angelica

And yet perhaps it's as well to remember that ten years ago one would log-in to this site and the discussion was often about the crisis at NYCB with people saying they were no longer attending as many NYCB performances as they used to because the Balanchine was danced horribly, the new works were deadly, and Martins just HAD TO GO! Am I exaggerating? Maybe a wee bit...but anyone is welcome to check.

Many people are saying things like this about ABT and its AD. I can't say I don't agree with them.

Nina Ananiashivilli still dances full length Swan Lake at her country with the 32 fouettes. I saw her in Le Corsaire nearly two years ago in Japan and she was still very strong, her fouettes were perfect. And she will appear in a gala this summer in Tokyo, Giselle and Swan Lake with Gomes, with also Dying Swan and a Georgian folk dance.

Maybe it might be an idea to invite her as a guest like Ferri.

That might, indeed, sell out the house! I would definitely come.

Those of us who love the special beauty of tall dancers would be very disappointed if this were the only solution to ABT's talent problems.

I did an experiment one year when I went to see Part dancing SL and then a shorter dancer, perhaps Xiomara Reyes, but I don't remember for certain. I especially loved seeing those long legs of Part unfold. And sure enough, who's the dancer who most appeals to me at City Ballet--Maria Kowroski, with her gorgeous long legs. I would hate to lose that at ABT.

That being said, while NYCB is closest to my heart, I enjoy seeing a wide range of dance, including the 19th Century romantic classic. I, too, go to see dancers )as well as ballets), and unfortunately at this time there are not too many ABT principals I would put in that category. I personally miss the foreign headliners they brought in in the past. My opinion. They do have some great younger people coming up - we'll see where it goes. So far this season other than the Ratmansky has been uninspired and uninspiring.

Yes, they have some great younger people coming up (Skylar Brandt, Cassandra Trenary, Devon Teuscher), which will preclude the need for foreign headliners. I wouldn't mind one or two a season, but more than that takes away from opportunities for ABT's own dancers.

Thanks for your thoughts on this, Olga and abatt.

A big problem for me at NYCB is that I want to pick my casting, and by the time the casting goes up, the house is sold out except for the highest priced seats, which are even higher than the Met seats (except for center parterre, which wins the prize for the least cost-effective seat because even though you can see the entire stage, you are so far away that you can't see the faces of the dancers very well and a great deal of the mime is lost).

Perhaps too many people come just to see the current "stars". Ticket prices are high, so it precludes many from "trying" either an unknown ballet or a somewhat unknown dancer. If one were to cast Misty in more works, I'm sure the seats would fill more readily. It's a shame really. But sometimes putting all of one's eggs into one basket makes the basket very heavy.

I agree that people come to see the current "stars," with the single exception of Swan Lake. Swan Lake seems to draw people in no matter who is dancing, which is why I think that if that ballet were performed more times than a single week allows, it would bring in ticket sales and give aspiring O/Os a chance to get noticed.

ABT has a somewhat different audience than NYCB.

Olga, this is interesting to me. How would you characterize the differences between the NYCB audience and the ABT audience? I'm definitely an ABT person, but I don't know how to characterize myself, other than to say that I don't go to see ballets, I go to see dancers.

If anyone else would like to join this discussion, Moderators, please feel free to open a new topic.

For me, the reigning swan queen at ABT right now is Veronika Part, although she does not have an adequate Siegfried to show her at her best.

I would like to see how Stella Abrera would dance the role.

An interesting idea, but a real budget buster -- you would be doubling the technical fees, and playing hay with rehearsal schedules.

Not this season. I mean instead of something else next season. Too bad for those of us, I included, who have a long wish list, but having seen how empty the house has been the first three weeks of the season, I'm thinking of helping to spread the gospel and bring in more ticket sales.

Looking over the ticket sales this past week, it looks to me as if ABT should program two weeks of Swan Lake, one at the beginning of the season and one at the end. Those of us who think this would be a step backward might take into account that from all appearances the general public seems to have no end of people who want to see SL. On the plus side for balletomanes, it would give Stella, Sarah, and the up-and-coming soloists the opportunity to try their wings.

I too wish Lane had more opportunities but I am going to skip her Sleeping Beauty this year. I don't think I can sit through that production again.

