fondoffouettes

A quiet landing is nice, but I've decided to not judge the ABT dancers on this particular factor while they are at the Met, a house that was meant to project sound from the stage (and, by most accounts, has excellent acoustics for opera). I was just reading about how Balanchine had the State Theater designed so that it would dampen all sound from the stage, which, of course, caused acoustical problems for NYCO for years. And, even after the recent acoustical enhancements to the State Theater to satisfy NYCO, I rarely hear the NYCB dancers' shoes. I haven't noticed if that's the case when ABT occupies that theater in the fall.

He is basically an ABT guest artist at this point. And his post-injury rep is so limited.

Right -- I think of those roles in the same vein as the three Odalisques in Corsaire, not meatier soloist roles like Gulnare or even the Peasant Pas de Deux (or Trois). I wonder if some girls were pulled from the Shades corps, which necessitated dancers who had learned the Shades Trio to be put back into the regular corps. (Oops -- I see now that ABT Fan has already suggested this may be the reason.)

Does anyone know if Rush Ticket seats are taken out of the pool of tickets available for general, full-price purchase? Tonight's performance was not well sold up until recently, but I just checked and side orchestra sections now look almost entirely sold out. I'm wondering if they are truly "sold" or just set aside for Rush. I attended Wednesday night and lots of seats that appeared "sold" online (up until around 5 or 6 p.m., when online ticketing closed) were actually empty in the theater.

Yes, I see her sitting there often, always with her hair done that way. But, then again, the Met was built in an era when such hairstyles were de rigueur. They should have raked the floor more!

It sounds like you may have had the pleasure of sitting behind Gia Kourlas.

One can only imagine what Makarova was thinking as she watched. As the corps got a huge ovation, all I could think was, “I think that’s the worst shade scene I’ve ever seen at ABT.” I’ve seen some wonky mistakes over the years — a single corps girl raising her arm at the wrong moment, half the corps breaking formation too early after the scene is over — but the overall quality of dancing has never looked so poor, IMHO. They need more than their pinky circle ritual to help them through it.

This was the most surprising change I noticed in Cornejo: "Grand jetes look like a very narrow upside down V." I haven't seen him dance a leading Petipa role in a while, probably because he's so often paired with Copeland, so it was a bit of a shock to see how changed his grand jetes were. I noticed something was perhaps awry, but couldn't remember what usually happens during this section. It seemed like he was taking a breather and walking to downstage right before starting his manege. But I only have major props for Cornejo. He still delivers in many ways and is an exciting dancer.

Tonight was definitely a great night at the ballet, with a few ups and downs. I was very taken with Lane's interpretation in Act I, Scene 1. Every movement seemed to have dramatic intent, as opposed to some Nikiyas who just go from beautiful post to beautiful pose. She and Cornejo looked fantastic together. I'm convinced we need to see them in Giselle again, and they'd make an ideal Romeo and Juliet. Act I, Scene II is always a bit of a wash for me, with lots of melodramatic sequences and not a lot of real dancing, besides the d'jampe dancers. Brandt impressed me as Gamzatti. She's not a fierce villainess, but rather an aloof, gorgeous princess who can't be bothered with Nikiya's nonsense. Scene III was great. The corps and demi-soloists looked better and more in sync than they have in many previous seasons. The partnering between Brandt and Cornejo wasn't as comfortable as that between Cornejo and Lane. There was a promenade that went awry, but Brandt danced through it well and I'm sure many in the audience didn't even notice it. The supported pirouettes definitely had that super handsy look that isn't so attractive. Cornejo's variation brought the house down -- he was clearly giving 110%. Brandt's variation was also just about picture perfect. Her Italian fouettes went off without a hitch without being particularly beautiful (her extensions weren't particularly high), and she followed them with super solid single fouettes. Seeing Cornejo and Brandt together made me realize that Brandt has a pretty low jump, though the jumps themselves look nice. Lane's basket dance was lovely, with a few foot adjustments that detracted. She's not a luscious NIkiya -- maybe that's impossible given her short limbs -- but she's one that very much embodies the character. Act II started with one of the most underwhelming shade scenes I've ever seen at ABT. The shades were all out of sync, with dancers raising their legs at different moments, and not raising them in a fluid motion. The first three shades seemed to be having the most problems, so it seems puzzling they were put out in front. The worst moments came once the shades were in formation. Legs were shaking more than I've ever seen in this scene. The pas de deux was lovely, I've never seen a Nikiya seem so sylph-like, especially when she was in Cornejo's arms. Lane's interpretation made me see the act as more Romantic in style. Cornejo doesn't reach the level he once did in his solos, but he still looks exceptional, and it was clear he was dancing all out. Lane's only issues came in the scarf section; I almost dread that section, as so many dancers seem to have issues with it. But her issues were relatively minor compared to some. Her endings to the turns were just sort of fudged a bit, from what I could tell, with her coming off point a bit early. The coda was really great. I haven't seen Bayadere in a while, but I thought most NIkiyas end it with a manege of turns (but I could be wrong). Lane ended it with a series of turns on a diagonal downstage, then hops backward en arabesque, and then another series of turns on a diagonal downstage. I couldn't stay for the third act. The evening left me wanting to see much, much more of the Lane/Cornejo partnership. Bayadere may not be the ideal vehicle for Lane, but I was still completely engaged with what she did with the role. With regard to the physical production, I do think it is relatively attractive, but it's looking a bit tired and some elements look dated (Gamzatti's faded 70s mustard tutu in the betrothal PDD). I think ABT could use a fresh production, as long as they don't cheap out on it. And they could consider what stereotypical imagery might be tweaked.

