angelica

I think that Scott (Arron Scott, is there another Scott?) is already a soloist, and well deserved. bingham said "Zhong jing Fang, Paulina Waski and April Giangeruso for soloist." I have found April to be very disappointing this season, with a weak upper body and falling out of her turns.

These two should definitely be promoted. And Thomas Forster should be given more prominent roles to groom him for promotion to principal in the next year or two.

I attended last night, and agree with everything that was said above about the remarkable performances of all the dancers, including the corps de ballet. The only thing I would add is that all the dancers have such beautiful lines so that everything they did, in addition to being dramatic, had a classical refinement that elevated the performance to a fine art. Which, at its best, ballet is. After all the posts I read initially about Onegin not having enough dancing, I was surprised by how much dancing there is. This is a gorgeous ballet. I hope ABT keeps it in its rotational repertoire.

I totally agree, California, alas. Brandt, and to a lesser extent Cirio, were the stars for me last night. When Brandt is dancing, I can't take my eyes off her. And I'm always trying to track Kaho Ogawa among the corps. She's so distinctive it's not that difficult to do.

One result of this situation is what we've seen this season at ABT--a huge number of injuries, which is becoming more and more par for the course in the ballet world. Of course, these "tricks," and more and bigger jumps and turns, are not the only reason for the injuries, but they certainly contribute to their cause.

PROMOTE SARAH LANE!!!

That happened to me yesterday, except the really smelly person was right next to me and spoiled the performance for me. What could I say? She was disabled and had brought her own seat cushion, so maybe that was it. So I said nothing and took out a piece of Trident Tropical Twist. It helped only a little.

Yes, and if you're in the Grand Tier you have a huge pitch, or rake, but in the center of that section you are so far away from the stage that you can barely see the facial expressions and the acting without binoculars, which ruins the experience. If I've said it once I've said it a hundred times: for ballet, every single seat at the Met is a compromise.

Me too!

Do you have anyone in mind? I think that's a great idea. Better happen soon!

Although I'm a longtime fan of Nina's, I'm still hoping that this is The Year of Sarah Lane.

Oh, nanushka, that makes me feel so much better!

It pains me every time when Sterling Baca's name comes up. Years ago I saw him in a studio rehearsal of the male corps when he was still a boy, surely under 20, and singled him out even then. I can't quite say why, but "there was something about him...." Now he looks different, as he's grown into a man, but I can't believe that ABT let him get away. I definitely think that Forster has potential. I know everyone was raving about Salstein's Hilarion, but I thought Forster did a superb job in that role, with stellar acting as well as dancing. Many people have mentioned Shayer, but for me there's something still boyish about his presentation, and I don't see him as a prince. For me, it's the height of his jumps that sways everyone to like him, but the acting isn't there.

Oh my, I'd forgotten you're in DC. I admire your stamina in coming to New York for a single performance. You are a true balletomane! I'm at an age where it isn't so easy for me to do that kind of travel, but if I were, I would do the same for Sarah. Thankfully, I'm only just north of the city.

So true, Helene. So much more of everything and too little time to keep up. I haven't done a whole lot today besides keep up with the current threads on Ballet Alert!

Natalia, Teuscher is dancing at the matinee next Wednesday and Seo is dancing in the evening. Isn't it more likely that Sarah would replace Kochetkova on Thursday evening? On the other hand, if you need Wednesday to cool down your anticipation, then by all means work remotely on that day.

I think many of us feel similarly.

Yes, every single seat at the Met Opera is a compromise for ballet, except, perhaps, for J1, which is almost impossible to snag. Alas, it wasn't built for ballet. The (fka) New York State Theatre is much better, but I don't think the stage is large enough for ABT's productions.

I would LOVE to see Sarah get this opportunity.

There is something so exciting about following the trajectory of a ballet dancer's career from their initial performances in ABT2 or in the corps, through their rise to soloists, and hopefully into the limelight. Somehow they become a part of your life (or mine, speaking for myself). Once I see them in a studio rehearsal, I feel that I know them, which of course isn't factually true, but I love the feeling.

Looking forward to sharing thoughts and hearing yours as well after the performance.

I don't think the dancers at ABT are ever given enough coaching from within, guest artists notwithstanding. Gillian surely got more and better coaching in New Zealand.

To quote from a famous Julia Roberts movie of some time ago, "Big mistake. Huge."

Yes, that's true, ABT Fan, although experience does refine the technique and raises the star power (although if Skylar raises it anymore the Met ceiling will have to be raised as well). Do you think any other soloists have that star power? I believe that Sarah Lane showed it in her performance of Giselle with Cornejo, and that Cassandra Trenary and Christine Shevchenko may have it too. Need to see them in full-length ballets. Will be seeing Teuscher on Wednesday.