vipa

Just one thing to add about the Millepied piece. I was talking to a musician friend of mine who saw it and his comment was "it could have been done to the Andrew Sisters." I found this so true. I don't expect every ballet to be great, but a connection to the specifics of tbe music is essential.

In terms of a mixed bill selling I think that there is PR and there is also choice of ballets. ABT presented 3 of the most active choreographers around, but your casual ballet goer doesn't know that (B. Millipied might be know because of the movie, but I bet most people don't make the connection and/or don't care). You add to that a Tudor ballet that is far from his best and not very well know, and it doesn't translate to a hot ticket. Ballet Theater has had many ballet over the years that did and could sell well as on a rep program - Billy the Kid (a number of ABT guys would be great in it), Rodeo, 3 Virgins and a Devil, Push Comes to Shove -- could they get a guest like Cojocaru, Osipova or whoever to do Taglioni in Pas De Quatre. Obviously, I'm not putting together a program, just trying to make the point that a program could be put together what would sell with the right hook and a little PR push.

I agree with you about this FauxPas and thank you for your descriptions of the performance. I have a few of my impressions to add. I found both the Ratmansky & Millepied pieces disappointing. For me, Ratmansky had too many steps, too much vocabulary piled on too little structure. My husband saw it as multiple themes and not much development. The one good thing for me was that the piece gave me my first appreciation of V. Part. I had only seen her in a few things before and was always disturbed by what I perceived as flashes of uncertainty. She was relaxed in this piece and her beauty and qualities shined through, my eye kept going to her. Millepied's piece seemed very shallow to me. 3 guys come on pleasantly enough. The smallest gets lifted and moved repeatedly, all three do some nice turns and jumps - that's it. It was as if Millepied chose some movements from Bach cello suites and just filled them with steps until he was done. He could have chosen to add or remove a movement, it wouldn't have mattered. The cello playing was excellent. Shadowplay is not the best of Tudor, but is of course a very well put together piece. I enjoyed the journey! Salstein and Reyes were good - her legs looked gorgeous! Of the new pieces I enjoyed Wheeldon's the most. The pas de deux are beautiful and inventive, he moved groups around well, and in a way that directs your eye. I really liked his use of the corps in relationship to the soloists. The corps sometimes led, sometimes mirrored, sometimes enhanced what the soloists were doing. I also like the lighting effects. This is the only one of the 3 new ones I'd like to see again. On to Giselle with Cojocaru/Hallberg/Murphy!

I saw the 4 ballet program tonight. If anyone else has, I'd appreciate your thoughts. I'm still trying to sort it out. I thought the Times review written by AM was much too positive. [Admin note: Posts discussing the details of Macaulay's review, rather than a general comment, have been moved here: The company forums are for members' reviews.]

I'm so glad to see Kammermusik back. One thing that I think we'll never see again is Bournonville Divertissement (bad spelling I'm sure). I loved it back in the day. The dancers were suited to it, yet IMO grew from it. It also showed the great connection between Balanchine and Bournonville. I'd love to see it back at NYCB but no chance.

Martins may be killing Finlay with kindness by casting him in so many new leading roles. Finlay is debuting in yet another role this week - Tony in West Side Story Suite (per casting on line). Millepied - NYCB's phantom employee -was originally listed for that role this week, but Finlay is replacing him. Wow - just as I was being amazed that Millepied was making an appearance he's gone. How long will he remain on the roster one only knows

Thank you, no hard feelings. I too learn a lot, and will keep reading. I just feel my comments and reviews would be more useful in other topics. I love this forum as do you.

Apologies I will withdraw from this discussion.

Thank you - you and abatt make interesting points. I have no idea what goes on behind the scenes, but Kevin M doesn't seem that interested in developing female talent. Lane got Sleeping Beauty a couple of years ago (I thought it was quite good) but not since then. Riccetto gets Giselle last year, this year no Giselle but 1 performance of Coppelia. There doesn't seem to be any rhyme or reason. Please report on tonight's performance!

While Vaganova solidified her teaching in the 1930's we really don't know how "purely" it was handed down. I sometimes wonder about that. In teaching ballet the teacher emphasizes certain values more that other. One example is NYCB. Balanchine hired teachers who were Russian trained, as was he. He however wanted emphasis on speed, musicality, crossed positions etc. At the same time the Russian training was not abandoned in terms of how to hold the hands, the epaulement and in other ways. You can see this when children from SAB perform in the kids roles in NYCB. This was a purposeful evolution of the Vaganova training. Now it sees to me that at some point in the Soviet Union the training emphasized showing beautiful ending positions (I mean at the end of a musical phrase, not only at the end of a variation), high extensions and big jumps. In between steps, speed and musical phrasing was not emphasized as much. This was reflected in the choreography done by those companies before they were exposed to Balanchine and others from the West. We don't know what the balance of values really was when Vaganova was around, she did study with Cecchetti and her teaching was a blend of the ballet teachings of the day, yet the training that has evolved in Russia is very far from Cecchetti.

