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It seems that Part got the most praise, Copeland being immature and Murphy not gripping - according to the review. I haven't seen any SL's, so I thank everyone who reports on this site. You all are more reliable than any critic.

I am a person who values technique in performance in every way, but I would love to hear more complete reviews of SL than that number! Anyone?

I just got back from The Golden Cockerel and I have to say never again. For me there was way too much theater and way too little ballet. Or maybe too much theater is not what I really mean. If theater is defined as spectacle with fabulous sets, costumes, front and back drops -- there was too much, when accompanied by such little dancing. If theater is defined as the expression of drama, and deep human emotion there was none. In other words, if it was supposed to be a theatrical experience, it failed to touch or move me. As far as dance goes, there wasn't much. I would have enjoyed a revival of The Bright Stream much more. If we want to go back to a Ballet Russes kind of spectacle, Petrushka would be a better choice IMO. I won't be going to the ABT Sleeping Beauty this year. It's usually one of my favorite story ballets but I can't sit though the Ratmansky version again. I'll wait for NYCB to do theirs next spring.

Thank you vegansmom. My sentiments exactly, but you put it into words better than I could have.

Don't know anything but am surprised to hear about a biography. Wilde was a long time principal dancer in NYCB back in the day, but I didn't think her name was known outside of the ballet world.

Wow - I'm amazed to hear that about Veyette. I've seen him do this role so well. I hope it was just an off night.

I was there this afternoon for MSND and had a lovely time. I think Daniel Ulbricht is an outstanding Oberon. I saw him last year and loved him and this year loved him even more because his acting and characterization seemed freer. He sailed through the variations as if they were easy and my jaw dropped when he flew across the stage moving backwards on the diagonal. I liked Teresa Reichlen's Titania's more than I had in the past. She had a warmth in her performance that I hadn't seen before. Her pas with cavalier, Russell Janzen, was lush, flowing and secure. He is an excellent partner. Indiana Woodward was Butterfly. She seemed a bit unrefined in some lines and movement but danced with a wonderfully juicy muscularity and for the most part was technically secure. It would seem she has soloist in her future (IMO along with Unity Phelan, Miriam Miller and particularly Alexa Maxwell.) The Divertissement pas - Hyltin/Ramasar. I loved it. First off this has to be one of the most beautiful pieces of ballet choreography ever. Hyltin is a dancer that has snuck up on me! I've only become a fan in the last couple of years. Seconds after she come on stage she did a supported pique arabesque, and the musical phrasing she created with the use of her head and arms captured me. I knew I was in good hands. Ramasar was an attentive, beautiful partner. He had one small mess up with a turn but was otherwise quite fine. I liked LeCrone as Hippolyta. She doesn't really have the jump for the role but carried it off and nice looking fouettes!! I almost didn't recognize Chase Finlay (Lysander) with the costume and wig. It was nice to see Erica Pereira doing something other than Butterfly. She was fine and sweet looking as Hermia. I've never been a fan of Pereira's but this season I've enjoyed every performance I've seen her in. I'm looking forward to future performances. Lauren King (Helena) gave us suitable drama in the first act and her amazing glow and smile in the second. King is a dancer who can light up a stage. All in all a wonderful performance. The place was packed. I know the couple sitting behind me had never been to the ballet before. In fact, at bows, when Reichlin brought the conductor out the man behind me said to his companion, "Wow that was nice of her." On way out I spoke to the couple for a moment. They loved the show. It's always good when first timers leave the ballet feeling happy.

