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I agree, but NYCB is a different animal, their rep allows for more people to be given roles and to shine. I believe McKenzie maybe will promote Boylston and it seems to me he wants to promote Copeland. Ms. Copeland is far from my favorite dancer, but she's got a book and a lot of publicity so I think KM would like to promote her. IMO the Met season is make or brake for her int terms of promotion.

Very nice interview. She seems like one very smart lady. Thank you for posting Stecyk.

Interesting abatt. I saw that movie recently and didn't interpret it that way. The way I saw it she was new to the role, the rehearsal was for her, and Martins had to see her do it full out and well before letting her perform it. She didn't ask to mark, but messed up and said she'd work on it later. PM basically said that this was her rehearsal, and there was no later. He ended up pulling her from the ballet. I sympathized with her, but didn't think PM was out of line.

IMO too many guest artists when so many on the home team need to be developed. From the start I thought Maria Kochetkova as a guest this year was odd. Last year was something of an emergency. Kochetkova is a fine dancer but IMO not a big ticket seller with a name and following like Cojocaru. Funny though at one time the idea of ABT importing a guest from SFA would have been shocking.

Thank you tpc. It absolutely was Ricky Weiss. The more I think about it the more I'd love to see NYCB do this again. I don't think it will happen.

I remember enjoying Bournonville D very much. It was definitely had a Balanchine twist but was also definitely Bournonville. I remember Merrill Ashley and Kyra Nichols being spectacular in a pas de trois (I don't remember who the man was). I don't think it has to be cast short. Peter Martins was wonderful in Bournonville.

I sure hope so. It's one of those rare things that I wish everyone could see.

I agree Amy. Martins has in some ways had a bumpy road, but eventually came into his own (IMO). The next AD will likely not have worked with Balanchine. ABT is such a different animal. I'd love Ethan S. to replace KM

Anyone in NYC who can get a ticket go - go -go. Tomorrow, Fri, Sat. mat & evening. Perfect cast, great performances, world class orchestra. Bryn Terfel of the Met Opera was mesmerizing in the lead, and he used his amazing voice to tremendous emotional effect. Emma Thompson (I didn't know she could sing) played Mrs. Lovett with great comedic flair and timing. I could go on and on, but everyone was just terrific The staging was clever and convincing, particularly with the given that the orchestra is also on stage. Stephen Sondheim was in the audience, and it went up on stage at the end to take a bow with the performers - It was such a great performance, he had to be pleased. SPOILER ALERT - DON'T READ FURTHER IF YOU ARE GOING AND WANT A SURPRISE In the program the person playing the Beggar Woman was listed as ? Turned out "?" was Audra McDonald

ABT is definitely my fantasy. IMO NYCB is doing OK.

Re -Walpurgisnacht -- Kyra Nichols is of course wonderful, but IMO Nicole Hlinka is spectacular in the 2nd female lead variation. She's a dancer you don't hear much about but WOW. I saw Erica Pereira in this role last week. She got through it. Nothing more.

I went this afternoon and want to give a few impressions. Acheron - when it was over my husband turned to me and said,"I think I've done that ballet several times, by several different choreographers." To me that said it all. Nothing new or distinctive, but pleasant enough. The dancers looked nice. Some of the partnering looked difficult. My mind wandered now and then, and then it ended. I've seen worse. Afternoon of a Faun - I read a review that compared Sterling Hyltin and Craig Hall unfavorable to clips of Taniquil LeClerq in the documentary about her life. I think that's totally unfair. A film with close ups is very different from a stage performance and LeClerq was already known for the role when the film was made. I really enjoyed Hyltin and Hall. Walpurgisnacht - I hadn't seen this in a while and really enjoyed it. It is in some ways really over the top but the choreography is joyful and inventive. I've enjoyed Maria Kowroski more this season than I have in a while. Her wit and musicality are evident. Erica Pereira is always a mystery to me. She looked mostly fine with a few glitches but I'll never understand why she became a soloist so quickly. I think it was a disservice to her. She never got the corps stage time and in some ways it shows. La Valse - Another work I haven't seen for a while. Dramatically it seems dated but musically and choreographically it is still inventive. I don't know if that makes sense. I'd love to hear from others who were there. One more note: I dislike the music lectures that appear at some performances. I love classical music, attend the phil and sometimes go to the pre-performance lectures but I dislike music lectures being thrown into ballet. It seems random because it has nothing to do with ballet. If they have to fill out a program why not talk about how this approach to Afternoon of a Faun differed from previous approaches. My husband disagrees, but I want ballet to be about ballet. The information in the talk in no way informed my viewing of the piece.

Cabro's voice will be missed. I thank everyone who knew her for posting remembrances.