Right — I always got the sense that ABT did that. I remember strong dancers like Renata Pavam frequently leading the troops. But it sounds like last night was pretty shaky overall. Probably they’ll reach their peak late this week, as they usually do. It makes me wonder if there’s been more turnover than usual in the corps.

It looks like Joseph Gordon will do justice to the male solos in Coppelia. In Veyette's performance, I was really missing the articulation of the bouncy steps between the double tours.

No doubt the money came from Naked. I've just never seen a sponsored post directly from a public figure, only from corporations and organizations. Sponsoring the post immediately makes it feel like a transactional relationship between Copeland's team and Naked Juice, which seems to defeat the purpose of using a personal Instagram account to promote a product. (The whole idea should be that the person is genuinely excited by the product, right?) If Tiger Balm or Cole Haan were to make Sarah Mearns' posts about its products "sponsored posts," they'd lose their personal touch, Instead, they've come to some arrangement where Mearns posts about their products in a more organic fashion, and they are photos and videos taken by her, not a marketing team. The latter seems more appropriate to the particular nature of Instagram.

I don't even follow Copeland on Instagram, and this sponsored post (i.e, paid advertisement) from her public-facing account showed up on my Instagram. I've seen many public figures, including dancers, promote products on their feeds, presumably for compensation or because they are a "brand ambassador," but I've never seen one “boost” (i.e., force onto non-followers’ feeds) a post with paid advertising. Remember the good ol' days when she'd just mention Seamless in all of her interviews?

That variation is heaven. Thanks for sharing that video; I'd never seen it before. Whenever I need a moment of zen, I watch this clip of Tiler Peck dancing it: The Balanchine version is followed, at around 1:03:30, by a dancer performing the original Petipa (however, I'm not sure how historically accurate it is). It has a series of hops on pointe at around 1:04:40. Is this similar to what Boylston did in the excerpt featured at the gala? From what people have described, it sounds like Ratmansky's hopping sequence might be more extensive or strenuous than what's seen in the video above.

Today’s matinee was my first NYCB Coppelia. First, Hyltin was absolutely delightful throughout — great miming and detailed acting. I never really think of her as a cutesy dancer, but she was absolutely adorable this afternoon. Of course, her dancing was superb from a technical standpoint. I actually very much liked her costume for Acts I and II — the teal velvet bodice and gauzy pink skirt looked great together. Maybe they could have figured out a different treatment for the skirt’s hem (some simple embroidery rather than the ruffle?), but the ruffle didn’t bother me at all. Swanilda’s friends looked so sloppy in Act I. (It looked like a bad day at ABT.) They were frequently out of sync, with legs at wildly different angles/heights. The part where they all leap downstage with Coppelia was marred by lots of wobbly legs. My eye kept being drawn to Claire Kretzschmar, partnered by Alec Knight, in the folk dances. She was dancing with such verve and joy. Veyette was boyish and charming and just about everything you’d want in Frantz from a characterization standpoint. But you could tell all is not well when he danced his Act I variation. His leaps were so effortful and heavy-looking, and his upper body looked so stiff in the leaps. But he got through the choreography with no mishaps. You just sort of get the sense he is muscling his way through it. He looked more relaxed in Act III, and got through the choreography, though some elements, such as the double tours, looked very sloppy. He was an excellent partner to Hyltin throughout. The adagio was lovely, thought Hyltin’s arm looked unnervingly shaky in some of those tricky promenades and other moments. She was on fire in her variation — which included a lightning-fast manege — and the coda. She got a huge response from the audience, whereas Veyette, who didn’t really meet the bravura requirements of this role, did not. Ashley Hodd looked great in War and Discord. She has some sort of undefinable quality that really draws me to her. Christopher Grant gave the role a lot of gusto, but his dancing is seriously lacking in refinement. Of Dawn, Prayer and Spinner, Lydia Wellington as Prayer was probably my favorite, though the variation itself is so incredible. Meagan Mann had some issues with the hops on pointe as Spinner but she managed to cover it up well. She certainly looks glamorous onstage. I’d like to see more Dawn variations before I judge LeCrone. Nothing about her dancing seemed to evoke the gentleness of dawn. The SAB girls were amazing! I had no idea they’d be onstage so much, and that moment when they run downstage during the fish dive is so exciting. Boy did Balanchine know how the choreograph a razzle-dazzle finale.

