angelica

Also, I could go on and on about Part, but I will spare you. She is exquisite, passionate, the most eloquent of all the female principal dancers, IMHO. Yes, technically, I hold my breath when she gets to those 32 fouettes, but she's never missed when I've seen her. And 32 fouettes do not a ballet make. I try to go to her every performance and can't wait to see her dance Kitri, which I think is a debut for her. And yes, as mentioned by trieste, she is a breathtaking Myrtha. But that will be in 2014. I am dreaming of a Stella-Veronika Giselle.

I don't think that Stella Abrera has been cast as a principal in anything for the Spring Season, which is a tremendous wrong that needs to be righted. She and Part together are gloriously matched, as they were in both The Bright Stream and the Fall Season Ratmansky premiere. She has long deserved to be made a principal dancer, and, in fact, was slated to make her debut as Giselle a few years ago, when an injury sidelined her for quite some time. But she is back in exquisite form, I would say right up there in eloquence with Part and Vishneva. Now, however, others less deserving have cut the line and she is relegated to senior soloist roles, such as the Lilac Fairy, which make you long to see her as Aurora, which she did dance with Royal Ballet of New Zealand last year. (I think she had one Gamzatti last Spring, but that wasn't nearly enough.) If ABT would give more extensive casting information, you'd be able to see when she's dancing those soloist roles. Thankfully, Ratmansky appreciates her dancing and casts her prominently, but she really deserves a shot at those full-length works.

Does anyone know whether we can expect to see David in full form in the Spring? I hope so, because he's definitely a "don't miss."

Angel is true to his name. So generous and forgiving.

Here's the official release:

...SNIP....

“American Ballet Theatre is a performing arts company that I have supported for

nearly 30 years as a member of its Board of Governing Trustees,” said David H.

Koch. “To have a ballet company that I love, perform in the David H. Koch Theater –

which bears my name – that I am proud of, is a dream come true.”

Given that there is already a world-renowned company in residence there, did anyone else find this statement a bit surprising?

It could just be that it is out of context, and of course it does reflect his long relationship with ABT. But not, perhaps, a terribly politic statement?

Yes, aurora, it struck me exactly the same way.

And, Kathleen, I agree completely about the Met. Over the years I've sat in every section trying to determine the best seats in the house. To my mind, just about every seat is a compromise in one way or another (too far back in center parterre, part of stage cut off in side parterre, too many heads in orchestra front rows before the raking begins, feet cut off in Orchestra Row A, etc., etc., etc.) Maybe J 101 and others around there are ideal, but there aren't many of those and they're almost impossible to get.

From my experience with Alexei Ratmansky, he is a force for good in this world....At ABT he latched on to Part when her present and future were cloudy and doubtful and his continued support definitely was a factor in the dramatic turnaround in her fortunes at ABT. Casting Radetsky and Abrera together to create central roles in this important new work definitely is sending a message to upper management.

Well said, FauxPas. I hope that upper management is getting the message that Ratmansky is sending. I would add to that list Misty Copeland (Firebird) and Sarah Lane (Nutcracker).

Cory Stearns did some of the best acting I have seen from him. I think that he needs careful coaching and the stager from the Limon Foundation, Clay Taliaferro did a wonderful job with him. He was wonderfully subtle and insinuating.

Golden Idol and Faux Pas, Does this not suggest that with some coaching and/or acting lessons, Cory could really step up his game in the acting department? Surely he must know. Surely the artistic staff of ABT must know. Cory is an important member of the company, not simply eye candy, and I think that ABT should make an investment in him. (Sorry to change the subject, but I take every opportunity to get on my soapbox about this: after her performance in Ratmansky's ballet, Stella should definitely get her Giselle as well as a promotion.)

Just to add my two cents' worth....I thought that Cory Stearns, who to my mind is George Clooney-gorgeous and has a beautiful ballet line, but who has disappointed me up to now in the acting department, was magnificent in The Moor's Pavane on Saturday night. Macaulay noted in today's New York Times that Cory seems to be animated in roles with "a streak of malice," which may well be the case, although up close he looks like your very sweet boy-next-door. In Moor, however, his body was infinitely expressive, and I had to force myself to take my eyes off him to watch the others. In a word, I found him riveting. Now, if he could bring that expressive intensity to his more princely roles, he will have almost no peer in the princely department and I won't have to choose between seeing David with a lesser ballerina or Veronika with a bland partner. Veronika already dances with unequaled eloquence; what she needs is a partnership made in heaven.

On the plus side, however, this is the long-awaited Year of Veronika Part.

Maybe Misty needs to change her name to Coplanovskaya.

And Stella needs to change her name to Abrerova.

How I would love to see Stella and Sascha in New York! On the stage at BAM!

This past week I saw a dress rehearsal of three of the pas de deux from The Leaves Are Fading, each with a different cast, and they were all beautiful. This took place at the ABT studios. If you can, try to catch the performances of Julie Kent and Marcelo Gomes. Rapturous. Stylistically eloquent. I'm going to see Veronika Part and Roberto Bolle, whom I didn't see in rehearsal.

I believe they are dancing together on October 20th at 8:00 pm at New York City Center in the new Alexei Ratmansky ballet.

Are we ever going to learn the casting for the City Center Season, or is it supposed to be a surprise? Does anyone know why ABT is holding back on this?