I guess this was inevitable but the NYCO board voted today to leave Lincoln Center. The situation seems very bleak but I'm hoping the company can be salvaged. Here's an AP report on today's decision: http://news.yahoo.com/s/ap/20110521/ap_en_ot/us_music_nyc_opera This is very sad news. We can only hope they can rebuild. The other questions is what happens to those weeks at State Theater. What other organization can share with NYCB.

I just came from Cojocaru/Carreno. What a mixed bag of a performance. Alina C. was not technically flawless. She had a bad tumble (did not fall to the floor but almost) at the end of her traveling turns from 5th. And they had a partnering mishap in the pas deux with the attitude turn push off (don't know exactly what to call it.) The rest from the couple was mostly great. She did some amazingly long balances and his turns were smooth and controlled. Other than the one mishap, their pas was terrific and the lifts were fine. The main thing I came away with is that she is a great ballerina, one of the best of her generation. Everything is fully realized - the steps, port de bra, epaulment (don't know if I spelled that right, but basically the use/line of her head and shoulders), her beauty, musical phrasing - just the whole package. She has a strong technique so I was a little startled by her tumble, but she is uniquely beautiful. If anyone is going to see the next performance of Cojocaru/Carreno in Don Q - I'll bet money those mistakes won't be there. I'm going to see her Giselle - Can't wait. I had never seen this version of Don Q before, and frankly won't again. I thought a lot of the choreography/staging just bad. I won't go into details about that. I thought the corps looked pretty ragged and not together. Come on ballet masters/mistresses get those people to dance together and on the music. Flower girls were Lane and Boylston. They were both good and seemed to have a nice stage rapport. I was impressed with Boylston's big jump. Lane's variation was lovely and I adore the openness of her port bras and her glowing radiance (not bad for someone who has studied ballet for just a year - if you know what I mean) Renata Pavam did well as Amour. Joseph Phillips & S. Messmer were the Gypsy leads - both fine. Phillips really held his own with Carreno. Maria Riccetto was Mercedes/Queen of the Dryads. She's never been a favorite of mine, but I thought she did well. I am not a fan of full length ballets, and realized that I saw a lot of these full lengths in my youth. In recent history, the only full length ballets I've seen are Swan Lake, Sleeping Beauty and Balanchine's story ballets - Midsummer Night's Dream & Coppelia. Well I'll go back to avoiding the likes of Don Q, Corsaire etc. Not my thing.

A very negative review of the ABT Gala just appeared in the NYTimes. It was written by Roslyn Sulcas. http://www.nytimes.com/2011/05/18/arts/dance/american-ballet-theater-gala-opens-season-review.html I was expecting a review from Alastair Macaulay. I can't believe he wasn't there!

Someone on the tech team explained the problem during the first intermission, but beforehand, after one showing of a video on the summer season, we were just shown a graphic about that season, then a notice that the broadcast had been delayed (no reason given), then a notice that it would start in 15 minutes. I think it was more like 20 or 25 minutes before Placido Domingo came on to introduce the opera, saying nothing about the delay. When the delay was announced a lot of people near me left for the concession stand or rest room. One person said to me I'll go now - Wagner wasn't made for modern day bladders! I didn't quite know what to make of that. In any event the AMC concession stand did quite well from Wagner, between the delay and the intermissions.

Today I saw the HD live broadcast of Die Walkure. I'm an opera newbie, having seen my 1st opera last Dec., and this was my 1st Wagner opera. It was awesome. The movie theatre (AMC on 42nd St.) was packed. I just want say that I'm in my 50's and am delighted to have come to another art form to enrich my life.

Agreed. I see that instead of the Cornejo/Cojocaru Sleeping Beauty pas in the opening night gala she's listed for Rose Adagio.

A little off topic. Just a comment about the $2 facility fee - I sometimes get discounted tickets at the lincoln center atrium. There is a $4 per ticket facility fee there. This really puts a dent in the discount if you are getting the cheaper tickets. I saw tickets regularly priced at $20 being offered for $15 - add the $4 fee in and the ticket is really $19. Of course now you have to factor in that at the box office the $20 ticket is really $22. Still not much of a savings. BTW I did get $55 tickets at half price at the atrium for Sat. matinee, so it was a total of $63 for 2 seats in the center of row B 4th ring. It made my day, particularly because it was such a good performance.

