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I had the pleasure of seeing that Carousel. She was wonderful. In general I find that Tiler Peck is extremely musical. She can elongate a movement to make it sing. Her port de bras beautifully fluid. She can be doing the most brilliantly etched allegro while her upper body floats. Her epaulement (the way she turns and faces her shoulders and head) is beautiful. She has imagination - for me she is one of the ballet best dancers now onstage.

Just got my tickets for a NYC showing. As a New Yorker, I'm interested interested in seeing dances I read about but don't get to see.

Just got tickets online really easily. I'm mostly a NYCB person so there were only two performances I knew I wanted to see at ABT. Decent seat - Dress Circle - I'm happy!

Love it - thanks for posting

I agree I'm also around 5'1'' and orchestra seats are tricky for me. One of my worst experiences in the Met was when I was sitting behind a rather tall adult who proceeded to put the child who was with him on his lap, instead of having her stay in her own seat with a booster seat. Talk about a blocked view, and the man and usher wouldn't help me at all. I've also been in the first row of the orchestra in the Met and the dancers feet were out of view if too far downstage. I usually try to get dress circle or balcony as close to front and center as possible.

I am a relatively new opera fan. A friend took me to the Met Opera a couple of years ago and I really enjoyed it (not the love I feel for ballet, but really enjoyment). I have not been to a live opera since. The tickets are pretty pricey and I spend a lot of money on ballet tickets. I suppose I could afford to buy seats in the upper regions of the Met, but instead I can go to the HD movie and really see the action. I love being close. If there was no HD movie, I'd probably go to a live opera now and then but I wouldn't be building the familiarity with singers and rep that I now am developing. I've become a Stephanie Blythe fan - and went to see her at Carnegie Hall and in Carousel at the New York Phil. I guess this is my long winded way to say that things are complex.

I just saw the NY Philharmonic production of Carousel - WOW. A great performance. What a joy to hear the overture played by that orchestra. All of the singers were amazing. I had never seen Kelli O'Hara perform before - beautiful voice, compelling & believable actress with the gift of really listening to those onstage with her. Stephanie Blythe, from the Met Opera, can really do musical theater without the kind of "over singing," that some opera singers do. When she sang "You'll Never Walk Alone," it was so in character, simple and clear toned that I felt like I had never heard the song before. I could go on and on. I had tears in my eyes and a lump in my throat several times. Of course this musical is made to do that, but it only really works this well with great performances. I just want to add the that Tyler Peck was a great Louise. Her dancing was dramatically true as well as being technically accomplished - multiple turns, fast footwork - gorgeous port de bras - but the main thing was, it was all in character. Her non-dancing, acting and speaking parts were also well done. Robert Fairchild looked great, but his is not big a roll in the play. I wish everyone could see this - It is a highlight of my theater going.

I like his "Magic Flute" it's a particularly good ballet to take kids to. IMO much better than Sleeping Beauty or Nutcracker as an introduction to ballet for kids.

Wonderful - The ranks of he soloists have been rather thin, so I figured it was coming. I have to say I'll miss seeing some of these people in corps parts!

Thanks for the report Abatt. Unfortunately I'm only able to see one SB this season so I really appreciate getting all the reports and opinions.

