vipa

I believe single tickets are not officially on sale yet. I think it's April 1 or 3. Not sure. My past experience is that if you are a subscriber go with the letter. The tickets all say that. My guess is that it is too expensive and complicated to print different things on different tickets. They are all probably printed in advance.

Hello sonny72. It's wonderful that you are taking the time to find out about ballet. Being able to share in your child's interests and passions is an amazing experience. I have two children who are now in their 20's and I know I've grown a lot by learning about things that interested them. I hope you and your son get to watch lots of ballet together over the years, whether live, DVD or youtube (which is a wonderful source).

It's not quite a program, but if you go here: http://www.metoperafamily.org/metopera/broadcast/hd_events_template.aspx?id=11964 and click on the link "Cast sheet and Synopsis" under the current HD opera being b'cast, you can print off a sort of program (some theaters even pass these out in the lobby before the b'cast begins). Thank you Sandy. I've now signed up to receive their emails.

I saw HD Lucia di Lammermour today. Loved it. I'm far from an expert on Opera - my first was Pelleas et Melisande last December. I thought Natalie Dussey was wonderful. Her acting as well as her singing, it was a complete performance. I read the review of her in the NYTimes when I came home (the one written in Feb.) and was surprised by its negativity. I also thought Joseph Calleja was excellent and I loved the sound of Kwangchul Youn's voice. The 2nd act piece that was a quartet and built (sorry, I don't know what it's called) just took me to another place. The orchestra is amazing - what a great harpist. Again I'm a novice so I'd love to hear the opinions of you opera fans. One question - in other productions does Lucia return as a ghost in the last act or in some cases does Edgardo just sing about reuniting with her? The HD experience was good, but I miss getting a program.

I have just one thing to add. There is a wonderful documentary about Balanchine which talks about how Serenade is an early work in which - (paraphrasing here) - Balanchine turns ordinary women into dancers. I had seen the ballet many, many times before I saw that documentary but now I love bringing that thought to the experience of seeing that ballet. Please let us know what your impressions of the work are after you've seen it.

Thank you cubanmiamiboy. From the video you posted she certainly is worth a trip to Boston. I have a relative who lives there, so I really will make the trip. I'm amazed by her for many reasons - she actually made that Don Q variation interesting to watch!

I don't think you will be able to find an origin. I think it is a natural thing for teachers to do when they can't or don't want to fully demonstrate steps. Every teacher I have had or seen, regardless of background has done this. Indicating with one's hands sees natural, just as one gestures while talking or giving a description - this is just describing steps.

ABT's casting for Moscow is up at its site - http://www.abt.org/calendar.aspx It looks like the whole company isn't going. I think the best cast for Theme is Lane/Cornejo The new Millepied work "Troika" seems to be for 3 men and has some interesting casting. Fancy Free & Seven Sonata have pretty much the same casting as usual. Can't wait to hear how the Russian audiences respong.

There are a couple of pics on the NYC ballet facebook page - http://www.facebook.com/nycballet - of Aronofsky with Bouder & Veyette after a performance of Swan Lake. Wonder what Aronofsky thought. Bouder looks a lot happier and healthier than Portman's character ever did in the movie!

I just bought tickets for the June 14th opening. 4th ring row A quite central. Got a 20% discount with the code DM20 (code good until March 30) I love 4th ring row A!!

I agree for the most part, however during the last NYCB season I saw Magic Flute for the first time and found it entertaining.

In case you don't know - there is a very nice interview with Simkin on Ballet Pulp - http://dancepulp.com/2010/08/27/daniil-simkin/

Or for that matter did anyone see Ashley Bouder? I couldn't get tickets - good for NYCB for selling out - bad for us guys who wait!

I didn't see her in it but there is a quote in her book in which (paraphrasing) Mr. B is walking by Suzanne as she is warming up for Siren. She complains that she can't seem to get a good arabesque - he responds that the Siren didn't have any arabesques - that she was not that kind of girl. Forgive the butchering - it was something like that!

The News Hour each night would be a great loss. The question is how much PBS funding comes from the government? I know for NPR it is a small percentage. What about the idea of "public air space"

Some video clips are available if you google "jennifer ringer" "Oprah" There is also some text of the interview. Ringer is a class act in every way.

I agree. I didn't like the movie ,even though I'm an Aranofsky fan, for reason's I won't go into here. I am annoyed by the press that states that she succeeded in looking like a dancer. She didn't and the film makers/editors knew she didn't (IMO) which is why you never see her dancing with other female dancers. I think her training regime was not time well spent, but publicity about it might help her get an Oscar. Weight loss - I see many dancers who are not as thin as Portman was in that movie - more hype - muscle tone is what makes one look like a dancer.

