angelica

Just to be certain that I'm not misrepresenting her point, Platel made a similar observation. She basically stated that the Rose Adage, with its transition from unaccompanied harp to full orchestra playing at something like fff, is where Aurora's transition from adolescence to womanhood is accomplished.

That's a wonderful observation, volcanohunter. I can't wait to watch for it in the spring season. One reason I love this forum is that I learn things that deepen my understanding of ballets I've seen many times in the past but with less insight.

can you really call a ballerina a prima if she hasn't danced Aurora?

My vote is, of course you can. It's the quality of dancing that determines a prima ballerina, and although the dancer must assuredly embrace a wide range of roles, I don't think there's a checklist where you have to tick off every one. I don't believe that Alessandra Ferri danced either DonQ or Swan Lake (and please correct me if I'm wrong), but in my view she is certainly a prima ballerina.

Ulyana Lopatkina's dancing as Odette at BAM was so extraordinary in every dimension, the house hushed in communal awe, that if she isn't considered a prima ballerina, who dancing today would be? Veronika Part, I believe, and certainly a few others, but to omit Lopatkina because she doesn't dance Aurora seems to me a non-issue.

This is slightly off-topic, but what about Suzanne Farrell, Maria Kowroski, and other great dancers at NYCB? Are they denied the title of prima because their repertoire doesn't include the Petipa classics?

Finally, I thought that Emilie Gerrity looked splendid up on the stage last night. It was a great call by the powers that be to give her this chance. She danced her part with a sprightliness and confidence that were thoroughly endearing.

Last night was my first opportunity to see The Goldberg Variations, and I loved it. Of course, you can't beat the music, which was wonderfully played by Cameron Grant. But I totally agree, Royal Blue, that Emilie Gerrity was simply out of this world.

If only we could have had a video of last night's performance. Or another one of Lopatkina, this time with Ivanchenko, made soon. He was the perfect partner to show off her gifts.

I agree with everyone above about the spellbinding performance delivered by Lopatkina last night. I was actually glad that Ivanchenko wasn't charismatic because I wouldn't have watched him anyway except in his solos (and yes, his preparations for tours en l'air as well as their landings were very messy.) I couldn't take my eyes off Lopatkina. Her technique was flawless, her legs and arms are slim and beautifully tapered, but it was her musicality that astonished me the most, as she extended those gorgeous limbs to fill out every musical phrase to the very last moment. This was a ballet bucket list experience--if you haven't seen Lopatkina in Swan Lake, get thee to a performance asap because who knows how much longer she'll be performing, and to miss her would be to miss one of ballet's greatest miracles.

But I do think it was in the white act that Lopatkina was most miraculous. Although she was technically magnificent as Odile, when it comes to seduction I think Veronika Part runs rings around Lopatkina. It may be that deception isn't in Ulyana's repertory of emotions and that it's difficult for her to act as if to deceive. In any event, my adoration for Lopatkina did not erase my love of Part.

Unlike Alastair Macaulay, I thought the corps de ballet was superb. I couldn't believe the perfection the dancers achieved. Each one was a mirror image of the other, exactly what a corps de ballet is supposed to be.

On the negative side, I thought the role of the doddering tutor was ridiculous and suffered greatly in comparison to my memories of the wise and wonderful Frederick Franklin. Also, in all productions around the world, wherever there is a juster, I say take him out. I don't think he adds anything to the first act except distraction, despite the fact that the jester last night performed the role well.

I would like to add that, unlike many of you nice people, I will refuse to give any money (other than for a ticket) to ABT until they change their AD and casting policies. I feel this company has been going down the wrong path for many years and I stopped donating around 2008. I know their current financial condition is dire but continuing with wrong headed policies (i.e., all the guest stars and neglect of inhouse talent) is just not something I can support.

I totally agree with you in principle, Amour. The only reason I donate is so that I can take my ballet student granddaughter to the studio rehearsal in the spring, which she adores. The other thing is that I don't think it gets through anyone's head among the higher-ups at ABT that maybe there are good artistic reasons for members to withdraw their support.

