vipa

I would agree but I don't mean disrespect to Kochetkova. For me she is a "gets the job done" kind of dancer - reliable technique, easy to partner (it seems), nice presentation. I just don't find her distinctive as an artist. I always thought it a mistake to hire her as a principal instead of giving the home team more performances. She was scheduled for very few shows at the Met, so it's hard to say what her future with ABT will be. I do think her presence has impact on the opportunities offered the shorter women.

YES - and I am really excited! Can't wait!!! Thank you.

I agree that this could be Lane's year, if the season continues to go so well for her. I think it also depends partly on what they decide to do with/about Kotchetkova. She dances so few performances it hardly seems worth having her. A Kotchetkova departure would open things up for Lane. Shevchenko and Teuscher are possibilities for the future. If one gets promoted this year I'd put my money on Teuscher if her SL delivers. Zhong-Jing Fang would be a great promotion to soloist. She's been in the corps for over 13 years and continues to be a delight to watch. Calvin Royal seems a likely promotion.

Always interesting to hear differing reactions to performances. That's why we all have favorite dancers, ballets and companies! I thought Lane's performance last night was filled with detail and nuance. Every communication and feeling between Lane and Cornejo was clear and beautifully drawn. Giselle's relationship to her mother had depth. Lane's extensions and jumps were big and beautiful, her port de bras exquisite (I have always loved the fullness and creaminess of her port de bras). Her mad scene moved me to tears because it seemed real. There was no moment of a mechanical - now I go here, now I do this - to it. For me it was the performance of a ballerina. I enjoyed peasant pas, although I like the old version of the 1st woman's variation better than the one that is done now (It was even different music). Gabe Stone Shayer did some nice double cabrioles and showed good elevation. I wish he'd finish his lines, and solidify the shapes he makes in the air. Trenary was lovely.

I don't have time to write detail nows but tonight's performance of Lane and Cornejo was amazing and unforgettable. I will write more later, as I'm sure others will. I don't know what the NYTimes critic will have to say but tonight's performance alone made Sarah Lane deserving of a promotion to principal dancer.

Just got a $30 rush ticket to tonight's show. Very excited!

Copeland is an anomaly in some ways. She is a ballet star who has an audience who, to some degree, is drawn to her because she is a black woman who has achieved a particular status in her field. Her achievement is admirable and inspiring but how to write about her is a problem. Do you write about her separately from other dancers, or you do you compare her to others in a particular role and risk saying she falls short in comparison to others. It's complicated.

David Hallberg has returned and that's great. I've been a fan of his in the past but not as ecstatic as some. I saw him do a fantastic performance of Giselle with Cojocaru some years age that is seared in my memory. I've also seem him in some Balanchine works in which he was way less than excellent. That said, he is a great dancer but I am a bit mystified by the greeting he is getting upon his return. Macauley posted on instagram the number of entrachat he did in Giselle (G. Murphy's Giselle}. If that deserves mention in a performance of Giselle, I believe there is a problem with the performance. The constant comments about the man's arched feet puzzles me. Yes, he has super arched feet, that is not going to change. Anyway, I am glad he is back and look forward to his performances. I am sure some will be great, others OK, and maybe some not so good.

I thought the Lane's Giselle was wonderful. Her mad scene really moved me in a way few have. Cobweb that is an interesting comment about Lane's smile. Truthfully I think that is just her and the way she looks. When she did an incredible Aurora years ago (I don't remember the date, but it was her first) the Times criticism was summed up by a "plastered on smile." I've looked for it since and have concluded that she smiles in a way that some would call overly bright! That seems to be her. That said, she was more than up to any technical challenges and her upper body is IMO the best in ABT. I wish she'd be promoted but I don't see it happening. Her talent has been ignored for years.

