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Everything posted by fondoffouettes

  1. Yes, and make sure you check out her Instagram stories; she has a bunch of clips there right now, as well. (You need to sign into Instagram to access them, though.)
  2. It looks like he's as least dancing again, in this Danish Design program back in Denmark. https://www.bellevueteatret.dk/en/forestillinger/danish-design/ Brandt has been looking stunning in the Giselle rehearsal videos she's been posting. I agree with @ABT Fan, though, that Trenary would be at the top of my wish list for the role. I'm glad she got to dance Aurora again this spring season, but I feel as if she's more than ready to take on another leading role in full-length.
  3. The Detroit Opera House site says it only allows exchanges for subscribers: https://michiganopera.org/plan-your-visit/faq/ But the UMS site says that it allows anyone to exchange (for a $6 or $10 fee): https://ums.org/season/ticket-policies/ You can buy tickets from either website, so I'm not sure which policy is in place for these performances. Maybe it would be best to buy tickets via the UMS site and get confirmation from their box office that you'd be able to exchange?
  4. In case anyone is planning to buy tickets before casting is announced, ABT recently posted this discount offer. The company seems to have embraced discount codes more than in the past (they were constantly offering discounts during the most recent Met season). If it can help them fill seats and bring in more income, I think it's a good thing.
  5. Will we be seeing mostly debuts (at least company role debuts) in Apollo? On the ABT website, it lists Murphy as having danced Polyhymnia and Abrera as having danced Calliope, but I can't think of any other company members (besides the absent Hallberg) who would have previously danced the ballet with ABT. Assuming Murphy remains on maternity leave, is Abrera the only dancer who may reprise a role in the ballet?
  6. Maybe we can all chip in $2.50 for McKenzie’s retirement fund. Let the one-percenters contribute to ABT’s costume fund. Don’t force every ticket-buyer to make a donation. Unless a company owns its own venue and/or ticketing system, it reaps no financial benefit from facility and ticketing fees (in ABT’s case, that money would go to the Koch and the Met). But I guess ABT wanted in on the action and instituted its own dedicated fee. I’ve NEVER heard of any organization doing what ABT is doing. It belongs on a worst practices in fundraising list. Im seriously considering not buying a ticket for the fall season. As @abatt says, enough is enough.
  7. Ah, gotcha. I checked SPAC’s Twitter and Facebook and they did announce the cancellation by Friday afternoon, but I don’t think they should count on people checking those channels (or their website). An e-mail seems like a no-brainer.
  8. What were they thinking? The email above reads like a follow-up to a previously sent email announcing the cancellation. The “As you know...” bit seems to reference some prior messaging on NYCB’s part. In theory, I think the idea of asking people to donate tickets is a good one, but only if they’ve also been offered the option of a refund or exchange. The email above gives no instructions on how to get a refund. It’s always possible they made a mistake with their email lists and left @FPF off a cancellation message. It just doesn’t seem like NYCB to not communicate well with its patrons (I remember very clear and immediate messaging when they canceled a matinee due to a snow storm a couple years ago). I wonder if the fact that people bought their tickets through SPAC rather than directly from NYCB caused some issues with getting immediate messages out to ticket-holders.
  9. I could imagine a dazzling Tchai Pas with Brandt and Cornejo.
  10. That's very sad. I remember her detailing her leg surgery on Instagram. She seemed to be one of the most promising corps dancers.
  11. Copeland has posted some additional clips of her Odette. What strikes me is the incredible inflexibility in her back/upper body, lack of nuance and delicacy in her port de bras, and bizarre-looking bourrées.
  12. This photo posted by Wolf Trap (and taken by D.C.-based photographer Scott Suchman) seems to indicate that yes, Copeland danced Act III, though this could of course be a rehearsal photo. I think she looks remarkably stiff from the waist up. If Lane’s photo is from Wolf Trap, then she seems to have been on deck again. Her befuddled expression speaks volumes.
  13. I'm curious about that, too. It's interesting that she's tagged balletconrad. I wasn't sure if she was still working with him, but apparently she is.
  14. Lane just posted this to her Instagram stories two hours ago. Is this her in Wolf Trap or just a reference back to her surprise Odile performance at the Met?
  15. At least ABT's Apollo gives us the somewhat rare opportunity to see a company in NYC perform the birthing prologue and the mountain-ascension ending (if I remember correctly). I don't mind ABT doing some pieces like Prodigal Son and Apollo, but I agree that they should probably stay away from works like Symphony in C, which are all about speed, musicality and uniformity in the corps. I can't begrudge them performing Theme and Variations; it's one of the most famous pieces from their choreographic heritage, and certainly some principal dancers have turned in great performances of it over the years. I also appreciate that they perform it as a standalone work. While I don't hate Tchaikovsky Suite No. 3, I think those added movements really do so little for Theme and Variations. T&V is a perfect standalone ballet that contains everything I love about the art form; it needs nothing added to it. I agree with others that ABT looked fantastic in Symphonie Concertante.
