fondoffouettes

Sorry, rg...I was clearly in need of my mid-afternoon coffee as I was perusing wikipedia. In any case, I spoke too soon. This book recounts how Diaghilev and Stravinsky re-inserted the entr'acte for the Ballets Russes: http://books.google.com/books?id=DteDDV50v44C&pg=PA1520&lpg=PA1520&dq=leopold+auer+sleeping+beauty&source=bl&ots=SoTiGLiI1O&sig=LZbg4QFC61da5IDfLfKAGxtrapY&hl=en&sa=X&ei=AfcMU56iGIb_rAel_4DICA&ved=0CEQQ6AEwBA#v=onepage&q=leopold%20auer%20sleeping%20beauty&f=false It makes me wonder if ABT is interested in adhering to the Ballet Russes's arrangement of the score...

I wish there was some way the "Entr'acte symphonique" between Scenes I and II of Act II could be incorporated. Though it was cut from the original production, I think it's some of the most beautiful music in the score. It would be hard to justify its inclusion from a dramatic standpoint and I realize it probably has no place in a production focused on historical reconstruction, but I love that section of music nonetheless. No.16 Scène No.17 Panorama Interpolation: 3 transitional bars for the end of no.17 composed by Riccardo Drigo to lead into no.19, as no.18 was cut in the original productionNo.18 Entr'acte symphonique (solo for violin composed for Leopold Auer, cut from the original production) Scene II — Le château de la belle au bois dormant No.19 Scène du château de sommeil

Is there any record of the Ballets Russes's iteration of the Petipa choreography? Is it safe to assume it would have been more purely Petipa than later versions? I've only ever been familiar with the NYCB and ABT productions, and I'm not very knowledgeable about which portions of those productions are Petipa versus non-Petipa (except for obvious things like spiderwebs and pyrotechnical Carabosses.) It's a bit unclear from the press release if this new production will be a historical reconstruction of the dance in addition to the sets/costumes, but if that's the case, where would Ratmansky turn for most accurate Petipa choreography? I love Ratmansky's Nutcracker, but I'm glad it sounds as if his choreography for Sleeping Beauty may be more referential to the Petipa. I'm excited and relieved to hear about this new production. I'm so glad ABT decided to do a new production while dancers such as Murphy, Gomes, Hallberg, Part, Lane, etc. are still with the company rather than wait years and years to get their money's worth out of the old production. I know I'm getting ahead of myself, but I'd really love to see Gomes cast in the premiere. I've been blown away by what he has brought to ABT's flawed production year after year. He's truly the ideal cavalier for any Aurora. Also, as we're always saying in these forums, a Live from Lincoln Center or similar PBS broadcast is long overdue!

Just to follow up on that question -- I'm also wondering if anyone can speak to the advantages of doing a Trio subscription versus waiting for single ticket sales. I really like being able to pick out my actual seat, but I realize those tickets can't be exchanged. Have people had good experiences with seats provided in the Trio subscriptions?

I just noticed that the three big remaining TBD performances (the 5/28 Bayadere and the 6/12 and 6/14 Cinderella performances) are all unavailable on the 1829 Club subscription for young balletgoers. They generally black out dates that are anticipated to be big sells, so I wonder if ABT is still banking on a guest star for those performances. It would now seem unlikely that they are holding those performances for more junior members of the company to learn the roles. Also, none of the dates would seem to make sense for a yet-to-be-announced retirement performance (if one is coming.)

