vipa

I think a lot of the audience thought so too. There wasn't the usual gasp on hears when a dancer falls. I think she slipped on the queens cape. It was during the prick a finger acting scene, not mid dance so I could easily see how one could think is was part of the show. I was in Dress Circle and didn't think Lane danced small. Her port de bras so generous and open that it makes me love her.

I know it's been said before but one problem at ABT is rep. A lot of full length story ballets have very little for the corps to do or very little that's challenging for them to do. Contrast that with NYCB which has a lot of ballets that are wickedly hard for the corps, but enables them to get on stage doing challenging stuff, showing TPTB what they can do, and motivating them to stay in top shape. It's tough for everyone at ABT

Just got back from my first viewing of SB. I admire the artistic vision and internal integrity of the production. I am glad I saw it but over all it did not work for me. To any ballet goer I would say see it, but do not let it be the only SB you see. It reminded me of going to a concert of baroque music played on period instruments. It is interesting and has a special kind of beauty but neither the audience nor the players can lose their modern experiences and sensibilities. All the performers can do is simulate their idea of a performance from another time. Those performers from the past were going full out technically. To simulate it, today's performers have to hold back. For the most part that's what tonight's performance looked like to me. Almost everyone looked like they were coached to death, dancing very carefully and were afraid to cover space. Sarah Lane, tonight's Aurora, was the first one who brought life to the stage. She was vibrant, real and dancing musically. Up until that point every one looked totally studied. Lane, I thought was wonderful. I've seen her Rose Adagio more secure in the past but there were no flubs. Her characterization detailed and lovely, her dancing musical and technically assured. She was just beautiful. For my money she has the most gorgeous port de bras out there. Cornejo was brilliant in his solo. I wish he had more dancing to do. He and Lane looked wonderful together. Lilac Fairy - Devon Teuscher was fine but I wish it was more of a dancing role. Her costume is a bit Los Vegas Blue Bird - Copeland & Gabe Stone Shayer. I think going back in time makes both variations, but especially the man's, less interesting. He has a lot of facility, Copeland looked good but seemed penned in by the restraints of the choreography. Skylar Brandt did Diamond Fairy well. She looked like she was dancing with some freedom. Gold, Silver, Sapphire looked studied and cautious as did the fairies in the prologue. Is there no room for musical imagination in this production? Overall the thing is way too long. IMO there is really no need to put back the divertissement that have faded away over time. So, I'm in the odd position of saying that I'm glad I saw it, but probably won't be back to see it again. Sarah Lane looked like a real ballerina. She will never be a principal with ABT but for me she is the real deal.

True but at ABT people bought tickets to Osipove are seeing Seo, and people who bought tickets to see Seo are seeing Copeland. BYW I was one of the critics pf Perreira in her first Raymonda and I stand by my criticism because it matches other performances I've seen of her. If she's grown because of it great and I look foreard to seeing the results. As for ABT, we are not talking about teaching someone a role on short notice. KM makes choices. IMO his choices lack imagination and do nothing to satisfy the ticket buyer.

I think it shows a lack of imagination on the part of the AD. I know the problems of rehearsal time etc. but these choices seem crazy to me. If a star has to drop out, putting in someone who is already doing the role is highly unsatisfactory. These are people I could have bought a ticket to see if I wanted to. Seeing someone new at least adds some excitement. My example - bought a ticket to Cojocaru in SL. She withdrew and I got Kochetkova. Ok I got something different. The next time Cojocaru withdrew from SL I got Hee Seo and I felt totally cheated. Wow Peter Martins is suddenly looking like a genus.

Maybe it will be Cojocaru. She's done it with ABT before. She is quite wonderful in it. Hope they announced center soon

Congrats to all. Wow that was super fast for Isaacs. Looking forward to seeing them all next season.

Congrats to her. I knew it was coming it was just a matter of how soon. I look forward to seeing her in many roles.

I just came back from tonight's performance of Midsummer and I agree totally with abatt about Ulbricht. Fabulous. His solos were amazing. The way he covered space in his split jumps was astounding. All beats, turns, everything wonderful. He flew through all his solos seemingly without effort! His acting and stage presence perfect for the role. I hope he will finally start getting more opportunities. Reichlin was lovely and charming. I know she is tall and super leggy, but I wish her lines would gel a little sooner. Overall a very enjoyable performance. Claire Von Enck was a captivating butterfly. She's musical and has energy to spare. She had some outstanding moments, no bad moments and she is still a fairly new corps member. Seems like she is fast track to soloist. Gina Pazcoguin was Hipolita. She was strong and authoritative. Her jumps looked great. Her fouette turns traveled a lot and I think she came off point once or twice but she continued to go at it with strength and confidence. I also feel that she seems uncomfortable being partnered. I've noticed this before. Laracey, Pollack, Jansen and Catazaro were all fine as the lovers. There was a little girl sitting near me who laughed delightfully at their mishaps! I didn't expect to like Hyltin and Ramasar in the diverstissement but I did. First of all I believe this is one of the most beautiful pas de deux ever created. It's a masterpiece. As soon as Hyltin came on stage she moved so musically and did such beautiful things with her arms and head that I relaxed and knew it would be good. Some of the supported pirouettes were heart stoppingly beautiful with Ramasar turning her multiple times allowing her the freedom to expressively use her arms and head while turning. There were many magical moments. All in all however, for me it was Ulbricht's night. Sorry this season is ending. What a great company.

