onxmyxtoes

I'm going. The box office opens at noon. Great! Do you know if there is a crazy line up before? Do people go at like 8 am?

Is anyone going to the Met box office tomorrow to exchange tickets. What time does the line start??

Are you talking about when she is standing in fifth on pointe with her back turned slightly to the audience, arms raised in front of her face to the sky and she arches back? Whenever she does that, I swoon!

I'm taking offers for the W&P ticket!

Taking offers for this ticket!

Hey guys, my ticket will be for sale. Please check the Tickets and Ticket Offers board. I'm selling it for what I paid $37. Enjoy!

I have a single ticket in an amazing seat for tonight's ABT Works and Process at the Guggenheim, 7:30 pm. Seat is E 12, which is in the center section, pretty close to center. The ticket is currently in my possession. I'd like to sell it for what I paid, $35 + $2 fee = $37. Let me know if you are interested and we can arrange a place to exchange. Thanks!

Thanks again! The reason I asked is because I went last night (really enjoyed it)band have a ticket for tonight. I have some work-related things I should prepare for tonight, so if it is essentially the same show, I will want to sell my ticket. Thank you!

The Guggenheim Works and Process programs usually run from 7:30 - 9:00 New York time. However, the time has been known to vary in the past (a little more, a little less), but not greatly. Thanks Angelica. Do you or anyone know if tonight's program will be identical to last night's?

Does anyone know the running time?

Don't get me wrong, I absolutely love David Hallberg, but can we even call him an ABT dancer any more? He's more like a guest, just performing every once in awhile. It's just another heavy hitting loss to ABT's principal roster without a satisfactory replacement to heal the wound.

So happy that Part/Gomes is back together but sad about the absence of Cornejo!

oh no! Not Renata! I really really enjoyed her :-(

I think they're supposed to point!!

It's pretty much magic with Gomes and practically anyone he partners. He is such a gift to ABT, and I am glad that he hasn't run off to too many guest roles outside of ABT so he can lead as a model example for the other male dancers in the company.

Abrera was wonderful as Florine. Radetsky did not partner her well. Agree with the praise of Lendorf. He was excellent, and I'm glad I had a chance to see him. Interesting about Radetsky! You would think that by now they'd have it down pat! haha. Also, did anyone notice if any of the dancers got special recognition for it being their last Met Season? I heard Simone got her own curtain call, but anyone else?

I agree about ABT's rep. Part of the reason I love ABT is because we (the audience) are able to watch multiple versions of the classics ("workhorses") each year. I like that ABT's rep is different than NYCB's. If they were to adopt the more variety program for their long Met season, why bother having 2 separate companies? One more note about Kochetkova - I guess part of the reason I was dissatisfied by her performance is that I expected so much more from a "guest artist." If McKenzie is going to spend extra money on a guest from another company, I want the guest to be exceptionally dazzling. I didn't think Kochetkova delivered performances (I saw both of hers this season) that exceeded what some of ABT's soloists (i.e. Sarah Lane, Stella Abrera, or Simone Messmer) could have done if given the chance.

Forgot to mention that there was an insert announcing Leann Underwood would be replaced by Gemma Bond as one of the fairies (I believe Chastity).

Quite notes from last night (Cornejo/Kochetkova) I was disappointed by Kochetkova, which was probably exacerbated because I bought the ticket for Cojocaru. I agree with others that her performance grew after the Rose Adagio. The Rose Adagio was a huge let down for me - she did not even try to hold any balance, instead she timidly lifted her hand between each suitor and immediately put her hand down. And no final balance either. Sigh...The rest of the birthday part act was fine, but it didn't look like she had developed any character at all. I felt like she was just doing the movements without any meaning. Cornejo was his normal brilliant self. I always wish Prince Desire had more dancing. We really only get a glimpse! I definitely want to see more of him, and hopefully he gets better partners (I've avoided his performances in the past because of his partners) Kajiya I thought was miscast. To me, she lacks the authoritative and fluidity that Liliac Fairy needs. When she extends her arm, I feel like the movement just stops there- that there is no illusion that line extends beyond her limbs. I miss the days when Maria Ricetto and Michelle Wiles did the role, although Stella Abrerra does it quite wonderfully (I haven't seen Part or Seo). As for Vasiliev as Bluebird, I can not say anything positive except that it looks like he was trying. I really felt like I was watching a regional pre-pro ballet company when he was doing his variations. His lack of turn out and feet pointing were so obvious during his diagonals. Isabella Boylston looked lovely and very happy on stage. I think she's had a good season.

Back to corps promotions: I'm rooting for Joey Gorak and Arron Scott. I think both of those dancers, with a little bit more coaching (hopefully the soloist title would give a little more attn!), would florish with a soloist-level work load!

Thanks for sharing the article. Simone was really under-used at the company, so I hope we will get to see her in bigger roles when she comes to NY with SFB. Did think the singling out of Isabella Boylston and Leann Underwood was a bit tactless, but what can you do?

