fondoffouettes

For those interested in seeing more of Gomes' choreography, he has choreographed a (presumably short) piece about Salome for one of the Frick's Salon Evenings, on November 20: http://www.frick.org/programs/salon_evenings I presume they will use ABT dancers, as they had for the Don Quixote evening.

I was there on Thursday, as well, and completely agree with this assessment. I hadn't thought about how this ballet provides such a stark contrast to Part's usual stage presence. It was unsual but exciting to see her appear so remote, dreamy, un-human. The partnering seemed very secure, so the trio must have improved since opening night. The spins where Part folds herself in half and they spin her around were perfectly timed to the music on Thursday. The only (minor) disappointment for me was that Part wasn't quite 180 degrees when they pick her up off the stage and begin spinning her. ABT apparently used the Phrygian caps back in 2004, when the studio company danced Monotones, as evidenced by these photos: http://www.nytimes.com/2015/10/18/arts/dance/frederick-ashtons-masterly-pas-de-trois.html?_r=0

Here's photo credit info for that one: https://fishercenter.bard.edu/press/photos/index.php?gid=205928&id=1799072&img=4540

Hammoudi is cast in only one principal role, in one performance (Orion). I can't say I'm especially surprised, as he hasn't exactly risen to the occasion in past performances. Maybe they will put him in one of the TBA Romeo and Juliet performances if Hallberg doesn't come back. If ABT feels like it needs to bring in a guest artist, the one I'm most eager to see again is Vladimir Shklyarov. Such beautiful dancing, and so supportive of Stella on her big night. He did a very good job of integrating himself into the company. And I hope Gorak gets an R&J! I only want to see roles added to his repertoire, not taken away.

Did anyone go last night? I'm really curious to hear about Monotones and also the Morris premiere.

ABT likes to cast small for this ballet, but I agree that a taller, more muscular dancer could be very appealing. I also think Gorak could be beautiful in this. If anyone could pull of "rose arms," I think it would be him. I think casting Simkin in this is a mistake. I worry he will just turn it into a gymnastic routine. Plus, I don't think he really has the sexual/sensual stage presence to pull this off. He'll look more like a garden sprite.

I had seen Cornejo dance it at least twice the last time ABT did it (with Xiomara Reyes, who made you truly believe she was a girl who had just gotten home from her first ball). Cornejo was an explosive dancer back then, but he has grown so much as an artist since that time. I bet he'll bring even more to the role. Thanks for posting that video. Legris' arms are the embodiment of a rose's perfume. Amazing. You've probably seen this already, but there is a video of Reyes and Cornejo dancing Spectre. Looks like it was perhaps filmed for archival purposes: https://www.youtube.com/watch?v=J4P70l_BYAY

I'm over the moon with the first cast! Part, Stearns and Forster in Monotones II -- pure heaven. Could there be a better role for the Queen of Adagio? And what secure partners she'll have!! And the other trio should look great in Monotones I, too.

Yay! Titania hair has always been her best look.

Does anyone know if she's wearing different pointe shoes these days? Gaynor Mindens? I remember her feet essentially being shaped like bananas. Here they look much more cone-like: http://www.theguardian.com/commentisfree/2015/may/28/alessandra-ferri-52-out-dance-woolf-works#img-1

I don't think I can miss this, despite cherishing my memories of her in her last few years of dancing Juliet and Manon with ABT. I'd just love to see how her interpretation might have changed, and I think I can accept diminished technique as long as it's not too glaring. If anyone can pull this off, it's someone who has always been more of a dancing actress than a ballerina who acts.

The Detroit-area press reports that Copeland will be appearing in the Sleeping Beauty performances at the Detroit Opera House, but exact casting is TBD. http://www.freep.com/story/entertainment/arts/2015/08/25/misty-copland-dance-detroit/32337209/ I'm assuming she and Shayer will perform the Blue Bird pas de deux at the gala mentioned in the article since they presumably haven't learned the lead roles since the Met season ended.

Stuben, mussel mentions above that Hallberg is not listed as a principal dancer appearing in the fall season. This is referenced in the press release on ABT's website, but not the version of the press release that was posted at the beginning of this thread. It's not at all clear from Hallberg's social media channels when he may return to the stage

Way too much Company B. It was a real struggle finding evenings with no Company B or Gomes' new piece. (I've been scared away from his work based on what others have had to say about his choreography.) I don't mind Green Table so much because I have memories of it being interesting, if perhaps not satisfying in pure dance terms, and it's not a piece that ABT has done to death (no pun intended) like Company B. Honestly, I wonder who could possibly be clamoring to buy tickets to the Weds., October 28 performance based on the lineup of pieces: AfterEffect M. Copeland J. Whiteside Company B Company The Green Table Cast To Be Announced To be able to see both Monotones and Piano Concerto No. 1 (but avoid Company B), I'm having to see Brahms-Haydn variations twice with the same cast, but at least that's a ballet I very much look forward to seeing twice.

He danced Death.

