fondoffouettes

Also, let's not forget that McKenzie denied Corella's fans an opportunity to say farewell. Wiles and Malakhov just left with no special goodbye. How does a dancer like Herrera go from dancing Bayadere, Swan Lake, Coppelia, Don Q and Giselle last season to dancing one Giselle matinee this season? Something is very, very wrong with this picture. Does ABT have marketing department? If so, how could they allow McKenzie to release such a sour statement about Herrera changing her mind about Sleeping Beauty? How unprofessional for an artistic director to criticize his own company member in that way, no matter who may truly be at fault.

How adorable! Love it!

Even if she doesn't have to wear a short tutu, I still expect that Vishneva and the other Auroras will be expected to do the sort of choreography that characterizes a classical tutu ballet. A lot can be changed in the translation from a sketch to reality, though. Maybe Hudson drew the skirt in that way so as to give a complete idea of the decoration around the border. The skirt/tutu may in fact be more perpendicular to the floor when it is constructed. I must say that I'm not immediately taken by the red/pink color combo. Here's the promotional picture of Seo in the costume (or a version of the costume): http://support.abt.org/image/SeoSleepingBeautyFerri.jpg One of the few things I liked about the old ABT production was Aurora's birthday costume. I thought the garlands of flowers around the tutu and embellishments on the bodice were very pretty.

He danced absolutely fine (well, better than fine) in Serenade last weekend, though I realize that piece may not be the best barometer of his current abilities. His body certainly does not at all look out of shape. I haven't been following him long enough to judge whether there has been a decline in his technique, though. To my eyes, Savannah Lowery looked remarkably out of shape, though she still managed okay in Agon.

I echo your sentiments about Tereshkina, Amour. I was able to enjoy her performance in pure dance terms -- her wonderfully flexible back, lovely turns, good musicality -- but the interpretation just wasn't there last night. She seemed like a zombie version of Odette. I think iciness and remoteness can sometimes work when a dancer chooses to emphasize Odette's otherworldly, animal qualities, but Tereshkina didn't seem to be going for that. She didn't seem like much of a swan at all. (Her swan arms -- or lack thereof -- were particularly disappointing.) I still found her somewhat more enjoyable than Zakharova, though. When Zakharova danced SL this past summer at Lincoln Center, it seemed like the lights were on in her pretty little head but no one was home. Tereshkina was very enjoyable as Odile. Both her variation and the coda were very strong.

Could anyone report on when they take the two intermissions for Swan Lake? How do they divide the acts? Thanks!

Not sure if this may have already been posted, but there is a lovely piece on Royal training with Stiefel (and other coaches around the world) in The New Yorker: http://www.newyorker.com/culture/culture-desk/calvin-royal-man-to-man. I'm glad this grant is allowing him to take his development as a dancer into his own hands, as ABT has failed so many other promising dancers in recent years. Even when they get promoted to principal (e.g., Wiles), it seems as if ABT doesn't always give them the support they need.

Musical America has named Copeland one of their top 30 professionals of the year, including her in their "Profiles in Courage" special report. The full report is available here: http://www.musicalamerica.com/specialreports/PROFILES_2015.pdf It's nice to see a dancer included in the group.

How much more talent can ABT manage to lose and still have a respectable corps? There some real clunkers in the male corps, but of course they seem to be sticking it out for the long haul. I guess ABT can't afford to cut the fat at this point, though. Tamm is a lovely dancer and deserves to be recognized as a soloist at a top-tier company. I wish him the best.

Yay! What a fabulous dancer. She is much-missed in NYC, but I couldn't be happier for her and Matthews.

What surprises me the most is that Ratmansky made virtually no revisions (at least to my eyes) over the years. I feel like the first act is pretty good, with the Snowflakes being a big highlight, and I really like many of Ratmansky's storytelling decisions (e.g., having adult dancers in the Nutcracker and Clara roles.) However, the second act feels decidedly unmagical -- from the spare sets to the bland character dances. And it seems like pretty much no one is a fan of adult Clara's peek-a-boo moment or her Vegas wedding bridal veil. The production has so much potential, and I just wish Ratmantsky would have reinvested some creative energy into tweaking the second act. As for the poor ticket sales this year, I suspect most locals who wanted to see this production have already seen it. And if you're not a balletomane, you probably see no need to go back year after year. And I certainly agree with others that Lincoln Center has more of a tri-state draw than BAM does.