I saw the Sun. Mat. SB and agree with Canbelto that if T. Peck had done this performance at ABT there would have been a great ovation. My impressions - What a great company! The fairies - Gerrity, Sell, Wellington, Segin & Mann all corps members, and all did beautiful, musical variations. Jewels in the last act - the ladies were wonderful. Krohn is a principal and was stylish and musical in her variation, but so too were Laracey & Pollack who are both corps members. I have to admit that I was a bit disappointed in Reichlin as Lilac Fairy. She had some struggles in her prologue variation (Peter Martins didn't do anyone a favor with speeding it up because the step that turns and finishes into tendu is even harder). I just don't think she had the amplitude or gave us the generosity of the ideal Lilac Fairy. Maybe the way she kept her arms behind her shoulders threw her off from her usual mastery. I thought Tyler Angle was fine, particularly in his coda. It's not much of a role for the man. Bluebird - Huxley was the best I've seen in a long time - anyone out there see Ulbricht? Erica Pereira - sorry but I don't get her. She is looking stronger, but did strange things with her head, and nothing looks organic to me. It's as if some coach tells her what to do and she plasters it on. Tiler Peck is a wonderful, musical dancer. Her upper body is extraordinary in her ability to keep floating on top while doing allegro steps. At the same time I know this performance is a work in progress as far as her characterization goes. Since this is the only SB that I will be seeing, I hope to read many more comments from you all out there. One more thing - NYCB - what a great company.

I saw Sleeping Beauty this afternoon, and will post my impressions later. I was wonder if anyone else has seen SB. I haven't seen anyone write about it yet.

I'm so, so sorry that I didn't get to see Carrie Imler in Balanchine.

Korbes is a wonderful. She certainly shows that there are world class dancers outside of the major cities. She is musical & masterful. She should stay in PNB as I'm sure she is going to. IMO - while she'd be a great asset, NYCB doesn't really need her. I believe there are many mature artists at NYCB. I loved the PNW Balanchine night, but I have to admit that it made me appreciate the NYCB more. I realized how amazingly high my expectations are when I go to a NYCB performance. PNB has wonderful dancers, but there seems to be a looseness to their dancing. Shapes and positions don't quite gel. It is also revealing that Korbes is so outstanding. Her performance was in another realm in comparison to the other dancers. Again, I loved the performance, but I feel a little like there may be a lack of appreciation for NYCB out there. To me that company had a depth in dancing and rep that can't be beat. I

Thanks for posting - I'm so glad I have a ticket to this.

I think this discussion could also take place in any sport. I am not a big sports fan, but I follow tennis and my husband follows other sports. There used to be an attitude that practicing your sport gave you what you needed. Now the cross training and science it amazing.

I had my first experience with the subscription ticket exchange option. The casting for the first week of SB's went up and, although I'm sure each Aurora will do a fine job, I wanted to be sure to see Tiler Peck do it. I gave the very helpful box office lady my 2 options and the trade was successful for comparable seats. However only one of the two dates had availability, and both date quite full. In fact I was told the ballet was selling extremely well in general. I'm thinking they might open up the 4th and maybe even the 5th ring. Anyone else have any experience with the exchange thing?

I think all dancers should take advantage of any opportunities that come their way. It is for the individual to judge if it is detrimental to their performance ability. Sports figures have the same kinds of choices all the time. I also think that Copeland being black, has a unique position and opportunity to be a role model for and communicator to minority kids and their parents. I'm glad she is out there doing it. I'm not a big fan of her dancing, as many of you are. I actually don't view her as principal material, but that is in some ways beside the point.

I don't see C. Imler's name. She is a dancer I've been waiting to see live for years.

Just want to mention that I got same day half price tickets for Sunday at the Atrium across from Lincoln Center. They had fourth ring rows A & B. I love those seats. I was very center of the fourth ring row B. They also had some first ring at half price.

Glad to know that. I noted the caution. I hope she's back soon and uninjured. There were still wonderful aspects to her performance. Ashley Bouder & Chase Finley did a fine (in a way) Tchai pas. He is really coming along. Not a finished performance but he had terrific moments and doesn't cheat and try to get by with pizzaz. I now have confidence in Martins' decision to put him out there. Bouder was wonderful in the pas, (Finley had to be glad to be partnering her) and her variation was remarkable, but she changed legs for the hops back and did a couple of things that made me wonder about a possible problem with one leg. Bal de couture is just silly. It tells me something about the fashion world (which I don't follow), that a noted designer can take some of the most beautiful female bodies that exist and make them unflattering costumes. The men got off easy. T. Peck was wonderful in Baiser de la Fee. Robert Fairchild is just IMO not a white tights kind of dancer. Loved him in Fancy Free and the Susan Stroman thing, but not this.