I too saw the Abrera/Whiteside Fille. Abrera is a delight. Unfortunately she's being given these opportunities in the twilight of her career. Whiteside to me seems an unfinished dancer and unconvincing actor, but was a wonderful partner for Abrera. The ballet had moments that delighted me, but has too much slapstick and repetition for my taste. I'm glad the ABT is fielding home team principals, but ballets like Fille IMO, are problematic in respect to developing dancers. There is nothing challenging for anyone but the leads. The same is true of Romeo and Juliet. It seems to me that a corps member at ABT has to stay very self-motivated to stay in shape, never mind the soloists

I was there Sat. night for Shostakovich Trilogy and guess my impressions were a bit different than some others. I found 3 Ratmansky/Shostakovich ballets in a row a bit much - Soviet angst with a cloud of impending doom, dark humor that sometimes went broad, and in each ballet - a smattering of flashy lifts and virtuoso dancing by the male of choice. I liked the first ballet, Symphony #9, best but maybe I liked it because it was first. Ratmansky always move groups around very well and the corps is used to great effect in the piece. Port de bras or even the tilt of their heads sets or changes a tone. Marcelo Gomes' fluid movement quality and wonderful partnering were a pleasure (when he leaves ballet he could easily extend his career with other forms of dance if he chooses.) Cornejo's technique is awesome as always and he manages combine it with a stage presence that is warmly human. In Chamber Symphony James Whiteside was the victim/suffering artist/composer and Lane, Boyslton, Seo were the women in his life. All danced well - nothing tugged at my heart strings. The audience seemed a bit deadened by it. Piano Concerto #1 - Shevchenko replaced the injured Murphy and was technically assured and brimming with confidence. Maria Kochetkova flash around and across the stage with accuracy but was oddly generic. I guess that's my general impression of her. She gets the job done, whatever the job is, but isn't distinctive or compelling. The big surprise for me was Simkin. I'd been avoiding him because I felt his wunderkind kind of dancing had gone on for too long. Always a slight, boyish figure he seemed to value his own tricks above partnering or even paying attention to the woman we was dancing with. Last night he suddenly seemed mature to me. He's filled out some and muscled up - he partnered Kochetkova skillfully and payed attention to her. He can still dazzle with jumps and turns. Sterns held his own when dancing along side Simkin. I don't know about the other levels of the Met but I was in the orchestra and there were so many empty seats that a lot of seat switching occurred! I spotted the couple that sat behind me, for the first ballet, somewhere else for the second and somewhere else yet again for the third. They are not the only ones. Last word about the ABT Corps. I see NYCB a lot and this past year saw Pacific Northwest Ballet and Miami City Ballet. I will have to muse on this to be more specific but I feel with NYCB, PNB and NCB, the corps of each company has a kind of flavor that identifies them. ABT doesn't seem to have that.

I will really miss Craig Hall. He always brings a quiet masculinity to everything he does that I much appreciate. I am so glad he will be continuing as a ballet master to pass on his knowledge.

I just noticed that Gary Chryst is doing a role in the Golden Cockerel for some performances. I remember him from the old Joffrey days. He was a wonderful performer/actor. I think it's really great.

I was at the Sun. mat performance and had a wonderful time. I have to admit I teared up a couple of times just seeing how wonderful art could be. BTW I got half price tickets for this show at the atrium. Ballo della Regina - Taken as a whole I have never seen this ballet performed better. The corps sparkled (Claire Von Ench always dances her heart out). Lauren King, Ashley Laracey, Alexa Maxwell and Erica Perreira were the excellent soloists. Perreira, who I usually find fault with, was secure, musical and radiant. Maxwell's presence, technique and authority make it hard to believe she is a corps member. A word about Lauren King (I noticed this in her corps days). She connects to people on stage like no one else. She offers her radiant smile and it's contagious - the other performers pick it up. Gonzalo Garcia, another dancer who I've faulted in the past, never danced better. His partnering was spot on, and he danced with a refinement that I hadn't seen from him before. Tiler Peck, IMO was amazing. She controls time and space. No matter how fast her lower body is moving, her upper body floats. There is a section of very fast turns that finish in arabesque and she managed to reach her line and freeze it faster than should be humanly possible. Kammermusik 2 - I am a fan of this piece and I like it more with each viewing. I love the corps of men echoing the themes of the principals' movements and creating atmosphere. Abi Stafford and Rebecca Krohn danced with the clarity required of the piece. Adrian Danching-Waring and Amar Ramasar are alike in that they both give off a solid intelligence, confidence and fullness of movement. Well done by all. Vienna Waltzes - I haven't seen this in many years and loved it. Some brief highlights - Megan Fairchild never looked better. Her partner, Anthony Huxley is ready for "white tights" roles. Chase Finley replaced Ask La Cour in the Gold and Silver Waltz. I was ready to be disappointed but he seized the role. I expect he got some excellent coaching. He was an understated but big presence just as the role demands. Sara Mearns was wonderful in the Suzanne role (yes, I am old enough to have seen Suzanne). A Mearns/Farrell comparison would take too many words. What a wonderful company. I had a wonderful afternoon of art that brought tears to my eyes. What could be better?

