fondoffouettes

When you click on the "more" button beneath the first two lines of headshots, it displays Ahn and Forster. It's certainly possible one or both of them is cast as Rothbart, but I do hope Forster gets a Siegfried!

Very surprised to see Copeland isn't cast at all. 

Is Union Jack the longest plotless work by Balanchine in the repertoire? It certainly felt long. I agree that Mearns and Reichlen were sensational, but for me, there were just too many sections that weren't very interesting, with the Costermonger PDD being the most notable example. Has that section ever actually been funny? It certainly wasn't funny yesterday, and it didn't even elicit very many polite, obligatory chuckles. I admire Balanchine's ingenuity in working with so many dancers, but much of the choreography didn't even feel close to his best work. To me, the ballet felt bloated and dated (and I'm very hesitant to apply the word "dated" to any Balanchine ballet, as they generally hold up so well).

Harrison Ball will be out for the fall season due to injury caused by a bicycling accident:

Overall it was a pretty satisfying opening night of Jewels. I felt the weak link was Emeralds, which just didn't fully come to life for me. As I've noted above, Stafford is woefully ill-suited to the first ballerina role. Her back is stiff, her port de bras clunky, and she brings no lyricism -- let alone any sort of rapturous qualities -- to the role. It makes NO SENSE to me that she was cast again in this role. Phelan had all that Stafford was lacking and gave a very strong performance, if perhaps less transporting than Laracey last season. I was so impressed with Villarini-Velez; gorgeous jumps and spins and such stage presence. I'd love to see more of him. It was nice to see Ramasar in Emeralds again, and he looked in good form. And la Cour's role, consisting mostly of partnering, suited him well at this stage of this career.

Rubies was superb. I've mostly seen Bouder in the ballerina role, so I was delighted to get the chance to see Hyltin. She was fantastic! Sometimes with Bouder I feel as if I'm just watching a series of striking images and tricky moves, milked for effect; but with Hyltin, the steps felt so fresh and in service of the music, not just a means for the dancer to simply show off. Veyette's hiatus last winter season seems to have done wonders for him. No, it wasn't whiz-bang bravura dancing, but he looked fresher than I've seen him in years; he didn't have that unfocused, worn-out quality that's characterized his dancing for the past few years. It was very buoyant, focused dancing. Lastly, Kikta is a superb tall girl, perhaps even better now than in her debut last year. 

Kowroski and Angle delivered one of the most exquisite pas de deux in Diamonds I've ever seen. I do think Kowroski has more depth now than before her coaching by Farrell; what stuck me was the more intense connection with her partner, and the increased interaction (even if just with their eyes) between the two dancers. Like last year, Kowroski's dancing wasn't really fast or incisive enough in the scherzo, and there were some turns that didn't look super secure.  But overall, there's still much to appreciate about Kowroski in this role, and not just in the pas de deux. 

Part of me can't blame Brandt for advocating for herself in this way, especially in a company that has often overlooked talent and repeatedly cast dancers in roles for which they are ill-suited. I guess there's sort of an unspoken rule that dancers aren't supposed to say what they want publicly, and instead just be incredibly grateful when a role is bestowed on them. But didn't that go out the window when Copeland "willed what she wanted" by repeatedly declaring in the press that she wanted to become the first African American principal at ABT? At least Brandt is "campaigning" on talent. 

I don’t imagine a two-week absence as having a major impact on Woodward’s promotion potential, after years of brilliant dancing from her (whatever the reason for the absence).

She certainly would have been a welcome addition to tonight’s Emeralds, ideally in place of the absolutely lackluster Stafford, who brought nothing to the role. 

3 hours ago, abatt said:

Neither Garcia nor Veyette are up to the challenges of the male lead in Rubies at this stage of their careers. Time for some new blood.  Ulbricht?  Mejia?

I'm kind of shocked they were both cast, especially Veyette, as it seemed management was finally phasing him out of the roles for which he is no longer suited.

I feel like the last thing I need to see is Stafford in Emeralds (bland pretty much sums it up), but oh well. I look forward to seeing Ramasar in that ballet again.

Very excited to see Kikta again! Does this mean Reichlen has probably retired the role? I'll savor my memories of Reichlen as the Tall Girl, but I'd love to see her one last time.

In terms of humorous clips, this may be one of my favorites. I remember another in which Darcey Bussell and Anthony Dowell choreograph a piece on Jennifer Saunders but it seems to no longer be on YouTube. 

On 8/23/2019 at 2:57 PM, Fleurfairy said:

I'm surprised Abrera was cast as Giselle again -- during the 2018 season, there were quite a few reviews on this forum that she looked very wobbly and unsure in that role. I think she has aged out, I think Murphy has too TBH. 

I think it's true that she's never matched her Met debut performance, but in her most recent outing, she was dancing through an injury, wasn't she? I'd be curious to see her in the role again, without injury. 

I think Giselle can be a congenial role for an older ballerina (e.g. Ferri, Ananiashvili), but I'm not sure how well it will suit Murphy, who never really struck me as a natural Giselle. I consider Myrtha to be one of her signature roles, though, and I wonder if the D.C. casting indicates that she has retired the role. I hope that's not the case.

