teaching the advanced students on stage. Even a vodka toast to Mr. B. It is true that the free tickets went fast.

I assume they were not paired more because Gomes was in demand as a partner.

Thanks canbelto. I'm happy I'll be seeing Mearns in Chaconne. Haven't seen her in that before.

Seeing Cojocaru do Giselle in NYC with David Hallberg, several years ago, was one of the hight points of my ballet going. I will never forget it.