I attended the Saturday matinee of Don Q and really enjoyed myself, much more so than at recent ABT Don Q performances. I was pretty critical of Sarafanov's Albrecht, but I thought he was marvelous as Basilio -- charming, virtuosic, refined. This was the Sarafanov I've seen in videos. Much like Cornejo or Corella, his virtuosity is tempered by really beautiful technique. I never felt as if he was doing circus tricks. Considering Bondareva is practically the same size as Sarafanov, I thought the partnering was pretty much spot-on. I also very much enjoyed Bondareva's kittinish Kitri. Her clear strength is turning. With the exception of one shaky unsupported pirouette, her turns were quite good. Her fouettes were close to ideal -- little traveling, mostly doubles and triples, and finished strongly and cleanly. What I found disappointing were her leaps. She had little ballon (and I'm not comparing her against the Osipova gold standard!) and her back leg tended to droop in her grand jetes. Her back and arms also seemed rather stiff. The iconic head-whipped-to-ankle leaps seemed barely there. But kudos to Bondareva for working through a pretty terrible wardrobe malfunction during the wedding pas de deux. Midway through the pas de deux, one of the internal supports of her tutu (not sure of the terminology -- looks like tubing) popped out and she tried unsuccessfully to pull it out. She proceeded to do impeccable balances and supported pirouettes (with the tubing/support whipping Sarafanov's thighs.) She finally ran over to the wings and managed to rip out the tubing before the end of the pas de deux. The production was vibrant and colorful, and everyone seemed so committed to bringing the characters to life. It felt very exciting compared to ABT's tired old production.

I don't have much at add besides what has already been said, but I found last night's performance to be extremely disappointing, and I don't think it was only a matter of chemistry (though Sarafanov makes Cory Stearns look like a method actor). For me, the taste level and style was what was really lacking, especially in Act II. I remember Osipova's Giselle debut at ABT as being fresh and coltish. I couldn't believe how she effortlessly flew through the air. Last night, she looked like a pogo stick wearing a bad wig. When she lept around the stage after emerging from the grave, she did a sort of squatting position in the air (a la Nutcracker Chinese dance), I suppose to make it look like she was even higher above the stage than she was. I thought it was an extremely poor decision. When I think of some of most memorable Giselles -- Ferri, Ananiashvili, Vishneva -- I picture their gorgeous port de bras, the way they luxuriate in each pose, each arabesque. They're able to create a sense of ethereal ghostliness through so much more than leaping. Based on last night's performance only, I would say that Osipova is very poorly suited to Romantic rep. I was so looking forward to her Giselle this summer with Gomes, and now I'm just confused about whether or not to see her again. I couldn't agree more with canbelto that the lighting was way too bright in Act II. Also, what was up with the tree scenery being hoisted up and down repeatedly throughout Myrtha's entrance and variation??? It was horribly distracting. The staging of Giselle's first entrance and final exit was also terrible. Just because she's "hiding" behind foliage doesn't mean the audience can't see her. I also very much missed Myrtha's bourees across the stage after her entrance. Instead, she just popped out from behind a shrub and boureed around a little bit before going into her variation. I don't have many positive things to say about the Mik dancers. It felt like amateur night at the Koch. Giselle's mother provided some of the worst, overwrought acting I've ever seen in a ballet. She looked like Carol Burnett doing a parody of Giselle's mom.The soloists seemed like they could have been student dancers. And I've never seen Wilis clomp across the stage so clumsily in the section where they hop back and forth in arabesque.

I absolutely loved Symphonie Concertante when ABT last performed it. I wish they would bring it back. I also seem to recall a video of Martine van Hamel in Balanchine's Sylvia pas de deux, which doesn't really seem to get programmed at NYCB (at least in recent memory).

I think it's somewhat rare to state it so openly and bluntly. I've definitely read interviews in which non-principal dancers talk about principal roles they'd love to dance, but they don't often say, "My goal is to be promoted to principal dancer." For better or worse, ballet culture seems to discourage acknowledging those ambitions openly (at least in the public sphere). Dancers usually talk about it in a more roundabout manner. What goes on behind closed doors is another matter. I remember when it was reported in the press that Part was leaving ABT, and then her promotion to principal soon followed. So, certainly dancers can try different strategies to make their ambitions know to an AD. I think Misty is unique in being so public about her ambitions, and I'm not sure if it will hurt or help her.

In clicking through the principal bios to compare workload, I noticed that Simkin is cast in very few things. Seems very odd, though I suppose this year's rep. doesn't really alight with the types of roles he usually dances. Fancy Free - 10/25/2014 mat (New York, New York) Fancy Free - 5/13/2015 eve (New York, New York) Theme and Variations - 5/16/2015 eve (New York, New York) Swan Lake - 6/27/2015 mat (New York, New York)

Exciting casting for the season overall. I'll admit it that I'm pretty heartbroken to not see Part listed for Sleeping Beauty. Her last performance as Aurora (with Gomes) was such a triumph -- probably one of her all-time best performances with the company. I wouldn't be surprised if Ratmansky casts her as the Lilac Fairy for the premiere, but that's a small consolation. I suppose it's also possible that Part is planning to retire Aurora from from her repertoire. I'm pretty surprised to see Vishneva returning to such a demanding tutu role when she'll be nearly 39 years old. I'm fascinated to see what she'll do with the role. Her O/O with ABT was gorgeous and I only wish we could have seen her dance more classical roles with the company. It's really very hard for me to imagine a Gorak/Copeland partnership for R&J. That ballet depends on swoony lifts that should not be modified, so how exactly is this going to work out? It's easier for me to imagine Copeland flinging Gorak around than vice versa. Also, Copeland is a pretty mediocre actress whose simpering facial expressions do her no favors, so I hope she gets some expert coaching from Ferri or someone equally qualified. I'm not really a fan of Lane's per se, but I think she would make a heartbreaking Juliet. I don't get the sense that she has a fantastic rapport with Gorak, though. Maybe Copeland and Gorak will have onstage chemistry? That's a factor lacking from so many of ABT's recent partnerships, so I'll sit back and hope to be surprised...