Congratulations from an east coast fan! Enjoy

My thought exactly. .

I see a dancer now and then do that version at NYCB. I like it, it's a bit different. Choosing to do that had nothing to do with my personal reservations about Ashley Isaac's performance. She looked insecure doing that turn sequence (McBride looked like she owned it) and the performance as a whole was definitely a work in progress. If what had preceded that turn sequence had been polished, nuanced and technically secure the turn sequence would have been something to note but a non-issue. The partnering problems and her port-de-bra stiffness are of far great importance IMO. Personally I love seeing first timers. It makes viewing what may come very exciting.

I was also there this afternoon. I am a fan of Bournnonville. This afternoon I felt the women, for the most part, outdanced the men in the ballet. In Flower Festival Abi Stafford was delightful, really covered space and had a wonderful lightness. Catanzaro was conquered by the choreography. His double tours were high and beautiful but other than that I though he lacked the clarity and buoyancy that Bournonville requires. Stafford was playful and sweet and he seemed to be just getting through. There were some partnering moments when he barely got to her. In the pas de six every woman did her variation with beautiful technique and playful authority - Sarah Adams, Lauren King (with her glowing stage presence), Brittany Pollack and Indiana Woodward. Of the men only Anthony Huxley looked comfortable and assured. Everyone looked good in Moves. I particularly liked Emilie Gerry and Adrian D-W in the pas de deux. They connected well and their bodies compliment each others. The ballet is a little long for me because of the absence of music. Tchai pas - Ashley Isaacs and Chase Finlay are two such earnest performers that it makes you root for them. I give them an - Eventually! It started out beautifully with Finlay's partnering having the right tone of graciousness and presentation. In the pas, they had one flub and she feel off point, and a couple of shaky moments. I was sitting close enough to see terror cross each of their faces for a second here and there. His variation was fine, if not spectacular, and he looked quite relieved when it was over. Hers started with the music being too fast, but she handled it and caught up. She is a strong, bold dancer - my major problem with her is that her arms get stiff and a bit jerky and her elbows lock now and then. This give the feeling that she is not free on top. I consider this a work in progress. I'd like to see them have another go at it in the future. Symphony in 3 - I thought the performance was glorious. Great to see Scheller back looking happy and healthy. She danced with Ulbricbht. He was his usually clean, clear musical self. Jumps and all around technique flawless. I think he is one of the most underutilized dancers in the company. I would have loved to see him in Bournonville. LeCrone and Joseph Gordon were also a well matched couple. They dance with spark and wit. I can't imagine Gordon is long for the corps. Stirling Hyltin and Taylor Stanley did the pas de deux. They both brought a wonderful alertness to the piece, as if all parts of their bodies were fully aware. Hyltin was spectacular through-out. When she made her first entrance her movements were so full and musical that she owned the stage. She's a dancer who has made great progress over the last couple of years. I enjoyed the afternoon and am particularly looking forward to watching Ashley Isaacs development. She has a lot going for her.

