Goldfish17

There will in fact be an evening of three new one-act ballets by Ratmansky:

I'm very much looking forward to it.

I think we are very lucky that ABT is his artistic base, both now and for many years to come. I've enjoyed all his ballets at ABT I've had a chance to see (and I've watched all these multiple times): On the Dnieper, Nutcracker, Seven Sonatas, Bright Stream, and Firebird.

Ilya,

I could not agree more, we are very lucky.

Ratmansky is innovative, elegant, his solutions are out of the box yet classical. He does not disappoint!

Very much looking forward to see more of his work at ABT.

Also, in the opening of the balcony scene she was totally out of light, hidden a bit upstage. If that was a "choice" it's misguided. Someone needs to tell her her marks for lighting. Odd that she couldn't "feel the moon" on her face.

New York Times published pictures from J&R, here is the one of opening of the balcony scene.

Natialia Osipova is "feeling the moon" on her face.

She is in the light, clearly visible. (And this is exactly how I remember seeing it.)

http://www.nytimes.c...2_ABT_SS-5.html

In the scene where she is forced to dance w. Paris in her bedroom, the ballerina is supposed to be somewhat limp (foreshadowing what will happen in the final scene).

Osipova took it such an extreme that she practically collapsed to the floor, evoking laughter from the audience.

I've been going to R&J for about 15 years, and have never heard laughter at that moment.

Yes, that laughter! It was coming from the older couple, sitting next to us in the orchestra. Actually, the whole ballet amused them very much, because they laughed at each movement. Pas de bourre couru seemed especially hilarious..

During the bedroom scene, when they started laughing, people in rows in front of them were turning heads to see what is wrong with them.

I suspect (just guessing) that the costumes in Act 1 are to underscore how Tatiana seems more provincial. She is a wealthy landowner's daughter but immersed in country living, but Onegin is cosmopolitan and used to city life and fancy balls. He comes to the country and I believe part of the reason he rejects Tatiana is that he finds her and her life very provincial ("cute" but not for him). I think the class issue comes across much more in the novel/poem. But you have a good point that all the men are dressed up and all the women are dressed down. Not really sure.

Some people interpret Onegin as being gay. There was a recent production of the opera in Munich, I believe, that did that, but I don't think it was the first production that has done that. That explains his dismissal of her love and then later his sudden reversal when she is wealthy and admired (sort of a glamorous diva in his eyes suddenly). Of course, that is just pure interpretation with no basis in the original text, and I don't think the ballet makes him seem gay.But it is interesting to analyze Onegin's character from all possible points of view.

I think you are right about intention to make Tatiana in Act I as provincial as possible.. However, children of wealthy landowners did not wear the same clothes as peasants, no matter how provincial. Also, Tatiana in Act I spends quite a bit of time with book in her hands. It is a bizarre combination: typical peasant's outfit, hairdo - and book, as peasants were illiterate. A book goes together with peasant's outfit as a shovel would go with a ball gown.

Onegin - gay, what an interesting interpretation! I have never thought about it this way

In general, the book is very short on hysterics. The opera introduces quite a bit of hysterics (e.g., the bizarre challenge to a duel in the midst of a party), but the ballet goes far beyond the opera, making caricatures of all the main characters from the book. I immensely enjoyed watching all the dancers (I attended Thursday's performance with Vishneva, Osipova, Gomes, and Matthews); however, the story at times gets so ridiculous that it was difficult to take it seriously. The fact that the choreography is often unmusical didn't help either.

Absolutely agree.

I went to see Kent/Bolle performance, and having never seen this ballet before, I wish I did not read (and love) the actual poem.

I love the Pushkin's book, and it did not help me to enjoy performance at all.. I think if I did not read the poem, it would be easier to tolerate ridiculous ballet story. Also, costumes in Act I were laughable.. (why Tatiana and Olga are dressed as peasants??? Other girls of their circle are also dressed as peasants, while man are wearing proper evening attire. And vice versa during the peasant dance )

I attended two performances - with Cujacaru and Osipova.

It was a first time I saw Alina Cujacaru dance, and I loved, loved, loved her! Her 'failure to deliver' hops on point in Act I did not disappoint me at all - she was most innocent, delightful, fragile Giselle, deeply hurt and broken by Albreht's betrayal. Her mad scene scared me. For a split second I totally believed that she really gone mad...

The Act II was the best I ever saw in my life.. It is still stands before my eyes... She truly was a spirit, not a human.. And her Love was so strong that even Myrtha was powerless.. It was like I was watching it for the very first time, the story of Giselle unfolded like a book which you are reading for the first time.

Murphy was a spectacular Myrtha!

Corps-de-ballet - amazing!

Alina and Angel were very good together.

I was laughing when I read the advertising for Giselle in New Yorker: "...and for those who wants Giselle who can fly, Natalia Osipova will do the honors on Sat matinee".

I love Natalia Osipova, I watch her whenever I have a chance - but Alina's Giselle was better, IMO.

