fondoffouettes

I attended today's matinee and it was overall a very enjoyable program. Songs of Bukovina is a perfectly fine ballet but it's hard to recall any particularly memorable images or motifs. It was more interesting than, say, Souvenir d'un lieu cher, but far less distinctive than many of the choreographer's other works we've seen at ABT. I'd neither avoid nor seek out this piece in the future. I can't really see it being revived much in the future, though; it feels very much like a minor work. Ratmansky usually has quite fine taste in music, but the music in this piece didn't feel Iike it was screaming out to be choreographed. I completely agree with what nysusan has said about Symphonic Variations. It didn't feel like the company was just getting through it this time (though it really does seem like a grueling piece). It wasn't a perfect performance, but it felt taut and exciting. Gorak was really a standout for his beautiful dancing. Whiteside and Teuscher were very good as the central couple, but their pas de deux lacked the lightness it should ideally have. I always think it should look like the woman is skimming water with her feet, but this looked a little more cumbersome. I don't necessarily agree with what others have said about Teuscher lacking presence or artistry, but here, her sometimes remote temperament served her well. Murphy was incredible in Other Dances and probably received the warmest response of the entire afternoon. I don't have Makarova/Baryshnikov as a point of reference when judging performances of this work, but the choreography doesn't feel especially tailored to their strengths as dancers, despite the fact that it was obviously created on them. Are current interpretations so different from the original that I can't even see why Other Dances was such an apparently perfect vehicle for Makarova and Baryshnikov? In any case, Murphy's technical virtuosity, freshness, honesty, unaffected dancing made it an utter joy to watch her in this role. Stearns was a stellar partner and was strong in his solos, though perhaps less in tune with the tenor of this piece than Murphy. It was good to see Serenade after Plato's Symposium again, and I think it's one of Ratmansky's stronger pieces for ABT. What blew me away was Thomas Forster's dancing; he was spectacular, perhaps the best I've ever seen from him. Wow. The ensemble as a whole was great, though the section with the woman still feels kind of weak and unnecessary. The reveal of the woman sillhoutted by backlighting is so beautiful, but the ensuing pas de deux is forgettable. I realize she may be an important figure symbolically (what she symbolizes, I have no idea), but she adds little to the choreographic fabric of the piece. If I were Ratmansky, I'd revise the piece to eliminate that role, but he doesn't seem one to ever revise his work. Many of his works could benefit from revision. When will he ever do so?

Gorak has replaced Lendorf in his performances of Symphonic Variations. Hammoudi replaces Lendorf in tomorrow evening's Symposium. And on the Koch's website, it shows Shevchenko/Royal dancing all performances of the Ratmansky premiere, replacing Lendorf/Boylston. Also, the Koch website shows Hammoudi replacing Lendorf in ALL performances of Symposium.

What a fantastic opportunity for her. How common is it for POB to invite guest artists?

It's true. But I think with Kotchetkova gone, we can probably count on a Sarah Lane Swan Lake, but who knows. Last year was the first time I got to see how powerful of a dramatic ballerina Lane can be, so it would truly be a shame if she doesn't get a Juliet. It's hard to imagine Lane as Gamzatti temperament-wise, though she'd certainly be up to the technical demands. I'd like to see Simkin take on Solor; maybe Lane could be his Nikiya.

The season is shockingly undersold. Several performances have 400+ seats available in the orchestra section alone. For the final performance of the season, the house is more than half-empty: Just 1,120 of the 2,544 seats are sold. ABT usually finds a way to fill seats, though. Maybe they paper the house?

Well, I'm going to the matinee on 10/14 and the seating prices are similar. It must be dynamic pricing, right?

Amen to that!

Yeah, I think it's highly, highly unlikely given how acrimonious the break was. Just dreaming... Maybe she will at least land some guesting opportunities with another company. I was surprised, like others, that it is Juliet that Teuscher is rehearsing rather than Nikiya or even Gamzatti. (Abrera and Lane would be at the top of my Juliet list.) But I still think Teuscher could make much of Juliet, and the role would perhaps help her break out of her sometimes remote stage presence. If Seo and Murphy can be Juliet, then why not Teuscher? I'm curious why others don't see Teuscher as a Juliet. Height? Technique? Temperament?