I was at the Sun. matinee show and had a great time except for the Martin's Barber Violin Concerto. I've seen it several times and for me, it's at its most entertaining the first time it's seen and upon each repeat viewing it loses more and more. I enjoyed all the other ballets. Red Angels gave the dancers a chance to show a variety of musical qualities. Teresa Reichlin and Preston Chamblee showed a wonderful precision in their movement, combined with a plastique. Sterling Hyltin & Taylor Stanley were quite wonderful in Varied Trio. I found the section with a variety of lifts particularly fun. I really liked the Lou Harrison score. Polaris was also quite enjoyable. Tiler Peck riveting in movement and stillness. Choreographically I love the way Miles Thatcher moved groups around - the unison dancing was well choreographed and well danced. After the Rain is a touching pas de duex. It is inventive and has very human movements that just touch the heart. Concerto DSCH is pure fun. Ashley Bouder always makes me smile and she really delivered with her speed and musicality. I found Sarah Mearns performance a bit muted in both this ballet and in the Barber piece but it was still enjoyable. I attended with a broadway choreographer. She had as much fun as I did! What a great company!

Nice interview. I wish ABT would get more publicity for their soloists they could be rising stars. ABT's publicity machine has always seemed inept to me. The Copeland frenzy fell into their laps.

I am ancient compared to you jkr3855 but I don't want to see only Balanchine or Balanchine preformed exactly the way it was done decades ago (I doubt he'd want that either). However, I hate the separation at NYCB of Balanchine and new works. Why do we have to choose between All Balanchine and Here & Now? I'd much prefer a mixed program. That way Balanchine fans like me could get to see new works, and folks interested in the newest choreographers could get a taste of Balanchine.

I'm so bummed out that After the Rain has replaced the Forsythe piece. I'm assuming rehearsal time but I find Maria K an odd choice for After the Rain.

I agree cobweb. Aside from the ABT T&V guesting I've seen him do that ballet with NYCB twice, both times wonderfully. I've also seen him be fantastic as Oberon and in Tchai pas and Stars & Stripes. I haven't seen him dance in over a year. Could be that he is getting older (I don't know how old he is) and past his prime. With De Luz being 40 it's time to step it up in the male dept. for the white tights ballets!

I am so happy to read these reports. I won't be seeing Odessa this go round so I hope they do it again. I'll be seeing another program. I just wanted to say that I seem to enjoy the works that Ratmansky choreographed on NYCB more than the ones done on ABT. For me, Seven Sonatas is a snore, Tempest is pretty awful, I wasn't thrilled by Serenade after Plato's Symposium and, I know I am in the minority here, but I found the Shostakovich trilogy ponderous.

Thank you abatt I only saw the Wheeldon program once but you echo my thoughts. As for the Peck program. He is talented no doubt but all Peck in one night is too much. The nights I was there, there were lot's of empty seats so I'd recommend going to the Atrium for discount tickets.

I just want to point out that Macaulay is a BIG

Can't say that I blame you!

Personally I admire Peter Martins as a leader in many ways but, for me, programing is annoying. I don't want to spend ticket money on all new/newish ballets but I am curious to see new works. Instead of all Balanchine or even all Robbins I'd prefer one new work on a Balanchine program. When I see a lot of new/newish works on one program the works fail to differentiate themselves in my mind, probably because great works are hard to come by. I realize the problem of having a new work on a program with 3 masterpieces, but still I'd be more likely to buy a ticket for a program in which I was sure that 2 or 3 pieces were ones I could count on and 1 or 2 pieces were a new adventure.

So true Helene and then came the Stravinsky festival!

Jigger is definitely an acting role. At least it has been until now!

Glad to see Paris cast. If I'm not wrong she gets fewer opportunities than any female soloist. I always like her performances but I wonder what Kevin M had in mind when he promoted her.

This has to be the potential to be great. Interesting Ramasar casting. I always think of Jigger as an older man. I'm curious to see if it becomes something of a dancing role. Pollack will be great. I'm a bit surprised it isn't Tiler Peck. She was great as Louise in the NY Phil staged performance. Just as well IMO - I wouldn't want to lose Tiler Peck from NYCB for a year! I wonder if Justin Peck will discuss it with Peter Martins at all. Martins choreographed Carousel about 30 years ago in a production that played in Kennedy Center but never made it to Broadway. My husband was in it!

I hope Maria K delivers. The last two times I saw her n Symphony in C I was really disappointed. I have a feeling she might be retiring soon - just me. I'm sure Reichlein will be great in 4 T's. I agree about La Cour. I believe his usefulness is in being a tall partner. That is always needed.

Problem for me is I love Carla Korbes but I've never seen a Milliepied that I've liked, and I've seen many. I don't think I can bring myself to go.