Unless Abrera and Part are guesting with other companies this fall, I have to think they will be cast in Monotones and/or the Mark Morris premiere. It would be unprecedented for any available principal dancer to simply go unused in the fall season, I believe (except, perhaps, for that weird short season at Avery Fisher Hall). Is there any possibility that Semionova could come back for the fall season? Any official reports on her condition? Abrera, Part, Semionova and Seo all seem like viable and likely candidates for Monotones to me. I remember Hallberg was riveting in The Green Table, but I can't imagine they are keeping that TBA in the hopes he'd come back from his injury to dance in the fall season.

It goes to show what a wealth of talent ABT had at the time. Who in the current roster of ballerinas could pull off the Sylvia Pas de Deux as well as Van Hamel does in that video? With Herrera gone, I can only really imagine Murphy and possibly Boylston doing it justice. I'd sure love to see Stella in it, too. Even though I never had the opportunity to see her dance in person, I consider van Hamel to be ABT's Myrtha par excellence, based on this well-known video alone: https://youtu.be/db4xlqnpB7U?t=2m50s It gives me chills even watching it again this morning. As a sidenote, I really wish ABT would reinstate the choreography in which Myrtha does nearly two sets of bourees across the stage (in either direction) rather than just one. It's such a pleasure to watch Murphy and Part do those bourees, and I'd savor the opportunity to see them do it twice! It's also so beautiful how she lifts her veil off while she's doing the second set and then tosses it aside. Does anyone know when or why ABT took out the second set? Is it too taxing on the dancer to do them twice before launching into the variation? Was it preferable to have Myrtha take off her veil in the wings so that it wouldn't be left on the stage?

I very much appreciate this article for putting Copeland's promotion within a broader historical context. I find this paragraph to be particularly powerful: "Lest the door slams shut behind Ms. Copeland, we must acknowledge the achievements of the artists who paved the way for her, and we must train and nurture black ballet dancers and choreographers, and cultivate audience diversity. If we fail to do so, it is not just aspiring black dancers who will suffer, but ballet in general that will do so — by missing out on the talents of the next Misty Copeland and by failing to appeal to 21st-century audiences." I think it's a lot harder to get people to care about these issues than it is to make them feel invested in a single dancer's narrative, but I think these are important issues that really need to be examined. (They also affect many other performing art forms to a greater or lesser degree, so it's not just a ballet issue.)

I'd love to see ABT do the Sylvia pas de deux. It's the kind of Balanchine choreography they could do very, very well. https://www.youtube.com/watch?v=T-c3-lwY6uo Unless I've missed it, NYCB almost never performs this piece, right? I think Murphy could be pretty spectacular in it. Sure, ABT already has the Ashton, but it would be so interesting to see this Balanchine piece in contrast to the full-length.

I only really know Spectre well, so, in addition to seeing Cornejo in the role again, I'd like to see either Gorak or Whiteside dance it. I know the role seems tailor-made for a jumping bean like Simkin, but I can't really imagine him bringing the androgynous sensuality the role requires. I think he'd look more like a cute little garden sprite. Abera and Lane would seem like good options for the female role.

Regarding Balanchine, I always did find it a treat to see ABT dance Apollo, especially since they do the version that includes the prologue. ABT's dancers really brought a lot to those roles, even if they aren't Balanchine specialists. I also have very fond memories of Hallberg and Abrera dancing Robbins' Afternoon of a Faun. I would be happy to see them do the piece again.

Not sure if this has already been posted elsewhere, but I was on Michigan Opera Theatre's website and happened to noticed that ABT is scheduled to bring Sleeping Beauty there in spring 2016: http://www.michiganopera.org/dance/ I hadn't known that they were planning a tour that included Detroit.

Does anyone know when single-ticket sales will begin? I've tried calling the box office twice on weekdays but have sat on hold forever. I've always bought the $29 side orchestra seats, which apparently aren't available for subscriptions, is that right? I was at Lincoln Center yesterday and there is a poster on the Koch Theatre that says, "Subscriptions begin at $90 for three performances, incl. orchestra," but I don't see how that can be the case, since orchestra subscriptions start at $54 per seat. Or am I missing something? Would someone with greater knowledge of NYCB's ticketing be able to tell me if those cheap side orchestra seats only become available when single-ticket sales begin? P.S. I hate the 2015-2016 marketing materials that make the dancers look like Bratz dolls. After several years of very strong, artistic marketing materials, I think this is NYCB's first big miss, in my mind.

She was scheduled to dance with Cory, but a very last-minute substitution -- GOMES! -- was announced before the curtain went up. I don't wish ill on Cory, but it was a such a delight to see Part back with Gomes. Whiteside was an excellent Orion in that performance.

I think Misty as Sylvia is a great idea. It's a beautiful ballet that is probably one of ABT's least selling productions. It would be great if Misty could introduce her fans to a ballet that doesn't have the same name recognition as Swan Lake and Romeo and Juliet. Plus, I think the ballet would, for the most part, suit her technical strengths and temperament. If Sylvia is programmed next year, I'll have my fingers crossed that Part will be cast in it again. She was beautiful in this role -- and especially sensuous and fun in the grotto scene. Her only issue was being too tall to crouch under the corps girls' bows in Act 1. Next time, I suspect she'll duck lower! Can you imagine a Bolle/Part Sylvia? Just the thought of that makes me swoon...