vipa

Agree abatt. It is practice. She sure has the makings of something spectacular. I'd like to see a better look to the arms in particular. Beautiful turns are important

Serenade Tchai pas & Tarantella (OK that's two but they are short) Stravinsky Violin Concerto All Balanchine, but if I think of a limited number of ballets I couldn't do without, thats how it works out. I could substitute Symphony in C or Symphony in Three Movements for Stravinsky Violin. And I could go with Allegro Brilliant instead of Serenade. No meals included!

So well said miliosr. Thank you. I was even thinking recently that it would be interesting to see Ailey's The River make a comeback. A very distinctive season could be put together. As an aside, it really bothers me that more and more companies are using the same choreographers.

The ballets and casting are not perking my interest. I love Symphonic Variations but other than that nothing attracts me. I'll probably stay away. In the choice of rep, I don't understand what message is being sent in terms of the ABT identity.

Thank you so much for sharing it Sandik. Just wonderful

There is no way to know. I believe they are doing 13 Swan Lakes (please correct if I'm wrong). I figure Reichlin, Bouder, Mearns, Hyltin and now Fairchild. Adding another lead lady would be possible.

I answered the same survey. The thing that is always hard to know in these surveys is that the statistics are from people who were willing to answer a 10 - 15 minute survey. I have a strong interest in the arts and, I admit, a certain loyalty to NYCB. I'm not sure how the public at large feels about the arts. As an aside. It is amazing to know that arts in America were part of the discussion during the Kennedy administration.

Yes, I remember seeing Harbinger at ABT but I don't remember much about it

I can't speak to a lot of his choreography but I believe Intermezzo 1 and At Midnight ballets worth having in a rep

To me it looks like he was caught by reporters asking him painful and intimate questions, and he wanted to end the questions. That seems natural to me, regardless of his leadership position. If I was worried about my daughter's drug habit, arrests, etc. I can't imagine having the presence of mind to choose my words carefully at every moment. Let's give it time and see if he has an official statement. I want to add that drug abuse issues occur even in loving families with great parenting.

This is so true canbelto. I too have seen a great disparity in the treatment of individuals. Skin color and money play a big role in the way things play out in our justice system Of course I wish the Martins family the best. In these cases there are no quick fixes or easy answers. It is painful for everyone involved.

Such fun. Really fun to see how many dancers were game. Some switched sides to do the cartwheel on the other side & who was the person with the aerial walkover?

Agreed. Again we are talking about taste.

As I said before Nzoia, it really boils down to individual taste. My favorite company is, and probably always will be, NYCB. I love the rep, the musicality, attack and sense of values. Others think differently and, as interesting as it is to hear other points of view, I can't imagine anyone's mind will be changed by a discussion. We are all lucky that there is so much out there to see and follow.

Aside from Balanchine's Nutcracker, a full length that was and continues to be a money maker at NYCB is Balanchine's Midsummer Night's Dream. Fact is that "story ballets" typically sell well in most companies and to some degree support other works.

Nzola my quick answer as a huge Balanchine/NYCB fan, is that I would quibble with much of your assessment, but the bottom line is that it is a matter of individual taste.

I agree vagansmom. Also, she doesn't have a background in handling the variety of ballets American companies do now. I know she does a contemporary work in competitions, but she's been focusing on the classics as done by the Russians. There is nothing wrong with that, if that's what she wants but It might be hard for an AD to picture her doing Balanchine, Forsythe, Wheeldon, Peck etc. I've never gotten any indication that she wants to explore or can be adaptable in that way.

Interesting topic. Drew, I agree about both ringer and Cojocaru. They share an unforced manner that makes each of them seem truly human in performance. I think that sometimes the choreography and coaching plays a part. I've heard several people who worked with Robbins say that he wanted nothing forced, pushed or presentational in many of his ballets. He told dancers that it should be like the audience happened to peak into a studio and saw some dancers.

I don't want to debate Erica Pereira's technique or artistry but it seems to me that she hasn't been given much of a repertoire and hasn't done a whole lot of principal roles. She'd done principal in Square Dance, Tarantella, Raymonda, Steadfast Tin Soldier (Tarantella & Soldier for many years). I might be wrong but I don't think much else (I'm talking about principal roles only). NYCB, like most companies, usually promotes a dancer when there is some sort of solid track record in principal roles. Of course, I could be wrong but it to me it appear that they are not testing her out, so to speak.

She was an amazing talent and this is truly one of the best performances of that pas ever. I don't know the occasion of the video but I am sure happy that it was recorded.

This is so hard to predict but I don't see King as promotable. She's been a long time favorite of mine for her glorious stage presence and lovely presentation but as a soloist her technical limitations have been more obvious. She hasn't been cast in many principal roles and I don't see anyone being promoted before success in at least a few principal roles.

Ah - Thank you cobweb

Interesting point abatt. The current crop of principals won't last forever & they have to keep developing talent. On the women's side I'd say Ashely Laracey & Savannah Lowery are the most ready. I think it would be a bit soon for Unity Phelan. Maybe Ashley Isaacs, but I don't think she's done that many ballerina roles, unless I've just not seen her. Her Tchai pas was a good start when I saw it but still very much a work in progress. I agree Catazaro on the men's side is the best bet. Promotion to soloist - my hope would be Alexa Maxwell. I just noticed that Claire Von Enck is listed in the corps but not Emma Von Enck. Wasn't she? Did I miss something?

Interesting woman. She started studying late and became an apprentice to NYCB just a few years after she began her studies at SAB. Rose up through the ranks quickly (despite an interruption caused by serious injury). Left NYCB because she was unhappy. Joined the Royal Ballet in England as a soloist, became a principal and after a few years stopped dancing, I believe at around the age of 28. Dancing wasn't making her happy, in fact it seemed to be making her unhappy. That's my summation as I understand the facts. Feel free to correct wise BT posters.

For a great Diamonds pas check out Alexandra Ansanelli for what I think of as the right mood and feeling - simple but complex!