angelica

35 minutes ago, alexL said:

I got the same impression about Teuscher as well. I thought she did well as a "soloist" but as a principal she still has long way to go. I hope she doesn't end up becoming like Michele Wiles. Wiles had the techniques but she never fully matured as an artist. 

ITA about Wiles. And Teuscher.

5 hours ago, nysusan said:

Last year I really liked Her Notes, this year I found it pretty dull, although Forster looked great in the Gomes role. Teuscher faded away totally partnered with S. Williams, if that girl is going to dance principal roles lets hope she develops some presence & style.

Last season, when Teuscher debuted in Swan Lake in New York, I felt that she showed no individuality, nothing that would have made her performance distinctive. I didn't say anything at that time because it seemed everyone was applauding her technique, especially her ability to execute turns, and everyone was excited by her promotion. So I'm especially thankful that you posted about her this season, an opinion that validates my own. To me, the great dancers are completely different from one another; a ballet danced by someone one night will be a completely different ballet to my eyes with a different cast the next.

I wonder whether individuality is inborn, or something that can be developed with coaching. 

Yes, see ya in the Spring. Am also going to see The Red Shoes.

I'm skipping the entire season too. 

1 hour ago, cobweb said:

I thought Krohn looked stunning in her final performance, with precision and abandon both. I am very sorry she is retiring, when she seems to be reaching new peaks of artistic maturity. I hope she is successful in passing on her aesthetic to younger company members.

I was there last night too. I thought Krohn was simply amazing in the Stravinsky. I am bereft because I just discovered her sublimity a year or so ago in Emeralds and I was looking forward to seeing more of her. I'm told her progression to principal was slow because of a succession of injuries. Perhaps it's good that a dancer retire at the top of their game, rather than wait until the audience is measuring the height of this year's arabesque compared with last year's, or the next injury sidelines them.

In that vein, Maria was divine last night in In Memory Of, and I hope she'll still be around for a long time.

On 9/6/2017 at 3:43 PM, angelica said:

The fouettes turns get 32 counts in the music. If you do one per count, you've done 32 fouettes. If you can do a double in one beat, you can increase the number of turns, e.g., a double on the fourth count of each group of four beats; If you do a triple over two beats, I don't think that counts as three turns. The important thing is that you do 32 counts of fouettes, in some logical combination of either all singles; some doubles on the same beat in each four counts; and if you're a real spinner, some triples or even quadruples, but in some logical pattern, not a hodgepodge of getting in as many as you can whenever you can, and the music be damned. I think it's generally considered preferable to do the second group of sixteen counts as singles. It also prepares you for a clean landing, which is lovely to see.

5 hours ago, Golden Idol said:

The public has spoken. Well, ABT's loss is the Royal's gain.

I hope that will happen with Veronika, who still deserves more time in the sun.

4 hours ago, nanushka said:

 

I'm disappointed as well. He's really matured as an artist in recent years. He was always exciting to watch, of course.

And he has developed a beautiful classical ballet line, which he was using to great effect, i.e., the Lensky adagio in Onegin and the Boy in Whipped Cream. I will miss that from him most of all.

1 hour ago, fondoffouettes said:

Well, it seems as if Part isn't hanging up her pointe shoes. So heartening to see this. Or course her future onstage remains a question mark, but I'm just glad she hasn't said goodbye to the art form.

 

Sadly....

I need to see more of his ballets. Apart from Seven Sonatas, I'm not really a fan of his work, or his choice of music. I enjoyed his Nutcracker the first two times I saw it, but then the humor became repetitious. Admittedly, he is extremely inventive, but I'm still a Petipa gal at heart.

Yes, it's the old war horses, but they still make my heart sing when I think of the dancers who will be taking on the roles.

However, after Whipped Cream and Firebird, I fear for Harlequinade.

Maybe they'll invite Veronika back for a Bayadere or a Swan Lake....

On 9/6/2017 at 3:07 PM, alexL said:

That's my approach as well. Martin's SL puts me into a REM sleep each time I see it. The only time I actually pay attention is when O/O is on stage. I also have lower expectation level for the NYCB dancers when they perform Petipa ballets. I just plan to see their own interpretation of the character. 

In this case, the poster is going to see dancers, not ballets. And I'm out of this thread.

On 9/6/2017 at 1:30 PM, alexL said:

I've decided to see all 6 casts as I'm on a vacation. Hopefully I don't regret my decision after the first one. 

Just to be clear, because this question is not an either/or matter--you either go to see dancers or you go to see ballets. Of course, you go to see both.

