vipa

Thank you

I actually believe that the likeliest possibility is that when an audience member gets something special from a particular performer that performer's technical lapses become miniscule. I've expressed this view before. My example in opera is Natalie Dessay. I have been in the audience when she didn't quite hit a note but that wasn't my take away. I've seen Cojocaru badly stagger out of turns from fifth in Don Q, I've seen Maria K over at NYCB have near disasters in Symphony in C. That does not diminish them as great artists in my mind. I am a fan of Sarah Lane's because of what I view as a purity of line, beauty of port de bras and rare classicism. For me personally I will overlook a technical lapse here and there in her case. If I see a dancer who in no way takes me to another place I focus on the technical lapses. In NYCB that's Erica Perreira in ABT that's Seo Hee and Misty Copeland. That's how I see things as an audience member. It has nothing to do with promoting my favorite and it certainly has nothing to do with race.

All I have ever tried to say about Copeland is that I have seen her dance many, many times as a soloist. For me she is nothing special as a dancer. Most of the time she gets the job done. She doesn't have a virtuoso technique, she is not deeply musical, she does not offer a layered performance in dramatic roles, she does not bring a unique imagination to any roles. No one does all of these things but a principal dancer has to have some of these things. To me Copeland has none. Perhaps KM sees more in her than I do. Perhaps he sees potential that I don't see in a dancer who is in her 30's. I am deeply insulted by the insinuation that when I watch Copeland, the fact that her skin is darker than most of the other woman in the company influences my judgement. She is a beautiful woman who has a body that is an amazing instrument for ballet. Am I not allowed to conclude that her dancing is lacking and that either KM sees something I don't or he had to avoid the negative media that would hit if he didn't promoter her, or some combination of both? I feel sorry for the critics that have to deal with this. I doubt we'll ever read an honest review.

This is the very reason Copeland's promotion will always come with a question mark for me and many dance fans that I know. She positioned herself so that not being promoted would generate news.

Frankly I don't get any of this. Copeland has an amazing ballet body. I have seen bustier dancers and dancers with more muscular legs in major ballet companies. I can name them if you want. Many dancers have told me that Copeland's feet and legs are "to die for". A well known dancer said on a blog that she'd love to have Copeland's feet just to see what it felt like. It's not as if Copeland has short legs, a big belly and flat feet. What are we talking about here? I go to see the Ailey company regularly. These are dancers with long legs and flexible bodies. Just look at the Ailey ads and what they are selling. I'd say beautiful black woman with slender bodies and extreme extensions.If an African American audience is drawn to ABT because of Misty Copeland that's great, but to pretend that she breaks the mold of ballet bodies is false IMO.

True abut Whiteside I guess it could happen with Cirio. Can't be good for the moral of the home team.

I agree with much of this but I don't think Lane had a disastrous season. I saw her Theme and her 2nd attempt at Aurora and enjoyed them both (she was the only one who had to debut Aurora on the met stage). I heard good reports of Les Sylphides and Swan Lake Pas de Trois etc. Far from disaster IMO. Lane had a spectacular debut in the old version of Sleeping Beauty when she was in her early twenties. I was there and thought it wonderful. The Times critic brushed her off because in his opinion she smiled too much. If you go back and read the review you'll see how she was brushed off. It's clear to me that KM doesn't like her and is not interested in giving her opportunities.

Abrera had been outstanding in principal roles for many season and had proven herself in guesting in principal roles. Copeland was a sudden rush to principal. I know some will disagree because of the number of years she's spent as soloist but there is a vast difference between soloist and principal. It is not a matter of serving one's time. It will be interesting to see how long she is a ticket draw. Personally I am disappointed that a dancer of her caliber is a principal at ABT, supposedly a world class company. I don't thing anything special about her performances.

I agree with Dancerboy that I'd take Lane over Kotchekova any day. Abrera, who I have been a long time fan of is interesting. Does anyone know her age? Late 30's I suspect. How many more seasons does she have in her? Copeland is 32 or 33 with lots of opportunities outside of the realm of ballet. Now that she's gotten what she has been so public about seeking how long will she toil away in ballet? I know this is pure speculation on my part. The soloist promotions on the woman's side are promising I guess.