4 minutes ago, nanushka said:

Why did she have only four days to learn the role? Even here on BA, there was a report that she'd be dancing this as early as May 28 (above).

I guess I missed that. Where was she supposed to perform the role in May? Did she perform it?

I think part of the issue may be that the Teatro Colon version is different from the Bournonville version (at least that's what the article says). 

I'm glad to have the information provided by the article, but I agree with @Helene that the article is doing quite a bit of speculation, though they admit they are ("Extraoficialmente...").

11 hours ago, eduardo said:

Misty Copeland will not dance in the current run of La Sylphide. The official announcement issued by Teatro Colón quotes Gilda Sqare as Misty's manager stating that she is injured and needs medical treatment. Herman Cornejo is still scheduled for Friday and Sunday performances partnering Macarena Giménez, a member of the Teatro Colon resident company.

 

Here's an article about Copeland canceling. In it, she's quoted as saying she had only four days to learn the ballet. I know guest stars often swoop in at the last minute to dance a role, but my understanding is that they do that for roles they already know (even if they have to be adapted a bit to fit the host company's particular version of a ballet).  

https://www.lanacion.com.ar/espectaculos/sin-misty-copeland-se-inicia-la-sylphide-en-el-teatro-colon-nid2278993

3 hours ago, abatt said:

Not the first and only example, but this was certainly an issue when she was first promoted and the ensuing  two years or so, as McKenzie sought to cash in on Copeland's popularity at its peak.  As Copeland has aged, this double casting  has diminished quite a bit. 

That sounds about right to me. ABT's most recent Giselle at the Met featured Copeland in performances at both the beginning and end of the run, but they didn't follow that same pattern for D.C. And she was originally supposed to have only one O/O this year at the Met. I wouldn't be surprised if the coming Met season sees her retiring roles like Gamzatti and Kitri, or not dancing them at all. I think O/O will be the one Petipa role she'll hang onto until her retirement. 

Her fall schedule is currently pretty light, as well -- two performances of Deuce Coupe and the one Apollo -- though she'll presumably be cast in some of the contemporary works.

5 minutes ago, cobweb said:

After seeing Sarah Lamb at the Joyce over the past week and pondering her career trajectory, I can't help but wonder if Brandt could be wooed elsewhere. I'd hate for ABT to lose these gifted dancers, the way they lost Kajiya, Messmer, Riccetto, and I'm probably leaving someone out. The principal ranks are pretty full right now, but I would much rather see Brandt and Trenary than some of the current principals. 

I've had the same thoughts about other companies perhaps wanting to woo Brandt, especially after she gained visibility on that Russian dancing competition. But I'm encouraged by the fact that ABT seems far more inclined to promote in-house talent than it did several years ago. Brandt may also wish to stay in the New York area to be close to family (her parents are at virtually every one of her performances) and to Hammoudi, whom she's dating (per their Instagram accounts). At least that's what I tell myself, in the hopes Brandt will stay put at ABT! 

2 hours ago, California said:

Thanks for the tip about Brandt's Instagram site -- so many great rehearsal/coaching videos! Highly recommended: https://www.instagram.com/skylarbrandt/

And she's only a soloist!

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.)

On 8/15/2019 at 10:33 PM, Lena C. said:

Oh wow. That's too bad. When I saw Lendorf at a performance this past spring season, he had said he was working to come back asap. At least some more homegrown dancers will get more opportunities.

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. 

10 hours ago, soubrette_fan said:

This will be my 1st trip to the Michigan Opera Theatre - anyone know how liberal of an exchange policy they have?

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? 

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. 

No "chief" in her title, like Macaulay had. 

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? 

15 hours ago, abatt said:

Costume restoration fee?!!!  What will they think of next.  Pointe shoe fee?  There comes a point at which we all have to say enough. 

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.

15 minutes ago, FPF said:

The email isn't from NYCB, it's from SPAC. To be fair, they are actually offering a choice of a refund, a gift certificate that can be used through the 2020 classical season, or donating the tickets. If you click on the link where it says Donate your tickets, it provides all three options. https://docs.google.com/forms/d/e/1FAIpQLSfzwVVuL8zqq7pJgrqUIUBZXZjtfgMMLWrzELVd80yjI0Jx_g/viewform?mc_cid=fcc73d6844&mc_eid=bee1c0630b

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.

19 minutes ago, FPF said:

Yep.  I'm not sure what time the announcement was made on Friday, but the email came more than 18 hours after I first saw online that the Saturday matinee had been cancelled.

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.

11 hours ago, DeCoster said:

(And yet I have very special memories of a Vishneva/ Corella Tchaicovsky Pas that just can't be matched by the current squad.)

I could imagine a dazzling Tchai Pas with Brandt and Cornejo. 

9 hours ago, naomikage said:

Koho Ogawa writes she is retiring as a professional ballerina due to injury. Very sad for such a talented dancer only 24 years old and wish the best for her future. 

That's very sad. I remember her detailing her leg surgery on Instagram. She seemed to be one of the most promising corps dancers.