I don’t believd Lyle has ever left the company. He was in the corps of the Boston Ballet from 2010 to 2012 before joining ABT. Maybe you are thinking of Sean Stewart, who left ABT for six years and then rejoined? Duncan Lyle has always struck me as a fine dancer, though many of his featured roles have been character roles. I’m glad to see him getting this opportunity in Firebird.

Sterling Baca in the men’s dressing room at the Met! (It was posted by Carlos Gonzalez as an Instagram story.) I wonder what this means, if anything. Could he be coming back to dance with ABT for the Met season, the way Nicole Graniero does? I don’t think PA Ballet has anything programmed until October. That’s a long layoff period...

Here's the interview with Boylston: http://observer.com/2018/05/isabella-boylston-brings-realism-to-american-ballet-theatre-2018-season/ She says, "The music is exquisite, which is probably the reason why he wanted to bring it back, so beautiful and danceable. But there’s also lots of hopping on point—so painful!—and it’s conspicuous when you fail."' Copeland is still set to dance Gamzatti next week, which is no walk in the park, so I can't image she's injured. Ratmansky has cast her in lots of his ballets, so I wonder if he wanted to try to make this work but she couldn't pull off the steps.

Not sure if the nature of the injury, but yes. He's been dealing with an injury or injuries since around the time he joined ABT and has had to pull out of many performances.

It sounds reminiscent of that time when Vishneva exited stage right in Romeo and Juliet, there was an audible crash, and then when she reemerged onstage her dress was torn. (I think it was the exit after she runs around her bedroom with the green shawl.) I believe the prie-dieu had been placed improperly and may have gotten in her way. Or she exited in the wrong place. I wonder what could have gotten in Seo's way. It's the exit that's furthest downstage, correct? There shouldn't really be anything over there except the drops, if I remember correctly. Maybe one of Myrta's myrtle branches felled Seo?

Right -- it's why I expected more swirling, circular imagery, especially since it's set to a waltz.

I really liked the costumes and scenery (including the metal slide). I just felt Ratmansky could have choreographed a waltz that was more evocative of cream being whipped, perhaps. I do like how the corps members form a peak at the end, but overall the choreography in that section felt a bit ho-hum. The ballet could have really used show-stopping choreography to close that act. Maybe Ratmansky's Waltz of the Snowflakes led me to set my expectations too high.

I agree. I might add Whipped Cream to the list of his best works for ABT. I know opinions on here were somewhat divided, but I found it delightful (if only he'd make the whipped cream waltz a real showstopper...). And it was certainly a box-office success for ABT. I'm curious to see if it does as well this year.

This is interesting, because I've found he mostly just leaves his work as-is, at least for ABT. (Maybe they don't pay him enough to revise less-than-successful works?) So there were actually noticeable, major revisions to Firebird ?

Art has often represented the atrocities humans commit on one another. I’m not offended, hypothetically, by a work of art that comments on these terrible things. But trivializing them, as abatt has said this ballet does? Yes, I’d be offended then. And I completely agree with what abatt and others have said about a word of caution to families. Some performing arts organization (not in NYC for the most part) have gone overboard with assigning ratings to works and providing warnings. But this is an instance when I think a warning would be appropriate. Childhood memories of my first ballet experiences are so vivid (and positive). I can’t imagine how I’d have processed a work like this.