I agree. Race is not typically mentioned in reviews. I can't imagine a reviewer mentioning that Craig Hall is black. My personal opinion is that Copeland has made her career so much about race that we'll never read an honest review about her. Maybe that's not fair, maybe it's just that as a reader I will never trust that a reviewer is not holding back. The NYTimes reviewer who felt free to say that a Sugar Plum Fairy ate too many sugar plums, and who named some well established dancers as "half ballerinas" will never feel the freedom to be so negative about Copeland.

I know that, in all honesty, I can react to technical flaws or lapses differently from dancer to dancer. I don't think it's necessarily hypocritical. I loved Ferri for the amazing dramatic truthfulness conveyed by her entire body as well as her face. I think of Cojocaru's unique imagination, Mearns - never hold back, go for it intensity. These and few other dancers have an artistry that is so special and transcendent that a technical lapse or flaw seems minuscule. With dancers of less artistry (and that would be most) I look more at how they are doing each step, and flaws become more important. I know lists of great artists might differ but I wonder if others feel the same way.

I think KM with promote a number of people at once. There will be promotions to principal and soloist. Promoting only Copeland would raise questions on the part of many ballet goers (IMO). Promoting others but not Copeland would be noticed in a negative way by the press (with a little help by Copeland's PR machine). Anyway it really is past time fro some real movement in the ranks at ABT.

nysusan I'm glad to hear this. When you have time I'd love to hear more details. Personally I've always had a problem with Simkin's partnering. It's nice to know there's been improvement.

Thank you found the links. All wonderful

I think Kochetkova will continue to straddle both worlds. She'll be a SFB principal and an ABT "company principal" at the Met.

Since ABT just lost or pushed out (depending on what you believe) 3 principal women I think KM will promote soon. Not promoting Copeland or promoting only Copeland would look bad to many people, although I have no idea if he cares. I figure he'll promote Copeland & Abrera (long shot Lane since he doesn't like her but Ratmansky seems to) to principal. And maybe move some corps members up to soloist.

I am confused again. I thought Copeland was doing fouettes started to travel, fell out of one and then switched to turns from fifth. Is that the case or did she do pique turns in a circle?

There's a Macaulay review in the NYT of Copeland's performance. Sorry I don't know how to link it. I wasn't at the performance but the review mentions the positives, acknowledges that much of what was seen is potential and mentions some flaws. Overall it was a positive review. It is Macaulay at his most positive which I like. I wish that version of Macaulay reviewed everyone. It is certainly not the Macaulay who wrote that some NYCB principal dancers were half ballerinas, or the one who criticizes make-up & hair color or the one who mentioned that a dancer ate too many sugar plums, or the one who brushed off a lovely debut of an Aurora n her early 20's because in his opinion she smiled too much. Keep it up Macaulay, but please be even handed.

It has been my experience that when Tony season passes sometimes the load lightens for some leads.

Mearns was 19 and delivered a gloriously musical, unique and dramatic performance. I believe she was still in the corps, I could be wrong about that.

I didn't see the Copeland SL. I would love to hear an unbiased evaluation of the performance but it seems to be hard to come by. I know 3 people who went. Two went not liking her and found the performance heavily flawed. The other, someone I met recently, is a fan and loved, loved, loved it. I'm not saying these people were not being honest but they could have written reviews before seeing the show. I find this frustrating.

I love the idea of a feeder vs a destination company. I'd never thought about it that way before. I agree that ABT has been a destination company but this has changed somewhat over the years and will continue to change as the reputations of companies like PNB, SFB and others grow. I guess what I'm saying is that ABT is still a destination company but it is not as much a first prize as it used to be.

That's funny but maybe Ratmansky was whispering something else in their ears!

Doubtful, the Theme I saw was Lane/Cornejo. Partnering was fine.

Since Cornejo did the partnering in Theme (not easy) and in Romeo and Juliet, without any issues it would seem his partnering strength is fine.