I attended last night's performance of Jewels, and I feel as if I can watch this ballet over and over again and find new and exciting things in the choreography. No matter the casting, it usually provides such a satisfyingly complete night at the ballet. I sat closer than usual and was able to appreciate the way in which all three sets of glitzy costumes echo one another in certain motifs. I usually think of the costumes as being so different from one another, but there really is a common thread that unites them. With all due respect to Karinska, I Iwish City Ballet could lose the fingerless gloves in Diamonds. They provide a welcome dash of pure white, but the dancers look as if they are wearing arm braces for tendinitis! Emeralds was perhaps the weakest performance of the evening. The steps were executed very well, and both Tiler Peck and Abi Stafford were quite musical. However, both ladies, especially Tiler Peck, seemed to lack the necessary lyricism for this ballet and didn't create a Romantic atmosphere. I always look forward to the arm motions at the beginning of the first female variation, but the way Peck performed them looked rote rather than ravishing. Ramasar partnered her very well. The walking pas de deux (with Danchig-Waring) was executed flawlessly, but again, looked a bit mechanical. If both ladies had had more expressive upper bodies, I think it would have made a world of difference. Rubies was the standout of the evening. Teresa Reichlen's cool aloofness and gorgeous legs were just perfect for the role of the first woman. The leaps in which she kicks her leg up behind her were thrilling. Ashley Bouder was a force of nature in the second female part, whipping off triple and quadruple unsupported pirouettes (with only one slight bobble throughout the entire performance). Others have discussed her tendency towards mugging, and it was in full evidence last night, though perhaps it’s more excusable in this role than in others. I must say that I did find it a bit distracting; the choreography is already so showy that you don’t have to accent it with a ton of wink-wink facial expressions. In Diamonds, the choreography for the corps can leave me a bit cold, but it was such a pleasure to watch Sarah Mearns in this piece. She truly does embody classical style, and every arabesque she struck was just exquisite. Her demeanor and expression created such an incredible mood during the pas de deux (unlike Emeralds, in which no specific mood seemed to be conveyed by the dancers.) The way she was able to almost speak through her arms and hands was very moving. (I don’t think I’ve ever been so fascinated with a ballerina’s hands before.) I do feel as if a more flexible back and upper body would have been an asset in this role, though. Zachary Catarzo was an excellent partner, and the only glitches occurred towards the end, by which time everyone on stage must have been exhausted. As someone who goes to a lot of ABT performances, it has been interesting to attend Jewels, and, earlier this year, Balanchine Black and White. I’m struck by how NYCB is very consistent in the quality of the dancing. Often times, the partnering is perfect, and the fiendishly difficult sequences of steps appear executed with ease. I have seen very off performances at NYCB, but I suppose the overall consistency is due to the fact that everyone in the company is able to dance so much more and garner so much experience with partnering. At ABT, you can’t really count on a female dancer to do a double pirouette without falling out of it early, and so much of the partnering appears tentative. I realize it’s like comparing apples to oranges, but I wish ABT could provide more rehearsal, dancing opportunities, or whatever it takes to get their dancers up to par across the ranks.

I can't say I'm too excited about this casting, either, and I had assumed that ABT was holding those spots for a potential guest star. It's actually shaping up to be more of a "home team" season than in some recent years. I see there is also initial casting up for Gaite Parisienne--the two casts are Part/Stearns and Seo/Gomes. I'm not at all familiar with the ballet, but perhaps others can deduce which roles they will be dancing. Always exciting to see Part take up a new role!

Thank you for all of this very helpful information, Helene!

I've only ever seen Harlequinade in 2005 and cannot recall--does NYCB perform it as a full-evening work, or would there be another piece on the program? I realized they've done the one-act Swan Lake quite a bit recently, but I wonder if it might make a nice pairing as a sort of "Balanchine homage to Ivanov/Petipa" evening. After watching Harlequinade, I remember feeling as if I didn't want to see another commedia dell'arte character for a long time, but I'd definitely be interested in seeing this piece again, especially with more experienced eyes. I recall the costumes constantly dropped their pom poms all over and the corps members had to deftly kick them offstage. (Not sure if that means a major costume refurbishment would be needed for a revival...) I assume all the dropping pom poms weren't intentional?

Very excited to be seeing Mearns in Diamonds after watching the lovely video recently posted by NYCB: http://www.youtube.com/watch?v=0BGEG-yCv88&list=PL6nf62I-S4yI5KgOkkWk4dbFgCrgPIaJZ&feature=share&index=2 I'm not sure if this has been commented upon elsewhere, but I find the short videos produced by City Ballet to be beautifully filmed and edited, and they strike just the right balance between behind-the-scenes and performance footage. (Also, as someone who does not follow NYCB as religiously as ABT, I find the videos to be very informative and a nice way to familiarize myself with the various company members.) Dance companies often seem to lag behind in the field of online multimedia offerings, but I consider NYCB's videos to be among the best produced by any cultural organization.

