vipa

Wow, isn't this announcement a little premature. ABT hasn't given out casting yet, and a lot can happen before the Met season. Personally I don't see Swanilda as great role for M. Copeland, but I know her fans will disagree. Do the other dancers in ABT know what's in store for them for the Met season?

Just got back from Balanchine Black & White. What a wonderful time. I just have a few comments. 4T's - The company looked great, the music sounded great. Savannah Lowery in the 2nd movement was outstanding technically and musically. Ashley Bouder in the 4th movement bust on like she was on fire - so exciting Episodes (One of the few Balanchine ballets I had never seen before). I loved it, particularly the section with Reichlen and la Cour in two spotlights. Frankly I would have found much of the music difficult to listen to, but the choreography guided me. I was with a musician who hasn't seen much ballet and he loved this work, and they way the choreography reflected the score. Duo Concertant - Magan Fairchild & Jared Angle were excellent. I liked the way the listened to the music without a lot of emoting that some do. My musician friend really liked Fairchild. Symphony in Three Movements - A pleasure all around. Really liked Sterling Hyltin and Amar Ramasar in the 2nd movement (I know it's silly but I always have looked at this section as alien beings and their mating ritual) What a great company. My musician friend thought the orchestra was excellent, his only complaint was that the string section sometimes was over powered. Perhaps they need more string players or perhaps it's a conductor's problem to solve. I'd love to hear other reports. I'm going to see this program again on Oct. 4

Allegra Kent in that, in my opinion, she had tremendous influence on the Balanchine look and style (for want of a better word). Her port de bras and way of moving, I believe had impact on the school and company. I would also add to the list Rebecca Harkness. She poured a tremendous amount of money into her school and company. Whatever one's opinion is of the quality and outcome,many influential teachers taught at her school, and many great dancers were developed in her company.

I agree with abatt in all but a few small ways. Mearns is a marvel in the role. I appreciated Jared's performance for his partnering. The kind of partnering that gives a woman a lot of freedom, but I agree he is bland and barely got through his solos - a let down after the excellent dancing of Ulbricht (jester) & DeLuz (pas de quatre). The four little swans were out of sync, but I'd bet money that it was an orchestral problem that threw them off. From the audience I couldn't hear the lead in (1 & 2 & 3 & 4 &) that's played and sets the tempo before they start, and I don't think they heard it either, then the oboe made a weird entrance. Loved Savannah Lowery in Neopolitan. In both the pas de trois & pas de quatre I find the choreography someone inorganic, as if Martins wanted to do something different and difficult. That said the pas de Quatre couldn't have been danced better (DeLuz, A. Stafford, M. Fairchild, T. Peck). I fear it's the kind of thing that takes principal dancers to make iwork. I didn't care for Pereira in the pas de trois. I really agree that the tempos were too fast in places. Mearns white solo was glorious, but could have been more so if she had had a little more time to luxuriate. That said it was a fine evening. I won't be seeing SL again, so I can't wait to read about other casts. Thank you everyone for writing.

I agree - Mearns. Teresa Reichlen is also doing O/O even though she wasn't in that video.

If we are daydreaming - I'll daydream about re-staging Tudor. I think we are all overly optimistic.

The Swan Lake casting is up http://www.nycballet.com/casting/ I'm excited, I have a ticket for September 17.

Loving all of these interviews. Thank you, thank you

I just wanted to add my applause! I've listened to every interview so far and have really enjoyed each of them. The most recent, Peck/Fairchild was truly delightful. I eagerly await the next one.

Such a beautiful dancer, but the music gets so distorted in sections that it becomes hard for me to watch.

Lane had done it with Cornejo in the past. My guess is since he isn't doing it, she isn't doing it. Too bad she was good it T&V, better than most.