For me there was no real tragedy in Osipova's Giselle. It was a pleasure to watch her dance, but the story was not that important..I am exaggerating now, but it was sort of like watching Balanchine's no-story choreography..

Why didn't she put her hair down during the mad scene? Why strange costume in Act I and Act II?

I saw her Giselle 3 years ago, and it made somehow much stronger impression on me..

As we were walking out of the theater on Saturday aftenoon, we saw Alastair Macauly, slowly walking across the Plaza, he seemed to be deep into his thoughts.. He was smiling

I loved Uliana Lopatkina’s Carmen!

She is still dancing before my eyes.

I went to see Anna Karenina yesterday, with Kondaurova/Yermakov.

My expectations were very low, after all of the negative reviews. I was especially dreading the music.

I started watching performance very carefully, preparing myself not to be too disappointed.

Towards the end of the first act I realized that I like it very much!

I find Ratmanskys choreography amazingly clean, every step was easy to read, despite of the very complicated emotions/events he had to describe.

Sets were very innovative, beautiful, tasteful!

Dancing was already described by previous posters. Just want to add that Svetlana Ivanova (Kitty) has most gorges feet!

My problem with the music was that it failed to show WHY Anna left her husband, and son, and position in society. There was no part in Shedrins music, showing that Anna fall in love with Vronsky, that this love makes her happy, that it gives her so much pleasure, fuels her passion and mind, and this feeling is actually stronger than anything else!

This problem is crucial to the whole ballet. It makes it, in my mind, incomplete.

Here are a few other links I found:

Tiny thumbnail pics of the gala here:

http://www.patrickmcmullan.com/site/event_detail.aspx?eid=38081&home=1

Thank you for the link! There are couple of pictures of Gabriel Prokofiev, the grandson of Sergei Prokofiev.

Gabriel was a DJ at the Gala.

Many people are under the misconception that it is illegal to sell a ticket for more than face value. But in New York State it is currently legal to sell for more than face value. Whether you choose not to is an entirely personal choice, but I am not doing anything illegal, merely enterprising.

Those who resell tickets in the Empire State must be licensed by the area in which they are reselling them in addition to posting a bond. If the venue of the event seats more than 6,000 people, ticket resellers can charge 45 percent more than the face value of the ticket, while tickets for venues with smaller capacities can be 20 percent higher than the ticket. These resellers must also guarantee refunds, along with a number of other provisions.

http://nakedlaw.avvo.com/2011/06/is-scalping-tickets-illegal/

I am extremely surprised that this offensive post has not been deleted or at least edited by moderators.

If you have a problem with a post, please report this via the "Report" button in the bottom left corner of the post, and the Moderators will review it. That is our site policy.

Will do. Thank you, Helene.

Last night I tried to sell (successfully) a Mariinsky ballet ticket starring Vishneva in front of the Met Opera. The desire for tickets was far greater than availability. Mine was the only one available. Most of the prospective buyers were Russian. I knew they were not interested in my ticket, as it was expensive. I explained to them that the face value on my ticket had been increased by the box office by $50 and I thought $25 more than that was not excessive. But they had been raised in Communism, where profiting is not only illegal, but also viewed as immoral. The looks on their faces showed me clearly that they considered my offering to sell a prime orchestra ticket at a profit was an act of immorality. It was stealing from the people. It was nonkulturny. I knew only an American would understand the economics of it - I had a very scarce commodity and there was a huge number of people looking for tickets, although at low prices. Many Russians queried me about the price and I said gently, "I'm sorry, it's rather expensive." I was looking for someone who could afford my price. I then quickly sold the ticket to a well dressed woman who could afford it.

The only problem was the excess of Russians who believed selling tickets for a profit was immoral, who were aware of the American free market but considered it "criminal" and freedom run amuck. A few Americans supported me, understood I was not overcharging under the circumstances. "It's a fair price," one American man told me.

I guess we are the poor Russians, believing we have a "right" to inexpensive tickets. This is the free market, folks, like it or not. I will take the money I hade selling ballet tickets and go to "exotic" Canada where I will splurge on Chateau Frontenac in Quebec City. Life's expensive. Life takes moxie.

I am extremely surprised that this offensive post has not been deleted or at least edited by moderators.

What an entirely delightful, fun ballet! I went to see it yesterday evening, Part/Hammoudi/Abrera/Stearns cast.

Ratmansky’s choreography is brilliant, eloquent, and so funny!!

Jemma Bond was a standout as a School Girl.

I really, really hope to see this ballet next season. Is it possible?

I attended Osipova/Hallberg/Wiles performance.

In my opinion, Natalia, although dazzling, is just not Aurora. This is not her role, and it was clear after few minutes of watching her dance.

But I can not wait to see her Juliette.

The rest of it has already been said - Hallberg was perfect Prince, Simkin and Lane were highlight of the evening, upgraded production is still painful to watch.

I am ashamed on behalf of my city. Thank God Natalia is ok.