Thank you, Helene, for so eloquently describing this issue. I do think I was being a bit black-and-white about the whole thing. The quirks in a dancer's body or singer's voice probably often feel like hindrances and aren't automatically gifts that make one distinctive in a good way. (I sometimes wonder if Part would be easier to spin in supported pirouettes if she were less broad-shouldered.) So, in that regard, I can see why Macaulay acknowledges these things as challenges a dancer may have to work with. I appreciate Macaulay's openness to Mearns, and I wish he would speak more about the way dancers might work with bodies that aren't considered the ideal (of our era, at least).

Sorry to harp on this, but I guess part of what bothers me about Macaulay's reviews, and what I didn't realize until this discussion, is that he sometimes actually separates a dancer's performance from his or her body. Sara Mearns is America's top ballerina in spite of her body. Veronika Part delivered a warm, assured Nutcracker performance in spite of her broad shoulders. I truly think that these dancers are succeeding because of their bodies and their expressive potential. It's like saying Maria Callas is a legendary singer in spite of her highly idiosyncratic voice. She made it work to its full expressive potential even though it was not considered conventionally "beautiful." I think we need to give dancers credit for sometimes doing the same, although I realize ballet is an art form in which there is a more standardized idea of perfection.

This is true. And I think it shows he is not *absolutely* wedded to his physical ideal. But the fact is, he does feel the need to mention her physical "deficiencies" (and he clearly sees them as such) in nearly every review of her, no matter how much he praises her (which, indeed he does!). Clearly physique is not everything to him. But it is a lot. I also would suggest that he is more wedded to a specific physical ideal with regards to male dancers than female ones. Yes, up until now, I have just found it occasionally irksome when Macaulay mentions the same physical "deficiencies" over and over again. However, what provoked me write about the Nutcracker review is that the partnering he described was not what occurred on stage--not by a long shot--and I suspect his assessment was at least partially influenced by his strong preference for male dancers in the Gorak mold. (He did, after all, mention Gorak's beautiful feet in the same paragraph.) I, too, find that sort of male dancer to be among the most beautiful, but at the end of the day, I want hear about the actual dancing--not some impressionistic, vague description that completely misrepresents the performance. I, too, am very much influenced by a dancer's body. I would be lying if I said that Veronika Part's 1940s starlet face and long limbs did not play into my admiration for her. It's easier for me to respond positively to a dancer of her physique than someone who perhaps appears more girlish on stage, such as Cojocaru or Reyes. There's no separating the body and the dancing, but I like to think that I can look at dancers with fresh eyes and appreciate what they bring to the steps. Hallberg and Part are probably my physical "ideals" at ABT, but their partnership was problematic. (I remember when Hallberg stepped in at the last minute to partner Part in Swan Lake, and the pas de deux were difficult to watch at times.) I'd rather admit that they didn't work well together than let my admiration for their artistry and, yes, physical beauty, cloud my judgment of their performance.

I sometimes disagree with Macaulay's opinions but usually find him rather reliable in reporting what actually occurs onstage. However, I find it hard to reconcile his reportage of the Gorak/Lane performance in the recent Nutcracker round-up review: "Watching Ballet Theater’s “Nutcracker” at the Brooklyn Academy of Music, which ended on Dec. 22, I was gratified to see how experience can transform a dancer. When Joseph Gorak joined the company four years ago, you couldn’t miss his phenomenally arched feet or his boyish sweetness or, alas, that he was no partner. Look at him now! His feet are the same, his sweetness has become adult (or, rather, he’s both boyish and manly), and, though not tall, he can partner Sarah Lane and other petite women with style and even panache. Two years ago, the pas de deux of Alexei Ratmansky’s “Nutcracker” looked like a troublesome obstacle course for Mr. Gorak. Now he and Ms. Lane make them expressive, musical, exciting." http://www.nytimes.com/2014/01/01/arts/dance/nutcracker-dancers-in-this-seasons-performances.html?_r=0 I couldn't agree more that Gorak is one of ABT's most promising dancers and that he continues to grow each season. However, the 12/19 Nutcracker performance featured some of the most tense, sloppy partnering I've ever seen from the company, as I've already noted in the ABT forum. I wondered if perhaps Gorak was injured. He was replaced in the Chinese dance on 12/21 and in the lead role on 12/22. I understand being enamored with a dancer and forgiving errors, but it almost feels as if Macaulay didn't attend the performance. (And Gorak danced the lead role only one time this season, on 12/19.) Young, attractive male dancers with "ideal," danseur noble-esque proportions seem to get a free pass from Macaulay these days. Many of these dancers (Hallberg, Tamm, Gorak, Whiteside, Finlay) are in fact excellent dancers, but when reading Macaulay's reviews of them, I sometimes feel as if he is too much of a devoted fan instead of a critic. Just one sidenote: When discussing Lane in the same article, Macaulay uses relatively vague terms to describe her dancing, but he provides a much more fair, accurate assessment. She's a beautiful, at times lyrical dancer with a warm stage presence, but she can tense up when things don't go the way she likes. She seems on the cusp of being principal material, but it has been difficult to figure out whether she can really carry a full-length ballet. (In my own opinion, she at least deserves the opportunities being given to Seo and Boylston, and she is certainly more technically proficient than the former.)