When I said to remember that you're going to see dancers, not ballets, it was in response to the above post, in which I took alexL to be saying that he/she already knew they didn't like the production but was, in fact, going to see different casts. In that situation you're going to see different casts because primary in your mind is the different ways the dancers interpret the role. If I made an incorrect assumption, then I'm guilty of assuming. But otherwise I think my response was dead-on.

1 hour ago, nysusan said:

Also - for the person who was debating switching Bouder for Reichlin - Reichlin is a great dancer but I don't love her O/O. She has the perfect body for it but my recollection of her last time around was that she was rather cold and although the instrument is amazing she didn't really stretch and hold those positions and I don't recall very deep or pliable backbends.

If you haven't seen it yet and you're only going to one I'd go for Mearns.

Yes, I agree, go for Mearns.

3 minutes ago, canbelto said:

 

Huh? That's the worst perspective ever if you follow NYCB or care about actual ballet. Dancers come and go and get injured. Ballets are forever.

Seriously? I think that ballet dancers are amazing beings, and what they do with their bodies is transcendent art. Arnold Haskell, a ballet critic in the early decades of the 20th century, said something to the effect that there are three kinds of people in this world: Russian ballet dancers, ballet dancers, and very ordinary people. I just love that perspective, even while knowing it isn't literally true.

Admittedly, you need ballets for them to display their art, but I wouldn't say they're forever. Only the very best are carried through the generations. Even some of the Balanchine ballets are on the back burner.

Anyway, I think that "worst perspective ever" is hyperbole.

18 hours ago, Leah said:

I'm a newcomer to NYC and am seeing Bouder on the 21st. I was hoping for Reichlen, but I've never seen this company in person before so I don't know. Any opinions on whether I should change my ticket, and if so to whom?

In your shoes, I would change to Reichlen. I've seen Bouder twice and didn't buy a ticket before casting went up because I wanted to see Reichlen or Mearns. (And speaking of Mr. Macaulay, I want to see what all the fuss is about.)

35 minutes ago, alexL said:

That's my approach as well. Martin's SL puts me into a REM sleep each time I see it. The only time I actually pay attention is when O/O is on stage. I also have lower expectation level for the NYCB dancers when they perform Petipa ballets. I just plan to see their own interpretation of the character. 

😴

53 minutes ago, alexL said:

I've decided to see all 6 casts as I'm on a vacation. Hopefully I don't regret my decision after the first one. 

You won't regret your decision if you remember that you are not going to see ballets, you are going to see dancers. They really are two different perspectives.

Thank you, vipa, that's what I'm thinking too. But if she is dancing O/O, I wouldn't want to miss it.

Does anyone know whether (a) Maria Kowroski will be dancing Swan Lake this season, and/or (2) specifically when casting will go online for SL--i.e., will it be Tuesday, September 5th, at 10:00 am, because that's when the box office will be open on that date?

54 minutes ago, miliosr said:

Nice to see Forster getting so many opportunities -- 5 separate works.

Thanks for pointing that out, miliosr. Although I may skip the whole Fall season, I have high hopes that Forster is on the way up to Principal.

22 minutes ago, sandik said:

 

Living in Seattle, I have limitations on what I can see live -- I'd be thrilled for a chance at Symphonic Variations.  And I've liked what I've seen so far of Ratmansky's work -- many of my colleagues had excellent things to say about the Serenade, and I'm very curious about it.  But, as my daughter's cohort often says, your mileage may vary.

Thanks, sandik. Perhaps I'll reconsider and try to see Symphonic Variations. I saw the Serenade last year, and while I found it entertaining, I'm not sure I'd go to see it again. I do appreciate your input.

On 8/16/2017 at 0:27 PM, sandik said:

If I had money, and could clone myself, I know where I would be.

Would you be at any of these performances, sandik? There's nothing on the above calendar that attracts me. Or do you mean you would be in, say, St. Petersburg?

Very interesting interview. Indeed, towards the beginning, Cory said that one of his goals on stage was "not being cautious," to be "more free, not so contained." And, at the end, he spoke of the responsibility he feels as a principal dancer, when the audience of 3000+ has high expectations of you, as do your fellow dancers, and you yourself as well. So that does explain a great deal about the disconnect between Cory's heart-stopping performance in the studio and his more cautious (his word) performance on stage.

Thanks, Helene and ABT Fan for making it possible to hear this.

As for James Whiteside, well, that's a whole other story and not for today.

12 minutes ago, ABT Fan said:

 

The title is "The CocoMotion" dated May 19, 2017, on the second page of his podcasts here (2nd podcast from the top): http://www.premierdancenetwork.com/stage-rightside/page/2/

 

When the link initially didn't work for me, I wasn't motivated then to investigate but you reminded me that I wanted to hear it as you do. Let's see if they respond to me! 

OMG, I'm playing it on iTunes and it's working!!! Hope it's working for you too, now.