Of course. There are much more tactful ways to point out factual errors, which are usually just the result of simple mental lapses, distorted memories of what one saw onstage, typos, etc. But I appreciate the correction nevertheless.

A commenter in that post discusses seeing Teuscher and Lendorf rehearsing the R&J balcony scene at the City Center event, so that must be the role. I'd love to see her take on Nikiya this season, as well, though. This is a total pipe dream, but I wonder if there's any possibility that Part is being engaged in this season in a limited manner, as originally planned. She posted this Bayadere image, with a very positive caption, a week ago. As abatt has noted, contracts for the spring must have been finalized recently, what with Kotchetkova's departure and Simkin's recent news. Obviously, Part's post could be about some other news, or about nothing at all, but I'd give anything to see her as Nikiya again.

I wonder if the quickness of the music negatively affects the pacing of the ballet as a whole. The last time I saw the Martins Swan Lake, I felt as if things moved along so quickly that there wasn't really time for character development, expression of emotion or detailed storytelling. It felt more like "City Ballet dances a swan-themed ballet," if that makes any sense. And, of course, I think the sets and costumes appeal to virtually no one. I also felt as if the pacing and structure of Martin's Sleeping Beauty were really odd, but in a different way, because of the cuts he made, the music he applied to transitions between scenes and the way he divided the acts. There was a disjointed quality; not sure how to more accurately describe it. I was really torn about whether or not to go this season, given the great casting, but for me, a great Swan Queen still can't save this production. I still may suck it up at some point for the chance to see Mearns in this role.

I do think national affinity may be part of it. In Joan Acocella's New Yorker piece about Diana Vishneva's farewell, she summed up perfectly what I often do not like about Russian ballerinas: "How hard they can be! Over-rehearsed, over-styled, lacquered—bronzed. Some people like that in the Russians. It makes them feel they got their money’s worth." My favorite Russian ballerinas from the past decade — Vishneva and Part — are exceptions to this description. They are intensely human, soulful performers, each in her own way, never overly "lacquered." They mix the best of Russian and American qualities, IMHO.

Where are the PDF calendars on the website? I'm only familiar with the casting PDFs and the dynamic performance calendar.

How does NYCB handle a farewell when it's in the middle of a program? The website indicates that it will take place between La Valse and Cortege Hongrois. I'm not as familiar with NYCB farewells as with ABT's, and I also realize this is different in that Fairchild isn't retiring. Will it just be like any other performance?

Hmm...odd it was taken down. For those that didn't see it, it was a guest ID badge for Royal Ballet, including Part's headshot and dated 8/17, with a caption from Part saying she has enjoyed being able to take class with the company. Maybe someone from the Royal Ballet asked her to take it down...might be against their social media policy...who knows.

Well, it seems as if Part isn't hanging up her pointe shoes. So heartening to see this. Or course her future onstage remains a question mark, but I'm just glad she hasn't said goodbye to the art form.

It's been reported that flood waters have reached the main stages of the Wortham Center. http://www.statesman.com/weather/hurricanes/houston-flooding-along-key-city-bayou-hits-catastrophic-levels/prtx1Xazhy56VkDci4jLZN/

This is pretty extraordinary: Brandt has posted some additional, very impressive footage of her practicing Kitri's variations (with awesome Plisetskaya leaps), but unfortunately they were Instagram stories that cannot be reposted. Would love, love, love to see her and Cornejo in this. They were fantastic together in Corsaire last season. Why the company continues to engage Kotchetkova is beyond me...

Me, too. It's the only performance I'm going to in this rather underwhelming season. How about Simkin/Lane in Other Dances? Neither is scheduled to dance in other pieces during those two performances that include the TBA Other Dances. I know others have said that the piece has often been cast with short, lively dancers, so they would seem a good fit. It might be nice to see a younger, up-and-coming couple in the piece, too, though.

