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About DeborahB

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    Bronze Circle
  • Birthday 04/21/1957

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Avid Balletgoer
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  1. Again, I find myself defending the farewell performance. For those of you who didn't go to the performance, it's hard to weigh in on what happen. I was there. Yvonne was overcome with emotion in the Brahams-Schoenberg. I thought is was amazing that she even made it through. And again --there are kinder ways to phrase a less than stellar performance (although I thought she did a very nice job). This is even more true during at farewell performance. I do think it's amusing that so many BTers are defending the NYT's reviewer. In the past, there has been a ton of criticism about NYT reviewers
  2. I'm forced to chime in here again because of this post. What an unpleasant, and needlessly so, thing to say: "never speak ill of the dead." Many of us actually liked Ms. Borree's farewell performance. We have that right, afterall. Just as her fans have the right to have enjoyed her performances over the years in many of the ballets you mentioned above. To each his/her own. And I do think you are very wrong about A and B list Principal performers at NYCB. Perhaps in the past, but certainly not now. Casting is not handled the same way as in years (decades) past. One final thing. As we all
  3. Yes, much like 'Principal' (the label--which some bring more substance to than others.) All the Principals are called 'Principals', but some are definitely more Principal than others. No matter what the 'non-star system' that Balanchine always espoused, Suzanne Farrell was unquestionably the exception--even there. (aside from whether one thinks she's the greatest, etc.) A 'farewell performance' is not the end of someone's life or career even. It was a performance. Nobody reviewed Alicia Alonso's performance at her 90th birthday celebration (although it could well be some sort of 'farewell
  4. Could also mean she wasn't really a Principal except nominally, though. That's the impression Nilas Martins gives me. Vaguely parallel to A-list and B-list film stars. Some are thought to be 'A-list' and are basically pretty 'B-list' (or there's a whiff of it) if you look hard enough at them. I don't know when that nomenclature got started, but take a couple of old stars like Lana Turner and Tyrone Power. They were both definitely considered to be 'A-List', but there's a big touch of 'B-list' about their very frequent respective banalities when you compare them to Marlene Dietrich and
  5. Thank you for writing this Abatt. I totally agree.
  6. Re: horses. Agreed, Abatt! Also, I bet that Chris has seen "War Horse" in London (coming to Broadway either in the fall or spring 2010. Don't miss it! It's that great) more than once. Many of the horse movements (especially Andrew Veyette's and Gina Pazoguin's) remind me of those in "War Horse."
  7. I'm going to keep my remarks short as I'm sure many BT folks were there this afternoon. It was a wonderful afternoon. Yvonne looked gorgeous and danced very well -- especially in Duo Concertant (I saw her first performance in this ballet many years ago). The house gave her a rousing, and very long standing ovation (so nice!). As is NYCB's custom, Yvonne was showered with bouquets and single flowers from all the NYCB principals. Starting it off was Peter Boal (nice surprise!) and Damien Woetzel (who was sitting right near me. In fact, dozens of dancers were up in the first ring watching a
  8. Oh!! Now that's worth renewing early! I worship Patti! I've seen her in everything she's done (within two hours from NYC). And speaking of Wheeldon -- I saw "Tryst" at the Royal Ballet over the weekend. I simply loved it! I wish the NYCB would stage it (I cast it with NYCB dancers while I was watching it. The lead screams, Wendy Whelan!)
  9. Several people have commented on all the empty seats, at both NYCB and ABT this month. Is it worse than recent seasons? Does it seem to reflect the struggling economy or just disappointing repertory offerings (or perhaps both)? Along with news of other companies folding or shortening their seasons, this is not good news for the arts... Is there any information at all about the repertory planned for NYCB next year? In the print New York City Ballet NEWS (Spring 2010), it says subscriptions for 2010-11 will be available in June, with single tickets for fall 2010 in August. I was guessing they
  10. You are so sweet Abatt for worrying about me! I appreciate that a lot! There is an option to pay in installments. You can pay half now and half in a month or so (or something like that).
  11. I just received my renewal. I thought it was for the short fall season. However, it's for the fall, winter and spring seasons! They want you to renew for the entire year. And there's no option (on the form) to only renew for a season at a time. I called the subscription office to find out if I was seeing things. They confirmed that you can only renew for the entire year. I am extremely devoted to NYCB. As some of you know I have a professional (and personal) connection (which is why I don't post about the performances anymore) to many of the dancers. However, this is nuts! I still go to per
  12. Great to know! I was at NJPAC for the first time recently to see Patti LuPone. I was impressed with the venue -- it reminded me (a bit) of Avery Fisher.
  13. I'm disappointed that this tweeting discussion (most of it negative) is still going on. It really seems to me like this thread is now beating a dead horse. For those that don't like/get/enjoy tweeting -- don't do it and don't read tweets. Others (including me) see twittering as another marketing tool (albeit, still in its infancy). From what I've read on this thread people keep repeating themselves. Can we go back to discussing ballet?
  14. I haven't received my several subscription tickets yet either. However, I did receive individuals tickets to the "Farewell" performances today (I'm attending three out of the four).
  15. Jack, Although I said I didn't want to represent the branding/marketing/publicity and PR point of view, your question about "how someone sees these tweets in the first place" is a valid, and good one. There's no question that most people who read someone's Twitter feed have some connection to either that person, company or have an interest in what the person/company does. For example, one of my clients (not in the arts, but in the food world) is pretty well known. About a year ago he started tweeting (yes, I pushed for it but he loves doing it). It was a chance for him to get out from behind
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