Barbara - thank you so much for reporting this! My first thought upon exiting the theater Saturday evening was that I wished the performance had been recorded. Perhaps it will only be logged in the archives, but I'm glad the performance will be immortalized nonetheless. With the advent of HD transmissions and Sirius broadcasts, the Metropolitan Opera's performances have been recorded at an unprecedented frequency over the past seven years. Unfortunately, the same can't be said for ABT and NYCB. How wonderful would it have been if one of this fall's Balanchine Black & White performances had been recorded? It's hard to believe (or perhaps too easy to believe) that ABT's last commercial recording was the 2005 Swan Lake. Will we ever have films of David Hallberg, Veronika Part, and Diana Vishneva's inestimable contributions to ABT? Perhaps the DVD release model is no longer profitable, but I would be more than willing to pay for live streaming videos.

I don't think there are adequate words to describe Gomes and Part's partnership in the Nutcracker. After Lane and Gorak's disappointing outing on Thursday evening, in which many of the choreographic elements were barely etched, if at all, I felt as if I was seeing the steps come alive for the very first time during Part and Gomes's performance yesterday evening. Ratmansky's choreography for the two pas de deux is a minefield, but when executed effectively, it appears as is if Clara/The Princess is soaring, buoyed by the ecstasy of the first flights of love. Needless to say, Gomes ensured that all of the lifts were flawless. I'm always so anxious about the one-legged lift at the end of the second pas de deux that I had forgotten how beautifully the ballerina is released from that pose and then whirled about in the air. Gomes and Part made this look effortless and full of grace. When dancing individually, Gomes's spins were superb--lightning fast and crisp. His dancing is so sublime that I don't usually count rotations or think about how fast he executes spins. However, the spirit of Corella was there in those spins--gorgeous! Yes, Gomes is a wonderful partner for just about any lucky lady who is cast with him, but I think he deserves special praise for the chemistry he engenders with Part. Watching them interact with one another during non-dancing moments in the ballet was a joy that almost equaled the high of seeing them dance the pas de deux. Craig Salstein's artistry shone brightly in his performances as both Harlequin and as one of the Russian dancers. His wit, warmth, and keen dramatic sensibilities were as present as ever. ABT is so lucky to have someone like Salstein, who is committed to bringing every role vividly to life (in addition to dancing beautifully, of course.) Bravo to Justin Souriau-Levine, who only seems to get better and better each year as the Little Mouse. Please don't grow up! If Gomes owns the role of Purple Rothbart, then Souriau-Levine certainly owns the Little Mouse! The company as a whole looked leagues better than it did on Thursday evening. I've always felt that the bees are a bit much, but Thomas Forster, Luis Ribagorda, Calvin Royal, and Eric Tamm were marvelous. The bees can seem far too goofy, but these four outstanding dancers brought a much needed dose of elegance. I've never seen the roles performed more perfectly, and the throwing and catching of the flowers was impeccable. I'll mention, too, that Ribagorda danced beautifully as the Recruit in Act I. In the past two or three years his dancing has seemed particularly outstanding, and I hope we'll see him featured more often. Gabe Stone Shayer replaced Gorak in the Chinese dance, and he was stellar. Perfect partnering and incredible spins. I would love to see him featured in more soloist roles at ABT. He clearly has talent to spare, as well as a warm, unassuming stage presence. The orchestra sounded so much better under the baton of Ormbsy Wilkins.