I get hung up on by telephone fundraisers often. Our policy at home is to donate to written requests. We save them up, and do one donation at the end of the year (sorting through the box of requests and sometimes doing a little research) If we've donated in the past, we'll likely donate again, but we don't give or pledge over the phone, ever. Once I go through this (rather tedious) description, most callers hang up (some so say 'thank you' first). If they still don't believe me, I tell them that we hardly ever give, in any fashion, to people who insist on calling. That generally does it.

We do exactly the same thing, sandik. The only thing I add is "Please take us off your calling list because your calls are really annoying." Usually we don't hear from them again. In the case of ABT calls, I tell them I only donate directly through Grey Johnson.

I hope you'll be able to hear a pin drop during Lopatkina's Swan Lake. And there will probably be very few, if any, children.

Saw the matinee. Too tired to write much, but I really didn't enjoy this version as much as I enjoyed the Balanchine (NYCB and PAB) and the Christensen version (Ballet West).

I hated the bees, even though the male dancers danced well. I just thought they took away from the flowers, which is usually my favorite part.

I hated the Russian dance. I thought it was too silly, not enough dancing. Especially compared to Ballet West's Russian dance, which was outstanding.

I didn't really like the Arabian dance. I kept wondering (because of this board) whether the male was suppose to be a eunuch or married. If he was a eunuch, I'd never have known that if someone hadn't said that here.

Things I enjoyed: the little mouse. That little guy had a boat load of energy and was adorable.

Stella Abrera. Add me to her "three fans" but she is just amazing. Her musicality and expressiveness blow me away. Every movement has meaning. She deserves a promotion, period. Honestly, I kind of hated this version of the Nutcracker until her and Hammoudi's PDD.

So I've seen four Nuts this year and I'd rank them as follows: NYCB, Ballet West, PAB, then ABT. Even gorgeous Stella couldn't save it for me.

Hi Kaysta, as someone who encouraged you to see Stella's performance, I agree with everything you liked and everything you hated in the production. The bees are as annoying as real bees. My "take" on the Arabian dance is that the guy just can't make up his mind. To me that's the meaning of the gesture where he touches his finger to his chin, as if to say, "Hmmmmm."

But Stella was stunning today, playful when appropriate, lyrical and musical throughout. In many of her movements she danced with the eloquence of Part, especially in the use of her arms and upper body. But I won't be sorry to see this production leave New York.

I will have to take notes throughout the year in anticipation of this thread for next year. Right now I am thinking only of:

Best: Stella Abrera's sublime debut as Clara in Ratmansky's Nutcracker. Hammoudi's rising to the challenge of the difficult partnering in that ballet.

Worst: That Stella still hasn't been promoted to principal dancer.

So I've decided I'm going to make the trek out to Brooklyn, because I can't miss seeing Stella dance. I've never been to BAM, how are the seats in the back of mezzanine?

Sorry, Kaysta, that I can't help you on the seating, but I'm writing to say that I, too, can't miss seeing Stella dance. I'm going to both of her performances. We must never give up hope for her promotion!

I still have hope with all the retirements coming! I haven't seen the Ratmansky version (only the Balanchine and Christensen versions), so Im looking forward to next week.

Kaysta, you won't be sorry. I was at Stella Abrera's debut today and she was fabulous. Sublime. Luminous. Transcendent. She danced the role as if she were born to dance it. Her technique was practically flawless, her stage presence was captivating, her acting pitch perfect. I must say, however, that I've seen this ballet so many times that it was something of a trial for me to sit through much of it waiting for the magical moments when Stella appeared. But my point is not to critique the choreography, which is charming the first few times but then gets old, IMHO, but rather to say that Stella was wonderful, and Hammoudi, who doesn't have a long track record what with his injuries and all, did a more than creditable job partnering her. The partnering in this ballet is fiendishly difficult, but there was both trust and chemistry between them on stage. I'll be back next Saturday, as I wouldn't miss the opportunity of seeing them again.

You have to wonder about the planning, as they keep adding, bit by bit, additional performances.

Perhaps the tickets are selling like hotcakes, even at the exorbitant prices.