I, too, would skip the Ratmansky SB this year, but for the fact that Stella Abrera is dancing Aurora on June 30th with Marcelo Gomes, and I promised myself that if Stella was promoted to principal dancer I would see every ballet in which she dances the leading role. I believe that's also her 20th anniversary with ABT celebration and I want to applaud until my hands hurt and scream bravas until my throat is sore.

In regard to tall male principals, ABT could spend some time grooming Tom Forster and Calvin Royal III.

NY Times review of 3 SL casts

This may be the first time Macauely has had a nice word to say about Part.

http://www.nytimes.com/2016/06/17/arts/dance/review-american-ballet-theater-swan-lake.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=5&pgtype=sectionfront

Yes, abatt. at last! Up to now I believe that he has either ignored Part or damned her with faint praise, e.g., "statuesque."

I do hope that if ABT hires a new male principal from outside the company, as some people on this board were speculating, they hire someone who can partner Part and has chemistry with her. I always feel she has to carry the role of O/O all by herself.

Added: Part had no chemistry w. Whiteside. I never thought I would say this, but I think she is more "simpatico" with Stearns.

If Part had been paired with Stearns I would have gone to see her Swan Lake this season, but I could not bear the thought of seeing her dance with Whiteside, who, IMHO, does not dance at the standard of an ABT Principal.

I will also be there and that night they're celebrating her 20th anniversary, so it should be quite a treat!

I'm so glad you added that, ABT fan! I'd forgotten about it when I wrote the recommendation. It's going to be quite a night!

Personally I would go for Tuesday eve, can't go wrong with the great cast IMO, Gillian is Aurora and Stella as Lilac! Or Thursday with Stella, finally, Aurora! Something many of us have been waiting for!

I'm definitely going to Stella's Aurora--wouldn't miss it for the world. And she's dancing with Marcelo. If you can go to only one SB, this is the one I'd recommend.

I was happy last night (Tuesday evening) to sit through all the repetitive pageantry of The Golden Cockerel for the singular opportunity to see Stella dance the role of Queen of Shemakhan. She was so extraordinary, both in her persuasive acting and her exquisite dancing. When will we have another chance to see Stella being seductive and teasing to such a degree? Her big, beautiful eyes projected across the footlights (admittedly I was in Row B Orchestra but I'll bet they could be seen in the Family Circle) and when she batted her eyelashes and beckoned with an outstretched finger, what Tsar wouldn't swoon with delight? Her dancing was utterly ravishing, and the plasticity of her body and arms created long, extended, gorgeous patterns in the air such as I've never seen before. I've been a fan of Stella for over 10 years and I'm beyond thrilled that she's being given the chance not only to dance the classics but also to strut her spectacular stuff.

On Thursday I'm going to see it again with Veronika Part and Skylar Brandt. I suspect it will be equally wonderful.

I want to specially mention Stella Abrera. I love her dancing. She has the most beautiful port de bras and dances with such a lightness. When she lands, she never makes a sound! She is just beautiful to watch, and I think I'm going to have to get a ticket for her Aurora, despite the fact that it's on a work night.

Welcome to the unofficial Stella Abrera Fan Club, Kaysta!

You may know this, but in case you don't, this is the short version: Stella was about to be promoted some ten years ago but then got injured. She was out for one and a half years. When she was fully healed, she became invisible to the powers that be and other dancers were promoted ahead of her. Many of us feared that she would never get her chance. Now, thankfully, after ten years of devotion, we are no longer deprived of seeing her exquisite dancing.

Her Aurora performance is, I believe, her 20th anniversary celebration with the company, so let's hope the Met sells out to standing room only. Do come.

I saw Fille at the Wednesday matinee and Thursday evening. First off, I would like to say that IMHO if they got rid of the rooster and the chickens the ballet wouldn't suffer. There's a lot to like in this ballet, but if you're not a fan of slapstick, there's a lot to put one off as well.

More important, as a longtime Stella fan, I was thrilled to see her exquisite dancing last night, in her first leading role as a principal dancer: her liquid port de bras; her petit allegro jumps, which I thought were light and lovely (think "floating"); her secure balances and turns; all in the context of a believable character who was charming and delightful. Bravura dancing in this ballet wouldn't be appropriate--even Gillian, a terrific bravura dancer, didn't oversell the role with bravura steps. The only comment I would make in that regard is that at the very beginning, Gillian's bourrees were smaller and faster than Stella's. But for me, Stella embodied the role in a way that Gillian did not, although she, too, was quite lovely as Lise.

