vipa

Thank you again volcanohunter. interesting stuff. I don't follow Russian companies at all because I generally don't like the dancing, so this is revealing. So my question is do those Russian companies do a better job in developing talent than ABT or is it a similar situation?

Thank you volcanohunter. I don't know much about the Russian companies (rep, how big they are, etc.) so I can't comment. NYCB - 180 performances and most of them rep, not full lengths offers a lot of dance roles. I think it can also be noted that in Balanchine full lengths he gave the corps real dancing. Contrast with ABT's 111 performances, most of them full lengths. There are some "story" ballets in the ABT rep that have little dancing for anyone but the principals.

I came in this thread getting ready to ask this same question. Why is it that POB, Mariinsky, Bolshoi, etc whom dance a lot of full length ballet's are able to give chances and develop their dancers while, all of a sudden, ABT can't? Does anyone know how many performances POB, Marinsky & Bolshoi do compared to ABT? It may be the other companies perform a lot more. I agree that a permanent place to dance would be helpful.

What a great idea! Giving Forster a Solar. First of all, he's a wonderful actor (see his Iago in "Moor's Pavanne" if you need proof). Also, he's grown so much as a dancer. The eye always seeks him out on stage. And he's tall. Please, please give him a chance. Before he too goes elsewhere.I'd love to see that too. Maybe the reason KM doesn't offer more young dancers opportunities is because allowing a corps person to do a soloist or principal role means the soloists or principals have that much less to do. It's a zero sum game. There is just not enough to go around.

As always ABT not developing dancers is tied to its rep being so loaded with full length story ballets. You don't develop as an artist or even a technician doing the corps of big ballets night after night. Soloists doing peasant pas & Swan Lake pas de trois, year after year don't develop either. Even principal dancers like Boylston - how good is your Swan Lake going to get, if you do 1 or 2 a year? They import guest artists who have been giving opportunities for growth in other companies. At NYCB they have the advantage of rep in which lots of soloist and principal roles are danced in an evening's performance, and there are a lot of challenging corps parts. Peter Martins can take a chance throwing a corps member into a bigger role here and there, because that dancer doesn't have to carry the entire evening.

Unfortunately I agree with you. As a result I buy tickets to fewer and fewer performances. Hee Seo and Boylston are worthy soloists. I don't know what KM is thinking but as many others I think it is time for a change. Another thing - when you look at the performance calendar the weeks of work for dancers is embarrassing. They used to have long tours.

Yes, I looked for it too. I'm sorry it's been removed. I looked too. That was actually my favorite part of the day, seeing the advanced SAB students doing class on stage. I thought there was an onstage presentation in the schedule with details TBD but it disappeared.

I agree abatt. It's not only lightness and speed, it's also musicality and an imagination that plays with music, and phrases steps in a dynamic way. Copeland did the steps, but compared to the women I've seen recently, she looked like a good student.

Thanks for the heads up abatt. I agree about Pereira. She hasn't made much progress as a dancer over the years so hopefully she'll have a breakthrough. Interesting that Bouder is replacing both T. Peck and A. Stafford in Symphony in C.Thanks abatt. Once again they haven't updated the casting sheet. You have go into the date and "buy tickets" to see the changes.I may be the sole voice of dissent but I really like Pereira. More, I think, than Lovette. I was very disappointed in Lauren's Nut. And I really dislike her Rubies. I think she's getting all these chances because NYCB wants to have a new Chase/Lovette pairing a la Robbie/Tiler or Suzanne/Peter, etc. I also hope she does well in these roles. I don't know what the time lag was but the casting changes are online. You are right Amour, we disagree about Pereira, but I hope she does well. I didn't see Lovette's Nut or Rubies but have seen her give quality performances in many ballets. I can't imagine she's getting roles because of the PR of a relationship. That's pretty far fetched IMO.

Thanks for the heads up abatt. I agree about Pereira. She hasn't made much progress as a dancer over the years so hopefully she'll have a breakthrough. Interesting that Bouder is replacing both T. Peck and A. Stafford in Symphony in C.