Thank you for the answer abatt. I too would love to see Reichlin in it.

I saw the Sat. matinee. I'd like to give some impressions starting with Square Dance. The reason I wanted to see this performance was to see Bouder in Square Dance, and she did not disappoint. No one moves as fast and clearly, etching each movement & position in space. She phrases things as only she can. I found myself smiling while watching her. Unfortunately Taylor Stanley looked floppy by comparison. He got through the man's solo. It's a difficult and unforgiving solo, so getting through is an accomplishment. His partnering wasn't great. No flubs, but he had her off her leg several times. Of course she didn't have a problem so it never looked terrible, I could just see that he had her off her leg. I have to say the the corp looked great. I was delighted by the clean, sharp and open dancing of the corps from the opening onwards. World Class. I thought Apollo had a freshness that I hadn't seen in years. Finlay, Hyltin, Peck & Scheller were the cast. They brought meaning to the piece in the way they related to each other, phrased the music and covered space. The Muses, feet parallel, doing traveling releves, covered so much space that it added the excitement that the music warranted. Finlay has the making of a great Apollo. I hope to see him have more weight in some of his movements in terms or being into the floor if you know what I mean. Also some added focus and sharpness would be nice. I look forward to future performances. I loved the section with just Peck & Scheller. They looked great together. Their variations were very well done. Peck's Polyhymnia variation has that pique turn into arabesque that often has a dancer hopping and fudging - Peck really did it - nailed it twice and a minor fix the third time. I've never seen it better. I liked Hyltin. I think she brought a sly humor to her characterization that worked for me in the pas de deux. Agon was last on the program Teresa Reichlen in the 2nd pas & Bransle Gay was just terrific - very in control and witty. I love the expansiveness of her arabesque line. Ashleyy Laracy stood out for me in Gailliard. She never holds back, so her movements look big and joyous. Wendy Whelan looked OK in the pas. I've been watching her do it for years - it's been better, but she gets the job done. Does anyone else in the company do it? I've only seen her for quite a while. I was not familiar with Daniel Applebaum, but he made an excellent showing in Agon. Ramasar is a dancer I always enjoy. He has a fluid movement quality and ease on stage that I find very attractive. All three pieces looked very well coached and rehearsed. It was a great afternoon at the ballet. I wish I could see it all again - same cast, same ballets!

I think this is a positive sign of the times. These dancers are not "kids" (a favored term for dancers by management in the old days). They are adults looking to their future. It has always been hard for dancers to stand up for themselves. Dancers want to dance and appreciate opportunities to do so, and they are aware of how short a dancer's career it. For those reasons it can be easy to just accept whatever is offered. Good for these dancers for their participation.

That is an amazing commitment. Does any know when Kevin M's contract is up for renewal?

My best guess is a little over 2 hours maybe 2 hrs. 10 or 2 hrs. 15. It's just 2 acts with one overly long intermission. I remember a time when ABT would schedule a short rep piece before Giselle.

Additional casting has been added for the rep nights of ABT Met season http://www.abt.org/calendar.aspx?startdate=5/1/2011 Looks like Reyes and Lane are alternating the female lead in Shadowplay. Lots of interesting casting in the New Wheeldon piece. The only one with no casting posted is the new Ratmansky. Not a lot of people left when you look at the casts the other ballets, particularly on the men's side.

The review was harshly critical, but I have to admit I agree. I was there last year and went to this year's Sun. matinee. My reason for going was to see the dancers. I didn't expect much of the choreography. I got just what I expected and was not disappointed - a rare chance to see Sylvie, Korbes and Orza. A chance to see Lowery, Scheller and Angle up close and, for me, a first look at Kuranaga. It was worth the price of admission to see those dancers and Kuranaga's combination of fluidity and arrow like attack was a treat to behold. I don't hold out much hope for Scher's choreography. Before the performance started, he gave a short speech in which he stated his goal was to show great dancers, in an intimate setting for affordable prices. Perhaps he should include other choreographers in his productions.

I know a lot of people would agree with you Angelica. I haven't seen Hallberg very often, and so maybe I haven't seen him in the right roles. My most distinct memory of him is in Ballo Del La Regina, in which I thought he looked uncomfortable and half a beat late at all times. That left me with the rather uncomfortable, and hopefully untrue, idea that people are so taken with is good looks, amazing feet, body and line that every flaw is overlooked or even not noticed. As I said I haven't see that much of him so I hope I become a fan. On another note - I am sorry Ethan Stiefel is out, and odds are that I won't see him perform again. He goes on my list of exceptionally honest male dancers, along with Fernando Bujones and Damien Woetzel. Can't wait for the season to begin, and to share experiences with you all.