I always thought she was unappreciated at ABT. Her Cinderella was my favorite. I would have been interested in her Swan Lake but KM never cast her in that.

Personally I'm sticking with my tickets for the Lane/Cornejo show. A rocky Rose Adage does not make or break a performance for me (I saw Makarova hop around on pointe to stay up there). It's unfortunate that Lane/Cornejo had their first shot at it on the Met stage. I'm confident the their second performance will iron out any kinks. I'm excited to see it.

I agree and "star vehicle" is the key IMO. That's why it doesn't work at all without real star power. Unless you have truly masterful performances from the principals the thing falls apart.

I'm totally bummed. I have a June 3 ticket. OK let's turn the whole season over to Hee Seo and Kochetkova. OK I am over reacting but there seems to be a stunning lack of imagination here on the part of KM.

I know that this is crazy and has nothing to do with money but I wish they'd give it to Sarah Lane. She learned it. Has an amazing look for it. I just don't get why they don't give it to her.

Amen. I'll be there in June too. I also want to point out that, correct me if I'm wrong, all other principal casts performed it before. It was the first time for Lane/Cornejo. The NYC Met stage was their first shot at it.

I honestly don't know nanushka. Has Kochatkova danced the role with Sarafanov before?

I believe, just my opinion, that KM is trying to lure Kochetkova from SFB and will offer her a principal contract. I've seen her dance a few times and she is a good, good dancer but IMO she is no reason to deny in house dancers opportunities. Her name can't be a ticket draw. It's painfully obvious that he has no interest in offering Sarah Lane opportunities. With the departure of 3 principal women some replacements will happen even if it isn't 3 for 3. I figure it will be Copeland and Kochetkova (if she accepts}. Stella is a maybe after her Giselle. Lane no way. I would love to be wrong.

Good for Erica Pereira and I wish her well with her next performances. I did see her perform on Friday and while I give her credit for learning so quickly, I stand by my criticism of her performance because I had the same problems with her dancing that I almost always have, even in roles she's done many times. I've said what they are and I don't want to reiterate. I also want to give credit to DeLuz for his beautiful, generous and gallant partnering of Pereira. I don't think he's danced with her often.

Don't know if this was mentioned before. Forgive me if it has, but now it seems Pereira is doing all performances of Reymonda replacing both Bouder and T. Peck. I say good luck and wish her well. Personally I have problems with her dancing which I've voiced before. I hope she rises to the occasion.

I so agree with you both. These comments also annoy me because dance criticism is given such a small amount of space that wasting words on nonsense like this does everyone a disservice.

I left the world of ABT & NYCB for the afternoon and went to the Joyce for my first viewing of the Hubbard Street Dance Company. I was delighted. 18 dancers who all seem to be very accomplished, versatile and mature performers. I was going to say their ensemble work is extraordinary but then again their solo and partnering work is too. The Kilian piece, Falling Angels is a great opener and the Duato piece, Gnawa a good closer (I enjoyed it least of the 4 pieces). For me the eye opener was the work of Alejandro Carrudo. He uses his beautiful choreographic craft to express humor, wit and best of all humanity. He truly moved me. Then I learned that he is one of the choreographers that was chosen by Wendy Whelan for her "Restless Creature" show. I'm going next week - so excited.

Thank you for the report abatt. I see such growth in both Lovett & Huxley that it is nice to hear how they met this challenge.

I was also there last night and second Amour's review! I just want to add a few comments. While I enjoyed all the soloist ladies in Raymonda I particularly liked Meagan Mann's floaty jump and enjoy watching the artistic growth that seems to be happening in Megan Le Crone since she became a soloist. She's become a much more versatile dancer. DeLuz's partnering of Pereira was generous, elegant and supper supportive. Partnering like that is a beautiful thing to behold. Pereira is a mystery to me. Her arms get stiff and she hardly plies which leads to a very brittle effect. She tried to hold an arabesque here and there and has a solid double pirouette but mostly just gets trough the steps with zero musical phrasing. One of the things I love about City Ballet dancers is their musical imagination, and that musicality was apparent in everyone but Periera. She's been a soloist for 5 or more years now. Maybe Peter Martins is trying to give her a jolt by pushing her to meet challenges, but it doesn't seem to be working. Yes Morgan is tiresome. There are a lot of difficult and complicated partnering moves and lifts that have no effect but to look difficult and complicated. Sterling Hyltin danced beautifully I enjoyed NY Export Opus Jazz. On the whole I'd say the women took to the style better than the men. The piece was a relief after Morgan.

I'm so disappointed that I'll be seeing Pereira instead of Bouder. Hardly a worthy replacement IMO but I'll go with an open mind and hope to be proven wrong.

The casting sheet just lists M. Miller with the symbols for first time in role and apprentice. This is pretty exciting.