As for Whiteside, he doesn't have much turnout and therefore is lacking in his line, and he has a stiff upper body that constrains him. However, in this case he made a wonderful partner for Stella. He seemed to lift her effortlessly, enabling her to feel secure in his arms. And I thought he made a real effort to engage with her in dancing the story line. I don't agree that she was left to her own devices. Her acting was "spot on," which reminded me that somewhere on this forum someone wondered whether Stella could act in a comedic role, as opposed to the serious role of Giselle. Her performance last night left no doubt about that--there's nothing missing from her sense of humor onstage. I believe that she can do "bravura" too, if given the chance. But even if she's no Carrie Imler, that doesn't mean that she lacks a wide range of ability. I can think of many great dancers who were better in some ballets than others. It's sad that she wasn't given this chance at least five years ago, but after seeing last night's performance, I know I'll be her ardent fan to the finish line.

For me, Cory Stearns, as he has come into his own this season, and Roberto Bolle radiate beauty of the male form. When either of them is onstage, I can't take my eyes off them.

I saw the dress rehearsal this afternoon with multiple casts. My advice is to see the Seo/Bolle/Cirio/Stearns performance. Bolle was to-die-for stunning and how many more years will we have him? Seo was lovely, with greater amplitude than I've ever seen in her. She is dancing with more confidence and elegance than before.

Hoven and Kochetkova were ill-matched for height. Also, I found Kochetkova boring. What were they thinking when they made her a principal?

I will probably never see that ballet again, however. They threw everything into it but the kitchen sink--headdresses, bows and arrows, a mysterious witch-like creature, a magical flower, nymphs, peasants, a boat, and, if all that weren't enough, two goats. Another belly-button ballet to add to Bayadere and Corsaire. There's one more, if I'm not mistaken, but I can't remember it.

Kaysta, you are so right. May we have no injuries and good performances!

Today in the dress rehearsal for Sylvia I saw Blaine Hoven (tall) dancing with Maria Kochetkova (tiny). They were a sight, so poorly matched for height.

I prefer the long-legged dancers in ballets that show off the legs, e.g., Swan Lake, because there is more beautiful leg to look at. On the other hand, there is plenty of room for well-matched shorter dancers. But the ill-matching of Hoven and Kochetkova can only be a casting of desperation.

That said, I still think ABT needs to address their whole process of ticketing and exchanging. Making things more user friendly is always a good thing. In these days of ever dwindling audiences (see the NY Times article in regards to the Met Opera in Saturday's paper), it's always a good idea to be innovative and ahead of the game. Good luck!

ITA about the need to change ticketing and pricing policies at ABT. But if I'm not mistaken, ABT has to abide by certain rules of the Met box office. Bummer not to have your own theater where you can make your own rules.

I'm feeling angry with ABT's ticket policies, and think I might cancel my membership.

Kaysta, if you're a member (i.e., donor) of ABT, you might speak with Grey Johnson, Director of Membership, about the problem with your tickets. I would guess that you have a 50-50 chance either he'll tell you that ABT has to abide by the Met's ticketing policies or that he'll be able to help you. You can mention that Angelica Smith suggested you call him.

Another suggestion is that you subscribe to one series and then you can change all the tickets to performances and seats you prefer. You'll be no worse off than if you wait to buy and then can't change.

It is physically impossible to have corps understudying soloists, who are then understudying principals. Do you understand what it takes to put all of these rehearsals together for Met season? Just to get even one new soloist ready for a new principal role takes many hours of rehearsal and coaching. Can you imagine what it is like to schedule these rehearsals? Think about how many ballets and how many casts... and then imagine trying to coach corps members when they are learning their corps parts or coach soloists when they are learning their soloist roles. Scheduling rehearsals in a ballet company is a nightmare on a normal basis, but when you are talking about a Met season or an SFB season, it has got to be crazy.

I'm sure that other companies do some form of this. Companies have to have a long-range focus as well as a short-range focus.

In any event, I understand that most new roles are learned via DVD. When I was up at 890 Broadway a couple of years ago, I happened to meet James Whiteside, who had just joined the company, and was learning a new role by watching it on a laptop. At a studio rehearsal, Hee Seo was holding a small laptop as she was marking the steps of Gaite Parisienne.

I also understand, from two former corps men, that the corps is over-coached--to paraphrase: "same darn Mazurka over and over again."