Since Lane/Forster did the work more than once Scarlett must have known what they were doing. Being unwilling to dance in a piece is not much of a threat at ABT. I'm sure there were understudies who would have loved to get on stage.

Interesting Lane/Cornejo are not cast for the California premier of Sleeping Beauty. It's all a mystery at ABT

As always individual tastes dictate which dancers one favors. I don't think I'll ever be a fan of Part's even though I enjoy her in some roles. I'm not crazy about Copeland but I do love both Abrera and Lane. As far as ABT's management goes KM seems to be favoring Copeland for whatever set of reasons. He promoted Boylston way before she was ready (IMO). To my tastes she is a very unfinished dancer. Personally, I would have rather seen Lane or Abrera get the opportunities given to Boylston. I guess the main problem for me is that I don't see an artistic vision at ABT. It all seems rather patched together.

Really - Luis is no longer at ABT? I didn't know that. That is interesting in terms of Sarah's career. Also, I too would be very surprised if Kochetkova joined ABT. A others have said her rep at SFB is more interesting and she has a big guesting career.

I just took advantage of that. It was an offer sent to subscribers. The performance I purchased 2/18 had very limited seating with the discount - orchestra, 1st and 2nd ring only. Still it's a good deal.

ABT is as always continuing the practice of using guest artist rather than give company members from the ranks a chance. It's not like these guests are household names and will sell tickets. On the other hand perhaps I'm wrong. Maybe ABT ticket buyers are impressed by a Russian connection.

I'm sure you'll love it Kaysta. Please report back. I'm going Sunday afternoon and looking forward to Lovette in Sym C third movement and also corp members Hod & Phelan in Agon

She didn't say what book - but Ferrante's series that begins with My Brilliant Friend is available, and I think, fairly well known in the US. The first 3 books in the series are wonderful, the 4th is supposed to be available in Sept. 2015.

Maybe so, but that's not what she had to say and what she did say was thought provoking. To me her central point is more important that reviewing a specific piece.

I agree with much of what has been said about the gloom that hung over the city during that time period, and also the age of the influential critic coming to an end or at the very least lessening. At the same time I believe Croce made some valid points in that essay. Jones, in Still/Here, did place himself beyond criticism not only from critics but from audience members, by incorporating sick and dying people into the piece. It was impermissible to say you didn't like it. To me that doesn't mean the piece shouldn't have been done, but it couldn't be judged as a work or art. Jones was/is a serious artist but did remove himself from being criticized. I have to say i have a copy of Croce's collection - Writing in the Dark. I still go back and read some pieces periodically. I love her, find her annoying, agree with her, disagree with her and more, but boy I wish we had more writers like her around now.

No big surprises in casting, but I didn't expect to see Vasiliev there. He's not, I think you must have looked at last years Don Q? Thank you - you are correct!

This is not about a dance related call, but my favorite was a telemarketer who wanted me to renew my membership with the Museum of Modern Art. I politely said my membership wasn't up for a couple of months and I would renew when I was at the museum. She actually said that if I renewed over the phone it would save me a trip to the museum. Doesn't that make sense?!

No big surprises in casting, but I didn't expect to see Vasiliev there.

Best: Wonderful performances and an extraordinary depth of talent at NYCB. Andrew Veyette's performance of Theme & Variations at ABT Boston Ballet's visit to NYC with fine dancers and enjoyable rep that I would not have seen otherwise. The Joyce Theater for presenting so many companies at good ticket prices. The deal for members is amazing, and all you have to do to be a member is buy tickets to 4 performances. Worst: My disappointment that Cojocaru again had to cancel Swan Lake at ABT. Not being able to see Carrie Imler dance in NYC Kevin McKenzie for failing to nurture talent and lack of imagination in choosing rep.

Happy holidays to everyone. I truly treasure everyone's comments, reviews, pictures and videos. It is a pleasure and honor to be able to share a love ov ballet with you all. Hope 2015 brings everyone happy ballet watching and more!