I was there Thursday night and had a wonderful time. As a New Yorker I'm so glad I got the opportunity to see this beautiful and engaging company. 1st - Symphony in Three Movements. Everyone danced with wonderful attack and energy. Overall I think the women stronger than the men and also more varied in body type. I wish I knew better who was who, but I'm pretty sure the woman with the gorgeous jump is Nathalia Arja (correct me anyone, if I'm wrong) Next - Sweet Fields, Twyla Tharp always constructs clear and entertaining ballets. It was well done by the company and I particularly liked the way the dancers related to one another on stage and brought so much humanity to the piece. Last - Symphonic Dances. True confessions. I know I am in the minority but I am not a big Ratmansky fan. I like the Bright Stream, but other than that I mostly like the ballets he did for the NYCB. This was well danced by everyone with appropriate technique and drama. The 3 principal women were great - Arja again, Patricia Delgado and Ashley Knox. But for me the piece was too long. It has a dramatic tone but doesn't go anywhere. There were several time when I would have been fine with it ending. Never-the-less the dancing was very fine. Congratulations to MCB and Lourdes (and the legacy left by Edward Villella).

As a New Yorker who has seen Midsummer many times I am afraid I still don't get it. Why? Putting the action underwater seems random and perverse. Did people in Fl really buy tickets because it took place underwater rather than in the woods? This ballet is brilliant, entertaining, funny and a prime example of storytelling in ballet at its best. Wouldn't that in itself be enough of a selling point? BTW - I'm looking forward to seeing MCB in New York. Just got tickets.

From former discussions of dancers, I've concluded that Sarah Lane seems to be one of those dancers who some see as amazing and others see as nothing special. I fall in the camp of thinking she is one of the finest dancers at ABT and should be a principal. However, I don't wish to re-ignite a well worn topic. This variation is very well done but, for the most part, I don't like the choreographic restorations. I do like the sissone step done with the bent leg. For the rest I prefer what evolved into the standard variation we see done by most companies. I was particularly please to see this because I won't be buying a ticket to see ABT's SB this season (or any season I imagine). Three viewings last seasons was more than enough. I'll be interested to see how ticket sales go this season. I'm actually looking forward to seeing the Peter Martins version next year at NYCB.

Forgive me. I am a NYC resident and sometimes don't follow other companies as well as I should. Did Miami City Ballet put the Balanchine production under water or am I misunderstanding? This ballet, as far as narrative ballets go, is just about perfect. I have seen NYCB do it at least a dozen times over the years. Why would anyone mess with it? Sorry if I am asking stupid questions.

I have to agree with what (I think) vegansmom is saying. To me Womack is always imitating her idea of a ballerina. As for myself, I don't see anything particularly musical, nuanced or imaginative about her performance. She is technically strong in some ways. She has facility, seems to work hard and is certainly ambitious but I don't see anything special. I wish Womack well because I wish all dancers well. She had decided that Russia is the place to dance and I wish her the best. I think there are soloists in major companies here in the states who could dance rings around her.

What a fun exercise. For me - in no particular order the ballets that I saw that made me want to come back were: 1. Swan Lake (with Cynthia Gregory) 2.Theme & Variations 3. 4 Temperaments 4. Midsummer Night's Dream (Balanchine) 5. The River (Alvin Ailey) Not the same as my list of 5 favorite ballets of all time, although some would make both lists!

Thanks for posting Hermine - can't wait!

I agree on both fronts abatt. Re Sarah Lane, IMO McKenzie has always cast her when a short male dancer needed a partner. It never had anything to do with her. She was cast in roles that didn't suit her because of this. Aurora does suit her but if Cornejo isn't there to do the prince Lane isn't cast as Aurora. It is as simple as that. McKenzie wouldn't understand that Lane has a following. Hee Seo all the way, a dancer I will never buy a ticket to see.

I believe the touching the head thing in Symphony in C started with Suzanne. She mentioned it in her autobiography. I don't remember exactly how it happened but Balanchine was rehearsing it and wanted something to fill out the music and she put her head to her leg. It got the Balanchine seal of approval!! I don't know if anyone can be more exact. I can't find my copy of the book.