  16. My sense is that NYCB can more easily cast younger dancers in true dance roles (e.g., the four little girls in Mozartiana), given the pool of talent at SAB. I think the girls in NYCB's Mozartiana may be too young to have already gone up on point, though I'm really not sure. On the other hand, when ABT last danced Mozartiana, they cast older girls who I think must already be dancing on point, but the company adhered to the choreography and put them in slippers. See this photo of Part with the girls, some of whom are already above her shoulders. I think it's possible that ABT is also casting older for things like the Garland Waltz and Corsaire, as well. The JKO School may not have enough very young dancers who are ready for these pure dance roles. But I somewhat agree with you about the aesthetics. I sometimes think young dancers look gawky on point, but I know they also need the stage experience.
  17. I’m guessing only his Nutcracker and Firebird, as she is a significant audience draw in both. I’ve never seen the latter, but I gather it suits her strengths as a dancer. The fact that she was absent from Whipped Cream, Harlequinade, Four Seasons and Sleeping Beauty — all ballets requiring strong classical technique — seems to indicate that Ratmansky no longer sees these as a good fit for Copeland. If that’s the case, he has far more sense than McKenzie.
  18. I agree @abatt's assessment of Gorak's solo tonight. I was worried that perhaps my back-to-back Cornejo performances had set the bar too high, but Gorak's lack of both elevation and well-articulated footwork would have been apparent even if Cornejo weren't fresh in my mind. On the plus side, his partnering was solid throughout, and he and Trenary were able to pull off super fast, one-armed supported pirouettes. (If Cornejo attempted one-armed pirouettes, they weren't very apparent; Gorak's were flashy). There was one turn that almost got away from them but they righted it and ended with a flourish. In some parts of the adagio and coda, I felt Gorak and Trenary brought more dynamism than Cornejo and Lane (Trenary's angular pose with her upper body to the side, at the end of the coda, comes to mind.) Trenary is very much an ideal Aurora, like Lane. In her role debut, I remember her being so at ease in the Rose Adagio, so it was a bit of surprising when her first set of balances were short and tense. There was also a supported turn with one of the suitors that was a bit wonky. But Trenary danced beautifully throughout the rest of the adagio and her second set of balances was just as I'd remembered them from her debut -- she was so calm and secure, and she gently nodded at each suitor as she took his hand. She was also lovely in the vision scene, though I wish she hadn't tried to hold on to the clam shell balance so long, as she was wobbling quite a bit. Abrera was just as wonderful she was last night. I can't say who is better as Carabosse -- Salstein or Roberts. Both are beyond fabulous, and I think it was wise for ABT to pull Raffa and have the two of them alternate in the role. I was pretty unimpressed with Shayer's Bluebird. He didn't have great elevation and his brisé volés seemed low and not well-articulated. Brandt, on the other hand, was fantastic. The divertissements following the bluebird PDD are pretty much of no interest to me, but I so impressed by how expressive Zimmi Coker was as Red Riding Hood. BTW, could the costume department have designed a red hood that doesn't require tons of bobby pins to be applied, at all sorts of angles, along the front edge. They are visible even from mid-orchestra. It looks pretty amateurish. There were some super impressive examples of demi-pointe chaine turns this evening (Brandt comes to mind), so I really don't mind them.
  19. Melanie Hamrick will be retiring this fall. A few of these departures usually come to light at the end of the Met season, but I haven’t heard of any others yet. I’d expect maybe Gemma Bond, who is focused on choreography these days? I can’t remember the last time I’ve seen her dance.
  20. I don't have a whole lot to add about tonight's performance beyond what I wrote about Tuesday evening's performance. (Lane and Cornejo were so stunning on Tuesday that I had to get tickets to see them again.) Once place where they may have surpassed their Tuesday performance was in Cornejo's variation; he seemed to dance it with even greater verve, with incredible elevation. I also felt the fish dive was executed with more fluidity; it was a beautiful flourish at the end of a stunning adagio. Another highlight for me was Hurlin's Florine. Her phrasing and musicality was outstanding. It was just about perfect; I can't think of a more ideal Florine for this particular production. Ahn had a couple shaky moments but was otherwise a very strong Bluebird. Abrera's characterization as Lilac Fairy is the gold standard for me. She exudes benevolence through her expressive face, gorgeous port de bras and perfectly executed mime. And she absolutely nailed her variation, which was great to see, as I recall it caused her some issues in a previous revival of the production. It was just as good as the rehearsal video, but unlike the video, I think she did a double rather than single for the second pirouette.
  21. Stella in for Shevchenko tonight and she’s beyond divine! Knocked the variation out of the park (and had to dance it at a faster tempo than in the rehearsal clip). Lane just as gorgeous as Tuesday. More to come later.
  22. Yes, it's quite a schedule, but I imagine it's a much less exhausting role than Siegfried. Desiree has just one variation (albeit a doozy) but the rest is mostly partnering, with very few lifts (and none overhead). Was anyone at today's matinee? I'm very curious to hear how Trenary did after her stunning debut a couple years ago.
  23. Reports on here also seemed to indicate that her Odette had also gone downhill. The fact that management had initially scheduled her for just one O/O, before Murphy went on maternity leave, seemed a wise decision to me. Who knows what will happen next year, after the weirdness of her pulling out of the black swan PDD in the first performance, and her not even attempting the fouettes in the second. Assuming they bring back R&J next year, they can make that a big Copeland vehicle and perhaps allow her to bid goodbye to O/O. While I could see her staying with ABT for another 5+ years, I think there's going to come a point before that when she physically won't be able to dance O/O any longer. Her private training and skipping company class seem to have done nothing for her technique.
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