I went this afternoon. I agree with abatt about T Peck and R Fairchild in Opus 19 the Dreamer. It also struck me that as a piece of choreography, although well constructed (no surprise, it's Robbins), it's success is strongly dependent on the principal dancers. This is something that has always interested me. There are works that are more sturdy than others. That doesn't mean they are lesser works, just that they are more performance dependent. For me Serenade is an example of a very sturdy ballet. Onwards - Barber is what it is. Good performances by Megan Fairchild (always wonderful in this), Jared Angle (a master partner), Sara Mearns and Russell Janzen (a man with tremendous potential), but I've seen the ballet before and feel once you've seen it, you've seen it. Stravinsky Violin Concerto is one of those works that seems to me to be inevitable. Every moment is perfect. I feel that Kowroski is nearing the end of her career. She can't jump, and really can't beat but is bringing something wonderful to the stage. Her engagement with her partner, in this case the wonderful Amar Ramasar, and everyone else on stage is beautiful, and wonderfully human. I noticed this in her performance of Concerto Barocco.

I was lucky enough to see the film. This was a delightful addendum.

I saw the movie this afternoon and loved it. I had no idea so much footage of her dancing existed. She was a totally intriguing dancer and woman. She had a radiant quality, urbane wit, and intelligence that was clearly projected in her photographs, dancing, letters and interviews. The letters to and from her and Jerome Robbins are fascinating. I urge everyone to see this movie if they can. Hopefully it will be available.

Interesting. I have to say that Dancers at a Gathering is one ballet I will never sit through again. I've seen it several times, and had vowed - never again. I decided to give it another chance. For the first 20 minutes or so, I loved it, and couldn't imagine what my problem had been with it. After another 10 minutes I wanted to shout out - All right you can stop now. 5 minutes after that I was willing to beg - Please, please stop now. Each to one's own I suppose.

Amen to both of those statements!!

I too went to Sun. matinee. I loved it. I agree with Canbelto but want to add a couple of details. Maria Kowroski and Sara Mearns had a wonderful rapport in Concerto Barocco, and Kowroski had some extraordinary moments in the pas in which she suspended the lowering of her leg in different ways. It was as if each lowering made a different tone. She was able to bring out nuances in the music that added a richness to the performance. I like Kammermusic, and every time I see I find more wit in it. Krohn, A. Stafford, J. Angle & Ramasar all looked great. I'm happy that Abi Stafford seems back in form (after a bad injury), The vibrancy of her attach was a joy. Who Cares? - As other's have said, Tyler Peck/R. Fairchild doing The Man I Love is worth the price of admission. It is a rare case of emotion, artistry, technique and musicality all coming together in the choreography. It truly felt as if the entire audience was holding its breath. All I can say is try to get there. Peck's Fascinatin Rhythm is also a delight. Her musicality and ability to combine amazing speed with a fluid, expansive port de bras is unmatched. T. Reichlin was lovely in both her variation (Stairway to Paradise) and the pas (Who Cares) Although I felt a little bad for her because she had to come out for her variation when the audience was still under the spell of the Peck/Fairchild pas. Ashley Bouder's variation was of course technically on the money, but it felt a little flat to me. It seemed like step after step with out any flair. I have to add one more thing about Bouder, She is a dancer who I have enjoyed for years. I am often blown away by her, but I find in certain ballets, Who Cares, Stars and Stripes are two of them she plasters on an artificial look. I have to say it annoys my husband, he thinks she looks smug. I wouldn't be that harsh, but I wish she'd vary that style and give us some natural warmth. I don't know if anyone else has noted this.

Re - Gaite Parisienne, if I remember correctly from the old ABT production, there are 3 good female roles and 3 good male roles. I remember Roni Mahler being good as the "flower girl" (I think, correct me if I'm wrong) The other casting is a disappointment. Maybe others will disagree, but Misty Copeland in Duo Concertant is just wrong. I just don't think she has the delicacy and lightness to do it.

It really seems Simone Messmer did a smart thing in going to SFB. She's in a gala pas de deux and doing Myrtha several times. This would have never happened for her at ABT. ABT's loss is SFB's gain.

So great. I am so in love with this video of her with Jock Soto Two wonderful dancers who have been around the block a few times, and have a lot to give emotionally.

I agree with Carbro, that the back of the 1st Ring is better than the back of the orchestra, where you are far from the stage and don't have the benefit of looking down to see formations. As far as the 3rd ring goes, I like the front of the 3rd ring more than the back of the 1st ring. But I'm short so being in front saves me the worry of getting stuck behind a tall person.

Thank you for looking into it. I believe Mr. Feld was the young prince in the early years of the Balanchine Nutcracker, and was a teenager when he was Baby John in Robbins West Side Story. There is a lot of history there.

It sounded like she'd want to continue the conversation. I'm sincere when I say that it has lot to do with you. You have great questions, show a genuine interest and go with the flow . I've loved every podcast, but this is a particular favorite.