It has been very interesting to read the commentary on Osipova. I saw her in Giselle last year and Don Q on Tuesday. Both times I had the same reaction: Wow!!! ... followed by, she makes everyone else on stage look bad. (I saw her last year in Sylphide, too, but she didn't make as much of an impression there.) As somone else commented, she makes ABT look like a regional company. But that puzzles me, because it's not like I've never seen bravura dancing before. But when I'm watching Murphy whip off a series of triple fouettes, or Corella spin so fast his turn implodes on itself (don't know how else to describe it!), or Simkin do his dazzling ballet-cum-gymnastics thing, I'm not thinking to myself that no one else on stage is at their level. But that's what I think when I see Osipova. There's something about her that strikes me as "other," and I don't know if that has to do with the sheer level of her virtuosity, her style being different from ABT style (if ABT even has a consistent style), something about her stage personality, or... or what.

May be Osipova should just jump a little lower! The same for her extensions. Also, she should cut back on energy, allow couple of sloppy movements here and there during scenes with corps de ballet - this way she'll blend right in!

Back from the theater. What a performance!!!

I can see how it is Osipova's signature role - she really is amazing and made audience gasp nearly every time she appeared on stage. Jumps are unreal, almost unhuman, like gravity does not exist for her. So much energy, so much character! Bravo. I will remember this for a long, long time. Wow, what a dancer she is!!

It was pretty much all about Osipova. I had to make an effort to notice somebody else. The only colorful, memorable exeptions were Daniil Simkin, who was replacing Arron Scott as gypsy and and Yuriko Kajiya as Amour.

Did anybody see Alastair Macaulay during today's performance, was he there? Just curious.

I was at the yesterday evening performance with Part, Gomes and Wiles and loved it!

Gomes dancing was superb, and those jumps! Flights, really, not jumps - high, strong, secure!

Veronica was all fluid, lyrical, gorges. And yes, she took my breath away with her leaps in Act III.

I was amazed at Wiles in Act III - she was majestic, evil, seductive and so beautiful. Real Gazmatti!

Veronica Part was amazing tonight. She made this hmm..not very good production emotional, moving and memorable.

Oh my God. It was the best Giselle I ever saw in my life. I want to see it again and again and again!

From what I know, soldiers of Red Army (Army of Workers and Peasants) were using Tsarist uniforms, since it was nearly impossible for the government to provide new uniforms under the circumstances.. Later on uniforms were changed (gradually).

Here is a picture of two soldiers of Red Army. http://img-fotki.yandex.ru/get/7/mocolov20...064_bf411988_XL

http://allday.ru/uploads/posts/2009-03/thu...918-1945-16.jpg

Their uniforms look very much like Sergei's.. http://www.abt.org/dnieper/costume.html

Although I do not think that this ballet is about "class struggle" it is pretty hard to say if the story is happening after 1917 or before..

The score is remarkably consistent in mood, and this may be what you're picking up on.

In contrast, Romeo and Juliette is much more reflective of Prokofiev's experience with film and montage. It's more tightly linked to particular actions.

Put another way, Dnieper is less of a story ballet in many respects than Romeo and Juliette or Cinderella.

Lawson, this is exactly what I thought/felt about the music in this ballet! You explained my thoughts better then I could express them.

Thank you for very interesting posts about Prokofev's music.

I went to Thursday evening performance.

Never have seeing Prodigal Son before, I absolutely loved it! My God, Balanchine really was a genius. Angel Corella created very vivid Prodigal Son - sometimes funny, sometimes truly dramatic. Kristy Boon was a true siren - gorges, dark, seducing, powerful. Perfect lines, beautiful arches!

Desir seemed too long. I though it should be cut in half..

As for On the Dneiper - it is already Saturday afternoon, but those blooming trees in a moonlight and figures of dancers are still seem to be in front of my eyes. I keep thinking about it - and usually this is how I know that performance/book/movie is really good.

Maria Ricetto - lyrical, tragic, really heartbroken, wonderful! I want to see more of her dancing.

Gennadi Savelyev and Simone Messmer looked good together as partners, but love chemistry was not quite there.. Simone was strong and energetic Olga. Though, I could not help myself noticing that her landings were disturbingly loud. Could that be a certain type of point shoes?

Eric Tamm was impressive.

I loved choreography, sets, music, costumes and dancing! I want to see this ballet again.

Question about the music - did anybody felt that sometimes it is not really reflecting the story? I mean - in R&J the music is almost like a painting, you could see Montague's and Capulet's, Juliette as a child, Juliette as a woman etc..

I also went to May 27th evening performance.

Just want to add that Graig Salstein was not only great technically, but also very natural, believable Birbanto. What an actor!!

Tempo of the music was notably fast, especially during Pas de Deux a Trois..

During Grotto scene Nina was wearing unusual black-and-fuchsia costume, which I I thought balanced well with colors of the Grotto.

Nice addition to the "Jardin Animé": now that ABT has a school they have little girls and boys for these big numbers like the Kirov has. They added eight little girls with garlands in the front and have four little boys as well. Very nice. Hope they get added to the "Sleeping Beauty" (Hopefully in a new totally restaged version after the original Petipa of 1890).

Little girls and boys were part of Jardin Anime in this production for a long time, if not always..