Richard Thomas passed away today. Many studied with him at the New York School of Ballet, a school in NYC which he owned and ran with his wife, Barbara Fallis. He had danced with a number of companies, including the NYC ballet, ABT, the Ballet Russe as well as the Alonzo company in Cuba. His wit, intelligence and ability to describe the mechanics of ballet technique, along with the art and musicality of ballet were truly amazing. Anyone who took his class has their favorite "Dick Thomas story." He and his wife had great impact on their students whether they were professional dancers or people studying for their own enrichment. All good students were taken seriously. They taught their students about ballet, music, art and how to approach work - no matter what that work was. May he rest in peace.

I haven't read through the entire thread so some of my comments are made on just looking at the list. Forgive me but what about Ashley Bouder? She has put her stamp on some Balanchine ballets like no one has before. I'm a fan of Sarah Lane's but she hasn't been given enough opportunities to be able to tell. I guess I'm saying it's a confusing idea in some ways. If we are talking about distinctive individuals then there are lots - Monique Meunier was a distinctive dancer who went from NYCB to ABT but got opportunities in neither. Naomi Sorkin was a glorious American dancer.

Wonderful - Claire Von Enck has already been a stand out IMO

Amen - I would add Croce.

Also we are looking at it from the ballet world. There are lots and lots of musical theater performers that I don't know about.

Perhaps this has been covered, but the "glass half empty" attitude in the statement, "part time ballerinas" is what bothered me. I believe critics can be critical, but should alway keep in mind that they are writing about human beings who care about their work. Why couldn't he have written it as a positive - These woman prove themselves to be ballerinas in some of their roles - or something like that. An artist who achieves greatness (IMO) should not be glibly written off because everything he or she does doesn't reach that pinnacle of greatness.

Robert Fairchild - he was terrific in Who Cares!

Amen to Abrera & Lane as principals. One thing about comments about Boylston, Copeland etc. in lesser roles. While I agree that the soloists are not given enough opportunities and often do roles that up and coming corps members could/should do I wanted to say one thing. Dancers many times find it fun to do a role like Puss-in-Boots. It's not difficult, it's fun, you get to be a character - you are onstage without having to worry about this or that challenging step.

I think many of us are wondering this same thing. I've seen Lane dance regularly over the years and she never disappoints me. Always secure, gorgeous technique, continues to grow, never any big problems. I hope she isn't left to wallow as a soloist forever. She'd also make a very lovely Juliet. I agree that she'd make a lovely Juliet, and I know from her Huffington Post interview she learned the role, but hasn't performed it. I understand that her SB was quite something this year. 5 years ago when I saw it, it was very good over all - with an outstanding Rose Adagio (which is something for a first timer). Given the lack of opportunities offered to her by KM, with a sinking heart I don't see being promoted in her future. I hope I'm wrong.

Excellent point.

My question is - Will KM do anything with Sarah Lane? I wasn't able to see her performance this year. The one I saw 5 years ago was flawed but way beyond good, and certainly worth nurturing. Given her age (late 20's) and length of time with the company it's now or never.

I think the circumstances might have differences. Cornejo was at the Met. I don't think they bring in guests much, if at all for out of NYC performances. Also they were trying to replace Cojocaru who was a guest star, so I think they wanted another guest. This is not a comment on Part's dancing or value, just that there are differences in the situation.

That's a good point ABT Fan. That might be the case, although I believe that Kent was more technically proficient that Hee Seo is. I also see a similarity between Seo and Alessandra Ferri. Similar bodies - Ferri was a great dramatic ballerina/actress who was limited in the roles she danced. KM seems to want Seo to dance everything. Many people made great points about the limitations presenting "war horse" full length ballets, in terms of casting.

I was at Seo's SL. I felt so negative, I didn't want to comment. IMO it could only be called terrific if you very selectively chose moments. Certainly not a performance by a principal dancer in a world class company. Hee Seo has many wonderful attributes, and can do many roles but I believe that she was promoted (somewhat but not totally - she had proven herself in some roles) on body type. It is look that the AD favors. Now that she has been promoted she is being expected to carry a full range of roles for which she isn't suited. I fault the AD.