Tube top makes it sound like they threw her in something from the Forever 21 clearance bin. It's at least a rehearsal or performance top, with invisible straps holding it up. I can't say I found the flyer terribly convincing, either, though. They tried to fit everything and the kitchen sink on the back. I find the image a little bland and dark, but it reads to me as a classical ballet company presenting contemporary rep (the pointe shoes and both of their musculatures remind me that it's a ballet company). For several seasons, NYCB has been employing a mix of street and rehearsal clothes in their promotional materials, so it's certainly a trend, whether it appeals to the core ballet audience or not. And ABT's promotional photos for the Met season, taken by the NYC Dance Project, didn't present the dancers in costumes (with the exception of Copeland who wore a Juliet dress, I believe). I think it probably humanizes the dancers a bit and makes the art form feel more approachable, while still showing off the dancers' beauty. Also, if you aren't a hardcore fan, it may not matter whether a dancer is presented in a costume versus street/rehearsal clothes.

It's the same as the banner image at the top of this page: https://davidhkochtheater.com/Season-Tickets/17-18-Season/American-Ballet-Theatre.aspx I have to admit I found nothing unusual about the photo; it didn't give me pause when I received the brochure in the mail. It's well-composed and conveys that it's a season of (mostly) contemporary works. Copeland, like Murphy, has breasts that are larger than those of many female dancers, but to me, this photo isn't exploiting that fact or trying to use it as a selling point.

Rarely, but there are a few precedents: Simon Messmer: http://www.abt.org/insideabt/news_display.asp?News_ID=289 Craig Salstein: http://www.abt.org/insideabt/news_display.asp?News_ID=179 David Hallberg: http://www.abt.org/insideabt/news_display.asp?News_ID=62 I think it's been more common for soloist-to-principal promotions to occur at random times of the year. Even though ABT is down to three female soloists, they have quite a few corps women that they can cast in soloist roles. They might not feel a need to recognize them with the title of soloist just yet, though. It seems more accepted for a corps member to get lots of soloist opportunities (without the title) than for a soloist to dance lots of principal roles and not be promoted.

I wonder if he's transitioning to a faculty role at ABT. On Instagram, I seem to recall him coaching the ABT corps members that recently appeared at SUNY Purchase. And he frequently leads company class too, right? (I'm not familiar with the conventions of who is asked to lead company class, so I'm not sure if this signifies anything.) It would have been nice to see his last performance acknowledged, though. I'm not sure what he danced in the last four weeks of the season, after Birbanto in Corsaire. Maybe some Neopolitan dances in Swan Lake and character roles? Delighted to see Ribagorda back. His dancing was absolutely superb in his last couple seasons with ABT, and he excelled in the soloist roles that were thrown his way. This past season showed that ABT could really use some experienced corps members. They were looking pretty ragged at times, and I guess that's to be expected with so much churn. In other news, Veronika Part seems to be recovering from her dismissal and is posting more positive messages:

An absolutely beautiful reflection on Tiler Peck's artistry, from Macaulay: https://www.nytimes.com/2017/07/24/arts/dance/tiler-peck-city-ballet-balanchine-macaulay.html He really captures exactly what makes her so special.

This element was also an issue for Smirnova and Chudin, but I believe it was due to a partnering glitch. It wasn't that it was de-emphasized; it just came off awkwardly because of some sort of lack of coordination between the two. That said, I've never seen anyone able to pull it off as swiftly and with such impact as Farrell. I've been disappointed at NYCB, as well, that the ballerina doesn't do it with nearly as much snap. And yes, I'd prefer no gloves if at all possible, but if we have to have them, at least not the fingerless ones, please! Maybe the Bolshoi added them as a nod to Karinska's designs. I agree that NYCB's scenery for Diamonds is by far the weakest of the three acts. The netting that holds up the chandelier-like jewel clusters is so thick and clunky that it ruins any illusion of them floating in space.