Eric Tamm has been appointed Executive Director of Craig Salstein's company: http://www.broadwayworld.com/bwwdance/article/INTERMEZZO-Dance-Company-Welcomes-New-Executive-Director-20141015# Does this signal a shift away from performing, or will he balance this with his responsibilities at ABT? It's kind of shocking to see he has been in the corps de ballet for seven years. It baffles me that he has not been promoted to soloist. He has been a much more reliable dancer than Hammoudi, and his dancing has an elegance reminiscent of Gorak's.

Although ABT has still not posted their spring schedule on their website, a glimpse of the first three weeks is available on the website of the Metropolitan Opera. The season begins May 11th, and the company is performing "Classic ABT" through the 16th. (No details are available, but clearly this is a repertory performance that will include some of the historical pieces mentioned in the press release.) The gala is on May 18th. From the 19th through the 21st they are performing Othello. Giselle runs from May 21st through the 28th, and The Sleeping Beauty begins on the 29th. The Met Opera schedule only runs through May, so that is the extent of the ABT schedule that is posted. I think I'm in the minority here, but I found ABT's last revival of Othello to be absolutely dreadful. I guess they needed another ballet in which Julie Kent could be thrown around like a rag doll. I really hope they are only doing it for three days, though it seems likely it will appear again later in the season (in the same way they split the Coppelia performances this last season). Fingers crossed for no Lady of the Camellias or Onegin.

I guess ABT felt compelled to acknowledge de Mille in its 75th year. I'm afraid it will look second-rate next to the Tudor. And does ABT really need to program two overwrought one-act dramas in one evening? It's unfortunate that ABT's choreographic heritage consists mostly of two not very prolific choreographers whose approaches to dance represent dead ends in the history of American ballet. Thank goodness for Robbins' and Balanchine's one-offs for ABT. Or did they choreograph any other works for ABT that we don't usually see? Both de Mille and Tudor can seem terribly dated. Maybe Ratmansky will finally be the great choreographer ABT has always needed?

Yes. If they were going to copy the concept, you'd think they would at least change the name. There are plenty of images/concepts they could have drawn upon... "Sugarplum Seats," etc...

Since ABT can rarely find enough tall male partners to go around and Part, at 5'8'', is tricky for most to partner, I'm not surprised that they passed on Graf. Given the partnering-heavy rep. at ABT, what else could they do? Assign her only Myrtha and Lilac Fairy? It doesn't seem like a case of aesthetics or racism in this instance. Also, is anyone really shocked that NYCB passed on a dancer that didn't come up through SAB or work in a top-tier company? She had also recently been injured/arthritic and taken off time to get her B.A. at Columbia. She was then considering going into finance. I'd frankly be shocked if she had gotten a job at either ABT or NYCB, if only because it would have been a highly unusual career trajectory (even more so than starting training at age 13, as in Copeland's case).

Wow - even if it's not with Gomes, I would be thrilled to be able to watch this. Fingers crossed!

Amazing dancing. But, does this take place in a concentration camp? I've never seen such depressingly drab costumes and sets for Act I of Giselle. What were they thinking? "Yes, put Giselle in a khaki-colored dress so she looks even more drab and dull then the other peasant girls." And, typical of the Royal Ballet, anyone representing the nobility is dressed in overly elaborate, exaggeratedly pompous costumes. Also, who was in charge of making it look as if Osipova actually has hair? I guess a clip-in curly mullet was good enough to be immortalized on DVD. With so few performances captured on film, I'm frustrated they would pay so little mind to the aesthetics.

Now I really want to look at that tape! I had heard the audience was in tears at her final Manon, and this sounds like it (or close). The quote function does not work for me in Explorer 8, but does work in Chrome. I have no idea why... I remember that in her retirement year Ferri filled in for an injured Reyes in Manon, so her official final Manon may have ended up being her penultimate Manon, or something like that. In any case, I remember she ended up dancing two Manons in quick succession and I'm not sure which date was her final-final. This is when it would be great for ABT to have an online archive of performances like the Met! So many times I can't remember who exactly danced when, but thank goodness for these forums! p.s. It's great to hear that ABT now has an open access policy for its archival videos. I think Ananiashvili's retirement SL was recorded, and I'd love to relive the thrill of that night.