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Thank you for this review. I won't be seeing NYCB nuts this season so am hungry to hear about performances. I love hearing that the veterans delivered!

Interestingly I have known a few dancers who love class (the perfecting of technique) and rehearsal (the development of a piece) more than actual performing. I think it's far from the majority, but there are dancers who see performing as the "price" they pay for getting to play in the studio.

Interesting that Carrie Imler is debuting as Sugar Plum after so many years as a principal in the company.

It's hard for me to believe that NYCB does 58 fewer performances that ABT and only 12 more than SFB. Am I missing something? Are we not counting Nutcrackers?

I was at Vale remix last night. I really enjoyed every piece, but admit that at by the time the last piece started about 2 1/2 hours in, I was having trouble concentrating. Some impressions - I'd love to see more of BalletX and Matthew Neeman's choreography. This one viewing left me with the feeling that the dancers are accomplished, distinctive and versatile. Newman created duets that had individuality and moved dancers around the stage in unison dancing in a captivating way. I also enjoyed the Limon piece with R. Fairchild and T. Peck. Tiler Peck has the ability to draw you into her world when she is on stage. Alina Cojocaru has this ability too. Lil Buck's way of moving and bringing out rhythms is a joy to behold. Jared Angle and Carla Korbes looked "velvety" in a Jodie Gates piece called "Liquid Velvet." I was nervous that the pas from Balanchine's Mid-Summer Night's dream wouldn't work out of context. Silly me. Tiler Peck again drew me into her word, in this case, a world of pure beauty. Jared Angle is one of the best partners out there. Isabella Boylston and Calvin Royal lll were fine, in This Bitter Earth. The performance was not as textured as the last couple I saw do this (Wendy Whelan and Craig Hall) but Whelan and Hall were mature artists when I saw them, there is room to grow. There was a lot more dance than I am mentioning, and I enjoyed each and every piece. Dance is alive and well! Also, the live music was all terrific. I hope this becomes an annual event.

That is interesting. I have seen the ballet both ways. There was a season when NYCB did both, I just don't remember when. I don't like the birth scene but like having that staircase there for the final climb, which is think is more effective than a walk around finishing with the starburst. Either way, the ballet is amazing it its imagery, musicality and substance so I don't want to get too bogged down in criticizing one version or the other! We are lucky to have this work of art.

Choriamb it's an interesting idea that Seo was given a role to stretch her a bit. To me that is more a NYCB way of doing business then ABT. I never think of ABT as a place that is particularly interested in developing a dancer. Maybe I'm wrong.

For what it's worth I think it was crazy for ABT to engage Kochetkova as a principal dancer. She's still with SFB, has a guesting career and after seeing her perform a few times I've concluded that she gets the job done but doesn't bring anything unique to any role that I've seen her in.

Thought I posted last night - must have not hit submit. I was there Sat. night and found it a rather disappointing evening. Monotones was the highlight. Simon/Copeland/Lane were fine in the first. I didn't see any of the wobbles that Barbara reported seeing in the afternoon. Stearns/Part/Forster were a treat in the second section. Part's arabesque lines and beautiful proportions are shown to great advantage in the piece. It was wonderful to see the ballet again. My last viewing was many years ago. The musicality, structure and atmosphere of the piece are a great pleasure. Ashton knew how to give everything time and space. I enjoyed the Lang piece while I was watching. The set and lighting are inventive. I can't say that anything else stayed in my mind, and I don't think it showed off the dancers particularly well. C. Trenary replaced L. Paris, but I can't imagine it made much difference one way or the other. Daphnis and Chloe is IMO terrible. Like every Millepied ballet I've seen, I get the feeling that the choreographer is just filling up music, long after he's run out of ideas. The shapes moving in and out didn't add anything. That said Marcelo Gomes' solo was the highlight. His technique, fluid movement quality, and masculine yet beautiful port de bras are always wonderful. His partnering always looks effortless. Isabella Boylston showed her beautiful lines, airy jumps and solid pointe work. For me the problem with Boylston comes during quiet moments, particularly when she is standing still. She reverts to pedestrian, by that I mean she brings no drama, weight or even a sense of alertness to the moment. I'm looking forward to seeing "Vale" next weekend.