I attended yesterday evening's performance with Lane and Gorak, and it was my first time seeing them in the roles. I expected them to be a natural pairing, but I'm afraid the partnering was quite sloppy throughout and scary at certain climactic moments. During the first pas de deux, one of the big lifts was aborted before Lane got off the ground. Lane and Gorak then had to waltz around the stage for a while to kill time. In the second pas de deux, the lifts looked very uncomfortable, especially the one in which Lane is supported on one leg above her partner's head. Gorak managed to get Lane partway above his shoulders, but she teetered so much that he had to wrap his arms around her entire leg to keep her from falling. All in all, they looked quite brittle until they finally got to dance their variations, which were lovely. They had to force the joyful, playful moments in the coda, I think because they were clearly not enjoying themselves. I admire both dancers immensely, and it was difficult to see them on such an off night. The company as a whole looked quite ragged last night, and the orchestra has rarely sounded worse or more thin. Maybe it's Nutcracker burnout? I hate to write such a negative review, but it was probably the most disappointing Nutcracker performance I've seen from ABT since they premiered the Ratmansky production.

I really hope so, too! I feel as if Cornejo joins Ferri as Juliet or Gomes as Purple Rothbart in "owning" a role when it comes to Puck. But what about Simkin? I hope The Tempest doesn't preclude him from dancing Puck. I've never seen him in the role but imagine his technique and impish qualities would work very well.

I've been wondering if they are perhaps holding the Bayadere TBAs for Hammoudi, in case he is back to 100% by then? His partnering can be quite shaky, but it would still be nice to see him get a shot, especially after missing out on so many performances last year. I really hope he can pull his technique/partnering skills together.

Jayne - I think you are absolutely right. From a practical standpoint, these guest artists help to fund the company through very high ticket sales. I suspect, as well, that you are correct about the donors. This made me recall an article in the NYT in which uber-wealthy balletomane Patsy Tarr was quoted as saying: "The American Ballet Theater spring season is always incredible because they import these fabulous Russian ballerinas. I just go alone, sit in my seat and leave when I feel like it." (http://www.nytimes.com/2013/05/19/nyregion/coffee-and-ballet-for-patsy-tarr-philanthropist.html). It's funny she says "imported"--a word often used to cast a negative light on the guest artist situation. I'm not sure if she even supports ABT, but her quote is telling. It's no different in the museum world, for example; every blockbuster exhibition with a slew of international loans allows an institution to also put on shows with less broad appeal, but perhaps ones that are of greater interest to specialists in a certain field. If an Osipova/Vasiliev Don Q can help to fund performances that appeal to a smaller sect of "hardcore balletomanes," then perhaps its not such a bad deal after all. I suppose I just wish ABT could strike a better balance between performances that appeal to the broader public and ones that foster artistic development for the core company members.

I find these circumstances frustrating too, but in their favor I note that Vishneva and Bolle are appearing w. ABT on tour in Japan in 2014 in Manon. Vasiliev is on the Japan tour too, but his role seems to be pretty minor (two short pas w. Osipova). Notably, Hallberg is not appearing with ABT in Japan. I agree--it is nice to see them traveling with the company! One other (obvious) issue with ABT's many guest artists has been their unreliability. Cojocaru never materialized last year...Bolle reneged on his obligations to ABT mid-season "due to illness" so he could dance a nude Giselle in Italy...just to name a couple. It mirrors the backstage dramas of the opera world. I can't think of one instance in which Part has pulled out of a performance, and she has in fact filled in for Vishneva in Bayadere. Yet, she's saddled with matinees. And Herrera, a senior principal, is cast in a Wednesday matinee Bayadere when the evening performance is still TBD. Certainly seniority should bring some benefits? It doesn't pay to be among the old company standbys anymore... I try to avoid being negative about ABT's guest stars, since I enjoy the artistry they can bring to the company, but I'm starting to feel like enough is enough already. I'm still very excited for the spring season (as I always will be), but I just don't feel as if I'm following a cohesive company any longer...

