vipa

I've been so interested in all these comments. Thank you everyone. Personally, I've never been taken with Ashton's version. I view Balanchine's first act as perfect story telling in that I've taken 10 year olds to see it who delight in the story, know what is going in and never get bored. Maybe that's different than wanting a purer Shakespeare narrative. In terms of the second act, I believe that pas is the portrayal of pure love. IMO it is one of the most amazing works of choreography ever, but I can see the objection to leaving the linear narrative for a more emotive realm. In a way it has a connection to Liebeslieder Waltzer in which one act represent the people and the other their souls. An earlier quote from a review stating that Balanchine didn't have the narrative gene is something I strongly disagree with. Prodigal Son, La Sonambula, Nutcracker, Coppelia represent fine story telling. Balanchine's Broadway works that remain such Slaughter on Tenth Avenue - are other examples. Personally my favorites are narratives (if you choose to call them that) that entice the imagination. The last movement of Vienna Waltzes is one example.

"Casting Sarah Lane as Praline – in place of the injured Misty Copeland – was savvy matchmaking, as her flirtatious chemistry with Simkin made for delightful dancing." This was carelessly inaccurate. Lane was always first cast. Skylar B. replaced Copeland. Never-the-less, this review makes it even less likely that I'll buy a ticket for this at the Met.

These days I'm happy to see any actual reviews of ballet, or any other art form. However the Macaulay review convinced me not to spend money on a ticket to see Whipped Cream at the Met this season! It doesn't seem like my kind of thing. I do agree that Macaulay favors Ratmansky above other choreographers. Macaulay is also clear about his taste in dancers. Some he'll barely say a kind word about and others he is gaga over. That is a critic's privilege, yet in terms of his criticism of dancers I wish he'd acknowledge, or be aware of, how much (IMO) his taste is influenced by body type. Megan Fairchild, Daniel Ulbricht, Sarah Lane, and many others are a no. David Halberg, Hee Seo, Sara Mearns are a yes. Don't get me wrong, I love some of the same dancers Macaulay does, but when a critic over and over criticizes a dancer for the lack of amplitude of her arabesque or movement it seems silly to me. Obviously dancers are limited by their bodies and Macaulay doesn't seem to see that. I've seen Halberg be less than stellar in Balanchine ballets but Macaulay mentions his beautiful feet. On the other hand I've heard Macaulay give less than flattering reviews to Daniel Ulbricht - IMO an outstanding dancer in this generation. I guess that's the way criticism works.

I don't know whether to go see this at the Met in NY or not. At first I was excited that Sarah Lane got a principal role and was going on that basis, plus the fact that I really like the Bright Stream. I'm not a fan of "story ballets" unless there is a lot of dancing. The Golden Cockerel was a total disappointment. The Bright Stream has a lot of dancing for a lot of people. Whipped Cream seems to be about sets & costumes. The actual dancing is barely being mentioned except for Hallberg and how great it is to have him back. I just don't know.

Thank you for the snippet. Nice that Lane got 1st cast.

In looking at the ABT spring Met season I see that Kochetkova is only scheduled for 5 performances. She is a good dancer who gets the job done but I can't believe she sells tickets. Personally I found her Swan Lake unexceptional. IMO engaging her is a mistake - those 5 shows could go to home team dancers. Think of what an additional SL or Giselle would mean in the development of any of the dancers at ABT.

I saw Kowroski to Drew and agree, but your point that NYCB had a different relation to 19th century classics than ABT is an important one.

I wish there were more videos of Carrie Imler!

Interesting observation sandik, Some times with Robbins I struggle with the idea of a something being dated or a period piece. Two different things. It's complicated.

I think this is different than the Pennsylvania Ballet case. In that case a dancer in another country was courted by Corella. She moved to the USA and become a principal in his company. Then he "discovered" that she was too tall for the rep and there was no one to partner her. In Rachelle's case, she was a young, tall corps girl who had, was is described as, a "slight growth spirt" that brought her to 5 ft. 10 in. That is very tall for a corps dancer. She was probably on the edge of too tall when she was hired, and then an addition inch or so put her over that edge. She has to fit in with the corps and be partnered by corps men! Lot's of girls aren't even given apprenticeships because they are too tall or too short. I think the "shattering her dreams" theme is overly dramatic.

Amen to that and it's not easy to bring up the rear when you have such an amazing roster of principals. Good for Peter Martins. I'm speaking as one whose involvement in ballet goes way back, andI never thought I'd say - good for Peter Martins. IMO he's turned out to be a terrific AD which means Mr. B was right again.

Beautiful rehearsal moment. I look forward to reports from Washington.