Excited about several things and disappointed about others. Sarah Lane has a Giselle, is first cast in Whipped Cream and has some other opportunities. For the first time I feel that if she has a great season she could possibly be promoted. The ball may be in her court! I'm also pleased to see a Shevchenko get a Don Q and Teuscher a Swan Lake. Not happy that The Golden Cockerel is coming back. Also not thrilled with the Mozartiana casting. Neither Part or Seo seem right for a Balanchine ballet that requires speed and a special kind of wit. Boylston/Gorak seem a miss match for Tschai pas and I don't think Bolyston is right for it. We'll see, right? That's the fun of it. In the meantime, I'm going to see ABT this weekend. Looking forward to it.

I found myself oddly disturbed by this article. I am sure that A. Ansanelli has had a difficult time, but the article gives a grim picture of being a dancer and a dancer's life after retiring. In reality there are many dancers in NYCB taking courses at Fordham. There are countless dancers in companies all over who support causes, have many interests, are married or in relationships and who have children. I actually think the kind of life Ansanelli lead (as portrayed in this article) was the exception, not the norm.

I hope they give Sleeping Beauty a rest. I think there will be Swan Lake with Seo, Bolyston, Copeland, Murphy and maybe a guest artist. I also think Giselle with the same dancers plus Abrera. I'd love to see Sarah Lane get a Giselle but I don't see that happening. Golden Cockerel will probably be back for a second year (I won't be there). I'm not a big Ratmansky fan and I feel his best work has been on companies other than ABT. I do like The Bright Stream so I'd like so see that make a comeback. Again I hope Sarah Lane gets some opportunities. I'd say it was too late but Abrera is a lesson in not giving up hope!

It is quite a good interview. I was surprised to learn the Baryshnikov has never gone back to Russia. I love the New Yorker radio hour. It's a good podcast to subscribe to IMO.

Thank you Jack Reed. Do you know if Suzanne ever danced Stars pad de deus. I'm just curious. I would guess not.

Thank you Ashton Fan for bringing a historical perspective to that quote. Ballet, like any art form is a matter individual taste. Russian dancers/ballet have never been to my taste and I'm not a Vishneva fan. Never-the-less I read with relish reports of performances seen in other places and go to see as many companies as I can when they visit NYC. The way a company dances demonstrates priorities. NYCB, my favorite company, prioritizes musicality, clarity in speed, a particular type of energy and attack, and a certain look. Other companies have different priorities. That's not to say there are not shared values, just that some things are valued more in different companies. As an audience member it's a matter of taste but alway interesting to see the differences between approaches.

Just returned from tonight's Jewels. Wonderful night at the ballet. It looked pretty sold out. The 4th ring was open. I ran into a couple of former company members that I know, in the audience. On to the show. Emeralds looked great. Everyone talks about Tiler Peck's musicality, as they should, she is extraordinary in that way (and in many other ways), but I want to mention Rebecca Krohn's beautiful musical phrasing. Her solo was enchanting in the subtle way she played with the music, and the "walking" pas was lovely. Amar Ramasar, who partnered Peck, looked a bit cautious in his solo work. I get the feeling he may not be totally comfortable in "white tights" roles. The curtain going up on Rubies got a reaction from the audience. I love that this still happens. IMO this is Teresa Reichlen's best role. She is sly, cheeky, free and commanding all at the same time. Her legs slice through the air to amazing effect. The difficult exit with the arabesques was not only secure, but done with style. She kept the sprit of the piece going. Bouder and Veyette were the couple. I'm delighted to see Bouder back. I've seen her do this role better, with tighter movement, longer balances and better turns, but the performance she delivered was one most dancers could only dream of. This is only her 3rd performance back from maternity leave, the best is yet to come. I am a big Veyette fan but I found some of his dancing a bit forced and strained. He looked like he was working hard, not having fun! Means and Tyler Angle were wonderful in Diamonds. He is an amazing partner. In so many lifts she looked like she just floated. No preparation was seen. Angle's variations were also well done. I also enjoyed his simple, manly, very unaffected presentation. Because of his partnering, Mearns was given the freedom to be the dancer and artist she can be in the pas. Her amplitude, gorgeous lines, musicality were all on display. Her solos were technically on spot and musical. It was a wonderful night to be in the audience. As my husband and I were walking home, and talking about the ballet, we realized that Mr. B is still surprising us. We've seen this ballet a number of times, but there are still moments when we find ourselves amazed by the inventiveness of a step, partnering moment or corps formation. I'll never tire of this ballet and seeing it this well danced is an amazing gift.