So I've decided I'm going to make the trek out to Brooklyn, because I can't miss seeing Stella dance. I've never been to BAM, how are the seats in the back of mezzanine?

Sorry, Kaysta, that I can't help you on the seating, but I'm writing to say that I, too, can't miss seeing Stella dance. I'm going to both of her performances. We must never give up hope for her promotion!

Sandik, very true about the Berlin filming, but of course the culprit there was a famous film director who was really full of himself.

I guess he "got away with it" doing the great Fracci/Bruhn Giselle film so he did it again!

Hi DanielBenton, is that the film where the stage is a circle surrounded by water and trees/leaves? I hated that film! Just when you (me) were engrossed in watching a movement, the camera switched to another angle--over and over again. Who was the famous director?

(BTW, young Lebedev also did 32 at the matinee, which might also be why Sarafanov decided to do his young colleague a few better the next day. Even so, I didn't see it as hot dogging -- especially when having to be on the same stage as Osipova. Did Sarafanov do the extra set at the Tues night premiere?)

I saw the matinee performance with Lebedev, and I counted 32 entrechat sixes and then 3 more (I gasped), making 35 in all, before falling to the ground. Either Sarafanov thought he shouldn't do fewer than Lebedev, or this is the way the Mik performers all do the step.

extraordinary Giselle this afternoon. Victor Lebedev is an extraordinary dancer/actor and his Giselle, Anastasia Soboleva, was wonderful too. So moving.

And they are both very young. Soboleva has lyrical arms, a high jump, a stylistically pure romantic arabesque, and fine acting ability. I especially enjoyed her dancing in Act II, despite a not-quite-secure set of balances at the beginning of her adagio. Lebedev brought the house down with his 32 + 3 + collapse entrechat sixes, and the incredible arch of his back in his final diagonal solo. They are a couple to keep an eye on in the future.

And, finally, let's hope that David Hallberg will remain uninjured and dance his full plate because some of us have been missing him these last couple of years.

Let's hope that at least some of these dancers who are performing so well this fall will be promoted in the next few months, e.g., Sarah Lane (she is getting two Sleeping Beautys in the Spring), Stella Abrera (she is getting two Cinderellas, but deserves a Petipa ballet), Calvin Royal III, Thomas Forster, Aaron Scott (I loved him in "A Month in the Country" when that was last performed), and let's see more of Devon Teuscher and Skylar Brandt. I do hope the promotions will happen quickly with the retirement of the three principals, all of whom have been splendid over the years, but it's time to move on.

I attended today's matinee performance.

Devon Teuscher was a standout in Raymonda Variations. I bought a pair of her pointe shoes because I think she is on the way up. I look forward to seeing more of her.

Stella Abrera was breathtakingly beautiful in Seven Sonatas. It is criminal that she hasn't been promoted to principal dancer. Calvin Royal III has a beautiful classical line and dances with a naturalness that seems inborn. He only needs to work on pointing his feet more.

Joseph Gorak was stunning. Those ronds de jambe en l'air in the middle of pirouettes seemed effortless.

What a vivid and moving review, sasark! I was picturing everything as I read your words, and was, for more than a moment, transported to the Mariinsky. You described certain moments so particularly that I will look for them the next time I see Swan Lake, probably with Veronika Part, if not before.

From the casting I don't see a promotion for Lane or Abrera in the future. Neither are being given a whole lot of opportunities. Copeland maybe. KM seems to be casting her in a lot.

vipa, do you think there's any possibility of Abrera getting a Giselle in the season after this one, when Kent, Herrera, and Reyes will be retired, or should I give up all hope?

They might put their version of Raymonda Variations in one of the ABT Classics programs. We'll find out next week. Personally, I seem to be less interested in a lot of the newer people they are casting. Hee Seo, Simkin, Boylston, Stearns are generally not names that I get excited about for casting.

Exactly, abatt. I feel the same way you do about the dancers you mentioned (Seo in R&J is the only exception). But what about Stella Abrera, Sarah Lane, Skyler Brandt, and Thomas Forster?