As a performer you usually don't get a say about the audience, but I believe it is different if an event is to honor an individual. As a performer I had no way of knowing who bought a ticket to a show that I was in. It is different if you are asked to perform at an event that honors one person. Many performers have refused to perform at the inauguration who could have, at some point, had Donald Trump in their audience at a performance. There are times when performing artists do have choices. There are many performers who would refuse to perform at a KKK event. KKK members are free to buy tickets to any events they choose to see.

Adding my thanks to all the administrators. Thank you too for all the wonderful people who participate. I love hearing about performances from far and wide, or even NYC shows I can't get to. I also love hearing views of performances I've seen to see where we agree or disagree. Each has a special pleasure. Thank you all.

Interesting point about casting canbelto. It's like pairs skating. The Russians traditionally cast small, light girls with big strong men.

I really love reading everyone's list. Here's mine but I'm sure I've forgotten some things. Best in no particular order: Performances of Tchai 2 by Reichlin and Tiler Peck (I share this with canbelto) NYCB bringing back Divertimento #15 with divine performances Megan Fairchild turning in performances filled with freedom and joy to match her technique (Broadway seems to have brought something out in her) Along with the amazing performances by their principal women, NYCB giving me faith that a new generation of outstanding women are moving up the ranks - Unity Phelan, Indiana Woodward, Alexa Maxwell, Alston McGill to name a few. Vale Festival coming to NY with incredible dancers of all types. I got to see the unique talent of Lil Buck, wonderful jazz and tango dancers, dancers that I thought I knew, like Isabella Boylston, out of their comfort zone. I got a chance to see Carla Korbes once again, and got a first look at Ballet X, an incredible company that I am eager to see more of. Miami City Ballet's visit to NY Worst Ratmansky's Golden Cockerel. An expensive bore IMO Justin Peck's The Most Incredible Thing - Another expensive mistake ABT squandering so much of their fall NY season on instantly forgettable ballets Daniel Ulbricht having another year of few opportunities although his Oberon continues to be one of the best ever The announcement of Carrie Imler's retirement. One of the few dancers I've always wanted to see, but when they came to NYC, PNB either didn't bring her or didn't feature her. There is very little video of her. My chance is gone! Fun thing - the ballet related podcasts that have sprung up. Personal worst experience as an audience member. I was in the Joyce Theater to see a dance performance and a woman sat down next to me and set a caged dog on her lap. The animal smelled beyond terrible. I spoke to an usher who said the animal was a therapy dog and was allowed. I spent the entire time almost gagging with nausea because of the odor coming from that dog. It was truly disgusting. I wrote a complaint to the Joyce theater about it, but never got a response.

I just wanted to add that I haven't seen this version of Nutcracker since the first year it was done in Brooklyn. I saw it twice that year. I didn't like the pas in general, not just that lift. I feel it is so packed with steps that there is no breathing room, no time to really fill the music. After a while it looked to me like a lot of steps with music playing in the background. There were sections of the ballet that I did like, but that wasn't one of them.

Very interesting California. I'm going to take a look on youtube and see if I can find the lift done by Bolshoi. I agree that it's amazing that, with so many people missing it, the lift stays.

I think the torch lift is flawed choreography if the point is to make a fluid movement. The woman is running towards the man. Her forward momentum won't help the lift. She has to stop so she can be lifted upwards and change her facing. There is no way to run into the lift to make it smooth, the point is the result. I can't see a fluid way into it. I think it is old style Soviet, which can have a great impact if the transition is fast and the lift works. That's my opinion, I'm sure others will disagree.

I mostly agree with Drew. It's always going to be a matter of taste but for me the Bolshoi doesn't do Jewels better than NYCB. Far from it. I think the Bolshoi is better off bringing their signature full length ballets to NYC. Bring a specialty that shows the Bolshoi's strengths. Today's NYCB dancers in Jewels are amazing to the point a Bolshoi dancer can't reach. IMO of course.

Chicagoballetomane thank you for that wonderful and thoughtful review. It sounds like a very interesting 1st Act.

Miler is one of the few dancers that, here in NYC I'd hoped to see live. I didn't go to see R&J when she was the nurse. I wish there was more or her available on youtube. The little I've seen is fab.

I saw the Tiler Peck instagram posts but would love to hear form anyone who saw the Peck/Ramasar performance. Hope Mearns is back soon.

I saw that instagram post too and really love the idea. I'm sure Mearns won't be limited to Carabosse, I expect her do to Lilac too (best Lilac I've seen) but I'm sure her Carabosse will be great too - Delicious, glamorous, evil. I can't wait. She has developed a lot of stage craft over the years, so I wouldn't worry about it being lacking in nuance. I wonder if Maria Kowroski will be back to do it.

The whole thing sounds like a crazy gimmick with no sound artistic intent. I live in NYC and won't go to see it. There is too much else to spend money on!