They just started rehearsing after the summer break. The casting will probably depend on rehearsals of the new productions/revival.

Are we ever going to learn the casting for the City Center Season, or is it supposed to be a surprise? Does anyone know why ABT is holding back on this?

Write as though you know that you're going to be spending a solo trip with the mother of the dancer you're writing about on a slow elevator up the Empire State Building, and she knows who you are.

I would give my eye teeth to ride the elevator to the top of the Empire State Building with Veronika Part's mother so I can unblushingly wax enthusiastic about her daughter's supreme gifts and superlative training. I wouldn't say a single negative word. Her minor technical insecurities make her especially endearing and give each performance a spontaneity that doesn't happen with certain other ballerinas. Veronika's mom, I hope you're reading!

I like the contrast of having the short tutus in Swan Lake and the long tutus in Giselle. I believe there is a book of short stories called "Both Ways Is the Only Way I Want It." That says it all.

Does anyone have any idea when the casting will be announced?

Last year it was after tickets went on sale.

Thanks, nanushka, I, too, remember that from last year. I just received the fall brochure and it says "Order NOW by phone or online..etc." but of course the casting isn't out. I don't like to order tickets without knowing the casting. But I also want good seats. To me this seems reasonable, not like having your cake and eating it too.

So I'd like to make a request that any BA member who learns casting information please let us know where to find it! Thank you, all.

Does anyone have any idea when the casting will be announced?

MakarovaFan, would it be possible for you to take some basic beginner ballet classes so that you can "live" the movements? I understand that adult ballet classes have become quite the rage in New York City--I don't know where you live or whether that would work for you. I'm 100 years old (well, not quite, but you get the idea) and there are people in my class who started in their 30s and 40s. I had lessons as a child but then stopped for 37 years. Went back to classes about five years ago. That being said, you don't want to do anything to injure yourself, so as an adult you have to be cautious in what you do.

Although I loved all three performances of Giselle presented thus far, the highlights for me were:

1. the corps de ballet in every performance, who were awe-inspiring;

2. Clairemarie Osta, who must surely be one of the great Giselles of all time; and

3. Marie-Agnes Gillot as Myrtha, tearing out of the wings with commanding authority in those grand jetes in attitude.

I also enjoyed Emilie Cozette as Myrtha.

And I loved the vetting of mime in the first act in favor of more dancing.

Only thing on my wish list: Since POB much of the time dances at breakneck speed, I would love to have Myrtha's opening bourrees done quickly. I wonder why they favor the slower bourrees. Perhaps they see the fast ones as too "showy." This is a company with rare taste.

And then there was that extraordinary Giselle last night.

Oh yes, Michael, talk about "extraordinary!" I've been attending performances of Giselle since before most of you were born (probably), and last night's Giselle was one of the most extraordinary I've ever seen. Working backwards, the ensemble work was breathtaking in its uniformity, speed, accuracy, and sheer beauty, a Greek chorus commenting as one on the protagonists. The peasant pas de deux was charmingly danced by Charline Giezendanner and Fabien Revillion, and those pirouettes from a kneeling position were spot on. It seemed as if there was more dancing in Act I than I've seen in previous performances, which was a plus. On the part of the principals, Act II was breathtaking. Aurelie Dupont went from being a rather sophisticated peasant in Act I to being sheer gossamer in Act II. Mathieu Ganio was a deeply contrite Albrecht and a fine partner. His entrechat six towards the end of Act I seemed to rise to heaven. Emilie Cozette was an impervious Myrtha. The one thing I missed was the speed of the bourrees that dancers at ABT seem to achieve. But I think this was a stylistic difference in that I'm sure she could have done them because POB can dance FAST. And oh, those Wilis!

What is most striking to me about this company is the clarity of execution. You can "read" every step and no one takes short cuts.

Two Giselles to go today. Will I remember each one in its singularity or will they combine in a single blur of magnificence? I'll take it either way.

I thought Marie-Agnes Gillot was absolutely riveting in Bolero. I couldn't tell you anything about what the men around her were doing because my eyes were glued to her the entire time.

"ABT withdrawal symptom"

Does a cure exist?

I hope so. I'm counting on Paris Opera Ballet, four performances in three days.

No offense to Whiteside, but their are ABT corp members whom are just as good or better. McKenzie could have easily promoted (from within) one of them instead of, yet again, outsourcing for another dancer. ABT needs a new AD...

So agree. What about Joseph Gorak?

YES, YES, YES!!! Every time Gorak is onstage, I always end up watching him. So effortless and elegant!

During the R&J dress rehearsal where Gorak was Benvolio, I kept wishing he were Romeo instead of Hammoudi...

I second, third, fourth and fifth the rise of Joseph Gorak. I thought he was WONDERFUL as Lensky in Onegin. Also as the Nutcracker Prince last December.

Kevin said in an interview that she was "out of this world" in that..so then Kevin, why cant you guys give her a juliet or a giselle, or manon ????? If you guys read this board, people are screaming for the chance, and yes..give her 2 SL next yr too pls I am also in the group who can see her odette 7 nights in a row.

I am a huge fan of Veronika, since I believe she is the type of ballerina that you can rarely find around, pure classicism, one of the best lines out there and an upper body truly representative of the best of Vaganova's school.

It always makes me happy to know there are other people who appreciate and adore Veronika Part and are out there plugging for her! She is unique, special, ravishing, and we need to have our voices heard.