I have to admit that I am feeling a bit distressed about the spring casting. A few thoughts... So many "principals" have essentially become guest artists in terms of the frequency of their appearances. David Hallberg and Matvienko (a guest artist) are each taking on only three roles this spring, though Hallberg has more performances. Neither appears in the fall season, on tour, or at BAM, yet Hallberg is still labeled a principal. I love his dancing, but this must be discouraging to corps members and soloists looking for opportunities. Personally, I feel that Vishneva, Hallberg, Vasiliev, and possibly Bolle should be relabeled as "guests artists." More importantly, I wish Hallberg would come back as a more full-time dancer at ABT, though he has suggested the coaching he receives abroad has been invaluable. How wonderful would it be to see him in Les Sylphides? I remember seeing him in his soloist days in Theme and Variations and would love to see him take up that role again, too. I've long been on the fence about all the guest artists that are invited to dance in the spring season. I have wonderful memories of seeing Vishneva in her first couple years at ABT, when her dancing was a bit less mannered. Her Manons and Giselles were incredible. Likewise, I'll never forget seeing Osipova soar across the stage in her first ABT Giselle. And her Coppelia with Simkin was adorable! (I say all this as someone who is not a huge devotee.) I'd hate to give up the opportunity of seeing such talent from abroad. However, I think the problem is that there are currently far too many guest artists and guest artists masquerading as principals. They simply crowd out the full-time company members. How else could Veronika Part end up with matinees for all three of her leading roles? When I first started going to ABT about a decade ago, you would maybe see one or two guests artists, and principals like Ferri, Corella, and Ananiashvili would truly dance for the whole spring season, even if they didn't necessarily appear in every overseas tour or fall season. When I first saw many TBAs on the schedule, I thought perhaps these spots were being reserved for soloists or junior principals who may be offered the opportunity to learn the roles. However, I'm now convinced that TBA = Osipova or Cojocaru, if either wishes to dance the role. These issues with ABT are often described as "homegrown talent" versus pre-packaged superstars from abroad or from other companies. That is one way of looking at it, but this Met's spring season made me realize it's more an issue of who is committed to ABT as a true company dancer versus the overabundance of guest dancers. Some people might gripe when dancers like Semionova or Whiteside are "imported" to ABT, but I respect their commitment to the company as full-time dancers. They changed their employers just like anyone else would.

I see in the ballet talk forums that Julie did dance Titania with Gomes in the 2012 run of The Dream. I saw her and Gomes in the previous run of The Dream, maybe 3-4 years ago, and she was absolutely lovely. Carreno was always outstanding as Des Grieux. It seems like Manon would be a good vehicle for Kent's farewell (if she is in fact retiring this year), and she's set to dance the role in Japan this winter. But saying goodbye with Manon would mean that she'd depart relatively early in the season and not dance a Giselle, Swan Lake, or Dream. I suppose the Shakespeare evening could work as a farewell, though she doesn't appear to be cast in the Tempest this fall. Okay, I'll stop speculating for now!

This is a total pipe dream, but would Ferri come back to dance Manon with Bolle? I wonder if she may at least be coming back to do some coaching, as I imagine there may be some new Manons for this revival (Seo? Murphy?). I agree that it's more likely that a male principal may be coming back. If I had to guess, I would say that Kent has requested that one of her partners from the past come back to ABT to dance with her for a farewell performance. Of the ballets listed by Mussel, only Manon, Giselle, Swan Lake, and The Dream are still in Kent's repertoire, I believe. Between Corella, Carreno, and Stiefel, I'm not sure who would be in the best shape to hop back onstage again. It seems odd to bring a former principal back for just once performance, so that's why I imagine it must be for some sort of special event. Then again, there is a whole range of character roles, as well. Perhaps a former male principal will be one of the step sisters for the premiere of Cinderella??? Murphy seems a likely choice for the premiere of Cinderella. Could Stiefel be her step sister?

Great news for ABT: http://artsbeat.blogs.nytimes.com/2013/09/04/2-million-grant-to-bolster-american-ballet-theaters-training-programs/?ref=dance