I saw this afternoon's performance and so agree with Cobweb's puzzlement that Divertimento 15 isn't done more often. It's a wonderful, moving, inventive ballet (yes, it still feels inventive). I haven't seen it for years, and today's cast was fine. Megan Fairchild's fleet, clean footwork was coupled with playful musical phrasing and an expansiveness that I used to not see from her. Joseph Gordon and Harrison Ball were clean, crisp and assured, as was Chase Finley. The other soloists were Indiana Woodward, Erica Pereira, Ashley Laracey and Ashly Isaacs. Each was charming in her own way while sailing through challenging footwork, turns, balances and direction changes. The 8 corps women were terrific. Please do this ballet more often. Episodes - Abi Stafford seems too have become something of a specialist in ballets with atonal scores. She and Sean Souzzi were fine, if not compelling in the first movement. Savannah Lowery and Jared Angle, in the second movement, each were in a spotlight that moved. I've always felt that this moment stirred the imagination if done with an kind of inner drama. These dancers delivered. Unity Phelan and Preston Shamble led the 3rd movement. She has a big future in this company IMO. The last movement is the most musically accessible, being based on Bach's Musical Offering. There is a ritualistic, almost religious, aspect to the movements that is very satisfying. Sara Mearns was wonderful in this. The fullness of her movements and ability to be inside any tempo was perfect for this piece. Vienna Waltzes - Rebecca Krohn and Russell Jensen were fine in the first movement. In the second movement, Ashley Bouder looked so happy to be on stage, it made me smile. Ladies and Gentlemen, she is BACK. I can't wait to see her in Rubies next week. Gonzalo Garcia looked great. I used to find him unpolished and unrefined. I don't know who changed! The Polka section is a "cleanse your palate section. By that I mean - let's have some silliness and forget drama before we go back to more drama. It works! Troy Schumacher replaced Taylor Stanley. I love that Erica Pereira threw herself into this with such gusto and joy. Silly but a pleasure. Lauren Lovett and Chase Finlay in Gold and Silver didn't work for me. They looked like 2 nice teenagers who got into the attic, put on dress-up clothes and decided to play act. I know this is a tough one for young dancers. You have to convey worldliness and stature by the way you walk on stage, stand, look around, raise a hand. Maybe these two will improve in time. I'd love to see Mearns do this role. Teresa Reichlin surprised me in the last movement. I didn't realize she had that kind of drama in her. I thought she was wonderfully introspective. Holding the stage while you're waltzing around by yourself, trying to convey your feelings, isn't easy. I though she was right there emotionally. The audience reaction to Vienna Waltzes was tremendous! The house looked quite full, although the 4th ring wasn't open. Promotion predictions - Indiana Woodward, Unity Phelan, Alexa Maxwell, Joseph Gordan, Harrison Ball. Retirements - perhaps Maria K.

Thank you maps. Interesting but vague. I still wonder who she will be teaching

I'm very sorry to hear this. The few times I saw her company it seemed to me that while there were weaknesses, there was always wonderful musicality and freshness to the dancing. I wonder what the nature of her teaching will be.

Wonderful news. Enjoy every minute of anticipation and fatherhood.

I'm a crazy person but I am so happy to see Carrie Imler back in. She is my favorite performing dancer that I've never seen live. Maybe I should start a thread devoted to that idea. In any event I love what I see of her on video and pictures. I'm in NYC and go to see PNB when they come here but Imler either hadn't been cast well or hasn't come. I'm happy to hear she's back, being cast and more videos are possible.

Interesting there is no Part. She was cast in the first production of the piece. Sorry there is only one Lane/Gorak show but Lane is the only soloist cast.

I'm not sure how to answer this either. I find the Balanchine choreography much more "flowing." The Ratmansky is a bit more static, more pageantry and posing. At least that's how I see it.

Does anyone know how the SB performances were received and reviewed in Paris?

Wonderful interview. Can't wait for more. The interview with Zoe Zien about Balanchine technique was also wonderful. Anyone know what Zoe Zien is doing now that she's not in Miami City Ballet?