And your comment raises another issue: why isn't ABT doing a better job of recruiting into its corps de ballet? My problem is that once I've seen a Mariinsky ballerina, I want to see that upper body fluidity in all my ballerinas. There are more and more outposts of Russian academies in the US, so perhaps there will be some movement in that direction. I believe it was Arnold Haskell who said (and forgive me if I'm not quoting exactly): "There are three kinds of people in this world: Russian ballet dancers, ballet dancers, and very ordinary people." Snarky? Yes. False? Yes. But he did make a point.

Is it me or does the rep sound a little boring? More of the same? I guess the mixed rep might be interesting. I think this could've been a good season to really do something slightly different. The new Sleeping Beauty is nice, but maybe this season could respect the past, but look towards the future. That is the impression I get from all the retirements, especially when paired with the major retirements in the past 5 years. (Well in this case the past is leaving quickly and the future isn't appearing or appearing without the proper coaching)

Casting will probably be even more interesting. We will probably either see a lot of debuts or an insane number of guest artists. Kevin's programing in starting to become stale and we all know how bad he is at developing talent. It would've been nice to see a new full length ballet, maybe Paquita or Flames of Paris. Maybe, even a national/international broadcast of a performance, with a video releasing later. So many good ballets or dancers to pick from. Also, if they plan on having Ratmansky slowly redo all their classics, might that be putting all their eggs in one basket. While I prefer Ratmansky over McKenzie any day, I think it might be better to diversify their repertory. How many more years can ABT continue to do the same ballets over and over?

To me, the only reason the rep sounds boring is because we've been seeing the same principal dancers over and over again for far too many years. Some new talent brought up the ranks could bring some new life into these ballets, the way the debut of Hee Seo, plucked from the corps as Juliet a few years ago, brought a new freshness to that gorgeous ballet. Often stars have to be "made," by supportive coaches and new opportunities, not to mention the vision of the Artistic Director, until one day you see them blossom as great artists. Some new "blood" would be really welcome, as I (im)patiently await the casting in the Spring Season brochure.

. . . My membership in ABT depends on the casting of the Spring Season. . .

A little off-topic, but did others notice that the "prices" of the Friends levels for 2014 increased from 2013? I am sure some join just to support the company, but for others, these contributions get you into rehearsals, company class on stage, seminars, etc. I don't know when this went into effect. They've also moved a few things around by categories, but not that much.

Friend: increased from $75 to $90

Contributor: increased from $150 to $180 [company class on stage instead of spotlight seminar]

Affiliate: increased from $300 to $360 [added spotlight seminar]

Sustainer: name changed to Supporter: increased from $500 to $600

Sponsor: increased from $750 to $900 [added fall spotlight seminar]

Patron: increase from $1000 to $1200

Golden Patron: increased from $1500 to $1800

Benefactor: increased from $3,000 to $3,600

Golden Benefactor: increased from $5,000 to $6,000

The Junior Council now costs $600. I don't know what it was last year.

The renewal form names the level you had a year ago, but doesn't mention that the "price" is now higher.

True, California. I was definitely shocked to see that the price for membership had gone up from last year. For me, the most important benefit is the studio rehearsal, where you're in a large ABT studio with only 25 people in two rows of chairs and you can practically touch the dancers when the choreography sends them in your direction. Last year I took my then-eight-year-old balletomane granddaughter to a studio rehearsal, and we were able to see, up close, Veronika Part working with Irina Kolpakova (they are both breathtakingly beautiful), and Hee Seo rehearsing Gaite Parisienne with, if I remember correctly, Marcelo Gomes. Afterwards, in search of a ladies room, we found ourselves face-to-face with several of our favorite dancers and spoke with them--mostly we told them how much we love them!

I would hate to miss out on that studio rehearsal this spring, but if my favorite dancers aren't cast, what's the point? With three female principals retiring, this is the year that will make it or break it for me at ABT.

vipa, that is good to hear about Sarah Lane and Juliet. My membership in ABT depends on the casting of the Spring Season. If Sarah gets a Juliet, that just might be enough for me to renew. If Stella also gets a leading role, I'm in for sure.