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Pathetic, outrageous and just plain wrong. Nagy was a major presence. Gregory & Bujones were STARS

This conversation is very difficult because one has to make an assumption that a person was or was not cast because of the color of their skin. There is no way to know that.

I believe it's common knowledge from his facebook page and other sources that Luis Ribagorda has changed careers and is doing real estate.

I agree but the artistic choices made by ABT are such a mystery that who knows?

I agree about the age thing. The ability to portray youth does not correlate with being young. Still Lane has a youthfulness about her appearance and presentation. Vishneva is very mannered and to my eye calculating in her presentation. That's what makes the difference. The greatest Aurora I've ever seen was Cojocaru about 4 years ago. She was far from 16 but portrayed innocence that grew into something else.

I'm going for Lane. I saw her do it several years ago and found it enchanting.

If memory serves Peck did the workshop but when it came to the show all ready had a contract for Little Dancer. Can anyone confirm?

Everyone is making interesting points. Part was moving to a new country without knowing the language or culture. Did she ask if there would be a support system? What were her expectations? Her example of not knowing how to shop for a duvet is kind of funny. I'll bet a bunch of people in the US don't know that word. She must have have some help. After all she found an apartment and got groceries.

Interesting insights into ABT. It seems aside from Ratmansky not much guidance is happening

Thank you for your detailed report Amour. I found your comments on Claire von Enck interesting. When I saw that she was cast in Tarantella I wasn't totally surprised. I always notice von Enck in corps parts because she is something of a tiger in her attach and enthusiasm. It seems that got lost when she was given the spotlight (nerves or whatever). She has a couple of more opportunities to shine this season, let's hope she's able to seize the moment.

I was there last night and totally agree about Square Dance. Bouder was amazing and made it all look fun and easy. I can't imagine a better performance in this ballet, it was a privilege to witness. Huxley is showing himself to be principal material. He had tremendous control and expansiveness in the man's solo (I have seen many a dancer defeated by it). As abatt mentioned, the flexibility of his upper body suits this choreography well. I also really enjoyed his stage manner, pleasant, warm and very human. I also agree that Harlequinade is charming but not among Balanchine's best work. I enjoyed the children very much. It was like a trip through the levels of the school, and the degree of musicality and attention to detail in these very young performers is a delight. Tiler Peck, as she alway is, was wonderful. She brought tremendous warmth, lovely musical phrasing and strong technique to the role. There was one thing I felt unusual for her. There were a few arabesques when she had to open her arms and lean back, and I saw an unexpected stiffness to it every time. Usually everything she does is so full movement-wise so I noted this. Emile Gerrity as the good fairy danced with great amplitude and presence. Her sweeping lines are gorgeous. I look forward to seeing her more. DeLuz as always, charming and exciting to watch. Ulbricht as Peirrot was stuck in a baggy shirt. I noticed he had to push up the sleeves quickly for some partnering moves with Pereira. He had a bit of showy dancing to do, which was fun to watch, but the role is a waste of his talent. Lastly, Erica Pereira - she danced nicely and looked happy in her role as Peirrot's wife. She seems to have made some strides this season (I saw her in Serenade) but still at times seems a bit underpowered and uncoordinated. I see she's cast in Square Dance and wonder how she'll fare. If anyone sees it, I'd love to hear a report. One last thing - in honor of Fashion Week, I have to add that the hats in the ballet are pretty amazing!!!

Ah so #5 is Diamond

Could it be that numbers 6 and 7 a are blue bird and number 5 is something else?

Casting for FEb. 17-22 is up. I'm very pleased with my Feb. 18 cast. Square Dance - Bouder/Huxley. Harlequinade - T. Peck/DeLuz. Tiler Peck & L. Lovette are cast as Juliette that week. I hope to hear reports. I won't be seeing it.

Seems like Martins is sticking with his original Juliets. I'm surprised he is still casting Sterling H. It seems he's always wanted youth not developed artists. At least that seemed to be his original idea. Personally I always thought that idea a bit wacky.

I hope Gorak is up for it both partnering and solos. The best I've seen at ABT was Andrew Veyette as a guest from NYCB.

Thank you so much for posting this. It's just wonderful. I remember her joyfully explosive jump in her solo in Ballo della Regina. What a fine dancer she was.