So agree with this. A couple of weeks ago I was in the audience when the curtain had gone up on Seranade and an usher brought latecomers in, flashing a light so the people could see where they were going. It was very distracting. There should be a rule that if the curtain is up or a note is played by the orchestra you don't get shown to your seat.

I attended Wednesday evening. I had a wonderful time. I hadn't seen the Balanchine Swan Lake for years and had forgotten the wonderful ways he rearranged and renewed the traditional steps. Particularly with the 2nd Act swan entrance and waltz. Maria Kowroski has beautiful legs, a big arabesque and extensions, and moments of the partnered sections were moving and beautiful. IMO her technique and overall strength are quite diminished. In her solo work she can't really sustain positions on pointe, and the fast entrachat/passe section was sorely lacking. She never had a big jump, but now she doesn't really jump at all. She will always have gorgeous legs and a flexible back, but she has definitely gotten weaker in general. I liked Tyler Angle very much. His variation was musical and clean, and I have always enjoyed his demeanor on stage. Allegro Brilliante - Again what a great ballet. I'll never tire of it. The four corps women last night are all possible soloists - Lauren King, Ashley Laracey, Megan LeCrone & Gretchen Smith. With there being only 2 female soloists right now I'm expecting a promotion to be announced any day. Fairchild & Veyette were the principals. Megan Fairchild seems to be the one people love to hate right now. I enjoyed her performance. I thought she was lovely, musical and certainly has a rock solid technique - turns secure, fast movement clean. I wouldn't go out of my way to buy a ticket to see her, but when I do see her, she always delivers what for me is a good and enjoyable performance - maybe not my ideal performance, but I always enjoy it. Andrew Veyette was terrific. He's a dancer who I enjoy more and more. He seems more relaxed and assured as time goes by. Tchai No. 3. Before getting to T&V I have to say that I just don't get Erica Perreira (She did the Scherzo). I don't see anything special about her. I think it's something of a shame she was made a soloist so soon, because if she was in the corps she'd be getting more stage time and maybe could develop better. Her partner Daniel Ulbricht was spectacular. It's not only how high he jumps, it's how quickly get freezes positions in the air so you see that picture for a good long time. Tiler Peck & De Luz - I don't know if I've ever seen a better T&V. The opening theme just made me smile. It is simple dancing at that point but the two of them had such a sunny, elegance and nobility. The timing of when their arms arrived into position, the openness of their presentation, the way they related to each other all added to the feeling. Then the dancing was super. Peck has beautiful fluidity in her upper body while moving quickly and cleanly. She sparkled through every variation (and this is hard stuff to do). I felt like I was watching a glowing Aurora. De Luz was also wonderful in performance quality and technique. One thing to add - In all three ballets the principal male dancers were great partners. I love that is a strength in the company right now.

Glad you mentioned the borrees - they were really terriric.

Abatt I was there Wednesday, but not Tuesday. I agree with your thoughts about Wed. Yes, it's great to have Mearns back and that can't be said too often. I love Bouder's Russian girl - not only her elevation, but her speed and a kind of softness you don't get from her in many roles (or maybe it's a side that she isn't given many opportunities to present.} Just want to add that I thought the corps looked great in Seranade & in Tchai Piano Concerto too for that matter. Finlay did better than I expected in Mozartiana. Eventually this will be a good fit for him I think. I'm kind of spoiled by the Suzanne/Ib rendition which I saw live and also Huxley looked great in gigue, but I'm a little sorry I didn't get to see Ulbricht. In Tchai Piano Concerto there were moments when Ana Sophia Scheller really lit up the stage. I'm really looking forward to seeing T. Peck and DeLuz in Theme and Variations next week.