This was typed quickly on my iPhone, so please excuse any errors: The June 22 matinee performance of Swan Lake was one of the best and most memorable that I have ever seen. I went into the theatre with reservations that I had had since I bought my ticket, wondering how Julie Kent, at this stage in her career, would be able to carry the entire ballet, especially the role of Odile. But after Julie lept out on stage as Odette the swan (note: at this moment a baby began wailing, which actually induced a light chuckle in the audience) I was transfixed. Whatever she lacked in technical flair, she made up with her exceptional musicality, port de bras, and dramatics. I have never seen such beautiful swan-like shapes on any Odette before. And she moved like the music was running through her veins. Every flap of her wings was so impeccably linked to the chords of the music- it was absolutely astonishing. We movements were for the most part absolutely effortless and breath taking. Julie's and Marcelo's white swan pas de deux was the epitome of white swan pas (and the first time in maybe 20 performances that the scene had closed and I am in tears). There was no evidence of Julie's technical decline in the pas. Her back was supple, her extensions were high, her turns were effortless. At the end of the pas, Julie's battus between the piroettes were so fast, it was more like her leg was quivering than "beating" - so gorgeous. I noticed that the music was played slower than it had been played in the other performances I saw this year. But it was worth it to see her luxuriate every note of the music. The emotional connection between Marcelo and Julie was tangible in every move. It was crystal clear why ABT's artistic cast these two together- dare I say their bond seems even more genuine that Marcelo's with Diana Vishneva? Marcelo seemed to be motivated by Julie to give the best performance that I've seen of his this entire season. Like a few others on Ballet Talk, I felt that something might have been a little off during his Romeo performance a few weeks ago. But today, he was as solid as ever. His solo in the first act was gorgeous and every balance, turn and transition were so precise and controlled. The black swan pas de deux was impressive as well. Unlike other ballerinas who seem to prioritize technical tricks over musicality or interpretation, Julie's focus was on her acting while executing the steps beautifully. She did not sacrifice her swan character to throw in an extra turn. Every port de bra was gorgeous and again her musical timing was magical. Marcelo seemed so comfortable supporting her pirouettes and was able to help her spins rapidly. One of the loveliest moments was when he would help her turn and she would bring her arms up to a high fifth and at the end of the turn swing her working leg around through second into an arabesque/penche. What I appreciated most from this pas de deux was how Julie made each step part of the seduction instead of a trick. Marcelo's solo was perfect and again he seemed energized by his partner. His balances were long and controlled and he landed every pristine double tour in a beautiful fifth position.[/size] The last portion of the pas was a little strange with some choreographic alterations. After Julie's nearly 32 fouettes and Marcelo's amazingly fast set of a la second turns, Julie chose to do a 2nd round of pique turns in a circle instead of the backward arabesque hops. I'm not sure why because it didn't seem like the piqué turns were any easier for her than the arabesques. At the end of the pas instead of just bringing her front arm to Siegfried and then bending back, Julie practically gave Marcelo a kiss before snapping her arm and head back. WOW! What a moment of seductress mastery. It gave me the chills. The 4th act was beautiful, although short. Both of their suicide leaps were passionate, and Julie's was much more daring and care-free than I have seen in the past. I really can't express how much I loved the two of them in this performance. It was really a special performance, and I will make sure to see them dance together as soon as I can. Some notes on the supporting cast: I did not really enjoy James Whiteside as Von Rothbart. He seemed to make it a caricature role and his technique is not really anything to write home about. Everything he did Jared Matthews did 10 times better the night before. Not really jumping on the JW bandwagon. Pas de trois: Jared Matthews is good in this role, but is better as Von R. Stella Abrera is absolutely divine and was much better than Simone Messmer, whom I really enjoy. Stella's entracha sixes and battus are stunning. She is a true classicist and a beauty on stage. I want more Stella! Someone really really needs to give Melanie Hamrick some coaching before they let her turn on stage again. She has the most terrified expression on her face with her eye-brows up. It's very distracting and not attractive. Karen Uphoff and Nicola Curry are good at Big Swans (more Karen than Nicola), but they do not look good dancing together. It looks like they had two completely different training styles. Jessica Saund stood out in the Spanish dance in a bad way. She looked bored or sad in the dance. I couldn't figure it out. Devon Teuscher had much more gusto. Blain Hoven was good in Neapolitan but Grant DeLong seemed ill prepared for the role with more turns unfinished than finished. Final note: Julie Kent and Marcelo Gomes are splendid in Swan Lake. Go see them, you will not be disappointed!

Speaking of the Gate dance (also know as Masks dance), did any of the Romeos nail the turns? Everyone that I saw struggled with them. In the past I've seen dances (including Gomes) do the double-extend-double turns flawlessly.

I concur with Abatt, Arron Scott is my favorite Mercutio. Looking forward to your thoughts!

And they're all American. Maybe it's time to close the other thread on ABT's men's crisis? You make a good point, Jayne, however I have grave reservations about the hiring of James Whiteside. We need one more tall guy, but someone who is more classical, has more elegance, and is more nuanced as an actor than Whiteside. Is there anyone in the corps who could grow into that person? Eric Tamm, perhaps? Then I'd be happy to stop using the phrase "ABT's male principal problem." I share your opinion about Whiteside. Eric Tamm is a front runner. I think with exceptional coaching, Joey Gorak would be able to develop into that position as well - he already has the grace and gorgeous lines.