Sun. Mat. - I went knowing who was cast. I opened the program and was shocked by the number of changes, before realizing I was given the playbill for Sat. Eve. My husband was also. He went to the usher to get new programs. She shrugged as she took the ones we'd been give and said - "It's the same ballets." Husband asked "Is it the same cast?" The response was "How should I know." She gave him the correct programs. I have to wonder if this has happened to others. Serenade - I enjoyed it. Sara Mearns knows how to make a moment full. Megan LeCrone had a bit of a shaky moment with the arabesque promenade when the man turns her by the thigh, but she hung on. Over all she brought a softness to the ballet that doesn't come naturally to such an angular, leotard-ballet dancer. I feel she is going in the right direction and will improve in time. Dancers improve by trying things that are a bit off type and out of their comfort zone. My shock was that I really liked Erica Periera's Russian Girl. Periera has for years now seemed underpowered, amusical and bit studentish. She certainly isn't cast much. Today I thought she danced with great freedom and generosity. She went for things, used her upper body fully and was in the music. I hope to see more of this. Agon - Unity Phelan & Ashley Hod (corps ladies) did the 1st trio with Anthony Huxley. Huxley danced with wit and musicality. Hod and Phelan more than held their own. I particularly liked Phelan. She has a way of squeezing out a movement that lends texture and musicality. Savannah Lowery did Bransle Gay. It was fine. She is a big mover with a go for it attitude but I prefer more of an air seduction in the movement. Anthony Scardato is a bit too small to be dancing with Lowery. He & Allen Peiffer were the two men. Reichlen & Danchig Waring did the pas. She has those mazing legs and lines. Her arabesque has extraordinary amplitude but I found her too cautious especially in the opening of the pas. It works best for me when the opening is pushed to the limit in terms of extreme movement and covering space so the sudden stop, when she wraps her leg around him makes you gasp. Symphony in C - Bouder & Vayette (1st movment) were the stars of the ballet. What can I say other than it couldn't be better. Her artistry had grown to match her technique & he is simply one of the best men on stage anywhere. Kowroski & Tyler Angle (2nd movement). She had a really rough performance. In the pas, when she developed a la second she couldn't let go of her partner. When she finally had to she almost fell over. Then her turns were a disaster and her jump not there. I hate to say it but it might be time to give up this role. Lovette & Joseph Gordon (3rd movement). Gordon is not long for the corps. Beautiful jumps, tours, turns and nice presentation. Lovette doesn't seem to take naturally to fast footwork (unusually for a short dancer) and I wish she had covered more space, but I think she has it in her to develop more in these areas so I'm glad she's being given a chance to do this. I always enjoy her stage manner and this was pleasant to watch. Lauren King & Taylor Stanley (4th movement). I've seen King in this twice before. It sure isn't easy for her but she's improved some every time. She is not much of a turner but got through the turning OK and was good in the rest. Her glowing presence is always a pleasure. All in all a very enjoyable afternoon. From what I could see, the house was full and the audience appreciative. I hope everyone had the right program! Oh I liked the art installation. Very interesting.

I look forward to your report, Helene. As a New Yorker who has never seen Imler live I watch every bit of video I can see of her. She seems like a really special dancer.

Imler looks great. Thank you Helene. I noticed she's cast as both Kitri and Mercedes.

I think that's probably a good role for her. It's not a ballet that I go to see anymore, but I'd be curious to hear reports from those who see it. Actually I am rethinking. I thought it was a good role because it requires a lot of energy and co-ordination. Copeland had tremendous amounts of both. However, the other quality needed is vulnerability. I hope Copeland can pull that off.

I think that's probably a good role for her. It's not a ballet that I go to see anymore, but I'd be curious to hear reports from those who see it.

I was there this afternoon and left wishing that we had more opportunities to see Bournonville. The characteristic fast footwork, unexpected direction changes, delightful musical phrasing are a joy to behold. The dancers looked wonderful. I have one question for those who saw Englund do Madge. Did she have the traditional witch costume & make-up? I was wondering because when I saw that a man was doing it I expected it to be in drag but he wore a suit. It worked for me but I was wondering if the female version was more traditional.

I couldn't agree more with that part. [Emphasis added.] The most interesting dancers I see are the ones who hear their music differently each time. So it's never the same twice with them, and so any one performance couldn't be "representative" evidence or basis for judgement. I think Mr. B. himself, while technically demanding, wanted to see interesting dancers, and I think this is part of that. It's all so interesting. Sometimes I watch and believe a dancer had made a choice. Other times I believe a dancer is doing it a certain way because of a technical limitation. I've never even examined how I make those distinction.

Two recent performance at NYCB were the best I've ever seen over many years of ballet going and watching many, many youtube videos. Tiler Peck & Ashley Bouder were the women. The technique and musical phrasing made me gasp and smile. The thing is I had seen Bouder the year before, and it was great, but then she brought it to a whole new level. This was brought to mind by Kathleen O'Connell's caveats. Video has limitations. On the other hand it allow us to see things we would never be able to see otherwise.