As RUKen said, Cojocaru doesn't appear regularly with ABT, and doesn't do many performances with them. That's why I don't think I'll get to see her much. I see what you mean about the 3-or more subscription. I'm hoping that there will be some seating advantages. I guess it depends on what you want to see. Last year I had trouble getting good single seats for a couple of performance that I really wanted to see. I think Cojocaru and Osipova sell particularly well, so there is strong chance that seating will be limited. The ABT rep that I spoke to asked about my seating preferences (more center or closer etc.) I do know that they fill 1st with subscribers, next with the 3 or more people and the remaining tickets go on single sale. Anyway I knew what I wanted to see so I gave it a try. After this, I'll know if single tickets are the way to go! I too wish there was more info about the casting in the new ballets. BTW I had a very interesting discussion with the ABT rep about choice of dancers and ballets. He didn't tip his hand about his preferences, (well maybe once) but he was fun to talk to and very helpful.

I just got a Three or more subscription for the ABT Met Season. That's the one in which you can select 3 or more dates of your choosing. OK I spent more than I intended but I got - Cojocaru in Giselle & Don Q (I so adored her in SB last year that I broke my no more Giselles rule for her & I also doubt I'll get many more opportunities to see her). I got Bright Stream with Reyes, Cornejo, Osipova (who I've never seen live) and Simkin and I got a rep performance with Cornejo in Shadowplay. I'm so looking forward to it all. My biggest concern is that Cojocaru get injured before then. My hope is that the rep night will have some interesting casting in the new ballets. My bias is towards rep over full lengths.

The ladies were from Advanced Division D. The class schedules are at the SAB website, if anyone is interested.

I agree with so many posters that didn't enjoy the Rojo performance. For me the balance used her, she didn't use the balance. I'm a person who loves to see the balances and isn't happy unless the arms go up to fifth. That said, If you can balance like Rojo you should have options. She could have been super musical and gracious, but she chose to just balance. It would have been different if she had been able to smile and nod to the poor prince who had his hand out (that is asking for a bit much but you know what I mean). Much is lost if you don't in some way acknowledge each prince. I'm a big fan of technique but the reason to have it is to be able to have more choices. Rojo didn't use it that way. This was more of a balancing act for its own sake.

I too was curious. One of the girls was named Angelic (or something like that) but all 3 girls in front at the barre from stage left to right were definitely promising. I don't think the name of the far stage left girl was mentioned. Were they given assigned places at the barre before hand? Aside from Silas and Joe there was another blond young man that I noticed for his nice jump. It would be interesting to know how many from that class were NYCB bound, how many were other company bound, and how many were nice dancers who would do something else.

Synopsis of what I saw. Film - Wonderful despite some brief technical difficulties - a very appreciative audience. Lunch in the Atruim, across the street 2 PM Matinee - Walpurgisnacht - Loved Maria Kowroski. There is a wit and style to her performances that I love. I am starting to get Pereira. I thought she did her variations well and (importantly for me) when she did the attitude step that went bad the first time, worse the second time, she fixed and did best the third time. That ability to keep one's head, not panic and just fix during performance is something I admire (Cynthia Gregory was a great example of this). Pazcoguin and Dronovoa were very enjoyable (I particularly enjoy Pazcoguin) Duo Concertant - Thought Hyltin & Fairchild superb. As an aside in the curtain speeches I was moved by Fairchild's statement that when he stands by the piano and listens, he thinks of all those who stood there before him. 4 T's - Have to admit that seeing Bart Cook in the film made it hard to buy Marcovici's performance. Overall the company looked good. I loved Theresa Reichlen in the Forth Variation - so strong and clean. Cortege - Just fun. I think Mearns was not totally comfortable with the replacement of Stafford by Askegard, she fudged a little in the partnering. Never the less she is always fun to watch, and gave a fine performance. Ana Sophia Scheller was delightful in her variation. Krohn looked great, Suozzi seemed to be trying so hard to cover space that he got unmusical. Corps member Lauren King continues to look great in everything, I hope a promotion is in the works. Didn't attend the panel discussion (hope to hear a report from someone else). We just had to take a walk and get some air. On stage class - totally enjoyable. A few dancers stood out. I wish I know more of their names, so that I can follow them. One more thing that I thought was lovely. At the first intermission of the matinee (and probably the evening) one could pick up a shot of vodka to toast George. What a great thing to be able to walk around seeing different groups and couples toasting to George. My husband & I also did so. A great event - Congrats for NYCB and Peter Martins for doing it.

My husband and I are going to the film at 10:30, the matinee & the class taught by Peter Martins. Should be fun. All the talk about restaurants had made me realize that we have to come up with a food plan! Hopefully all restaurants in the Lincoln Center area will benefit.

Apart from our different reactions to Black Swan as a horror movie (and I would say I appreciated it more than I liked it), I don't think we're that far apart otherwise. I would agree with you that the movie was sold under somewhat false pretenses. It's not a movie about ballet, and could have taken place in any high-stakes environment. And Portman's training was also oversold for publicity purposes (although I admire her for making the attempt.) Agreed, and thank you miliosr for the discussion. Your statements made me examine my own ideas and opinions.