angelica

One ticket left in side parterre, $115. May be gone by the time I add this post. Sometimes seats held for VIPs are released at the last minute day-of. Suggest you keep checking web site if you want a seat. And if you find one, grab it!

I'm also very excited to see the stellar Stella Abrera dancing Myrta on June 1st. I saw her a few years ago as the Lilac Fairy and immediately bought a pair of her autographed pointe shoes, saying to my husband that she's going to be a Principal next year. Sure enough, still a soloist, she was given the title role of Giselle to dance in a Wednesday matinee (like Seo this year), but alas, she was injured, and sidelined for a long time. I'm so glad she's back in a major role. Maybe next year will see her debut as Giselle. angelica

I'd like to see more Simkin & Lane too. I think they'd do a charming Coppelia I'm a little disappointed that I won't be seeing Steifel with Cojocaru in Giselle. Halberg seems a bit tall for her and he's not my favorite, but I'm still looking forward to seeing Cojocaru as well as Muphy who will be doing Myrta (if all goes according to plan!) I can't imagine anything but adoration for Hallberg. I am always thrilled to see him dance. angelica

Right. I forgot about that part -- definitely not directly behind the conductor. And you're right about it being a personal thing.

Last year I tried every section of the Met and came to the conclusion that, at least for my requirements, the Met isn't the best house for ballet. Every seat is a compromise, in our way or another, except perhaps those ends of the Orchestra "Premium," which I believe are saved for Press and dignitaries. Maybe you can get them at the very last minute if they're not being used. Anyway, here's my assessment: Orchestra front row center: you miss the feet when they are flat but can see them on pointe. Otherwise, it's great for getting every nuance. Orchestra middle: not too bad as long as you don't have heads in front of you. No way to plan in advance unless you have a subscription and so do the people in front of you. Grand Tier Center: Okay if you like to see ballets in panorama, e.g., I would recommend for a first time Giselle. However, for the nuances of acting and expression, it's too far back for my taste. Center Parterre: Pricey and also too far back if you like to see the dancers close up. You can't watch an entire ballet through binoculars. Side Parterre: first row only - don't sit anywhere in the side parterre except first row. Good seats, you see up close, but you miss a corner of the stage. Dress circle, first row center, best seats for the money. Hard to get. Balcony and Family Circle: Okay if you have really good eyesight, but I don't. This year we got our subscription for Row E Center Orchestra. I will report further on how this worked out. angelica

Best Met location for dance is the Grand Tier. The more center the better. If not a subscriber, walk ups work sometimes and not so well others. It depends on particular casting. But I've frequently had great luck with same day walk up. (sometimes better location than my subscriptions!) Last year I tried every section of the Met and came to the conclusion that, at least for my requirements, the Met isn't the best house for ballet. Every seat is a compromise, in our way or another, except perhaps those ends of the Orchestra "Premium," which I believe are saved for Press and dignitaries. Maybe you can get them at the very last minute if they're not being used. Anyway, here's my assessment: Orchestra front row center: you miss the feet when they are flat but can see them on pointe. Otherwise, it's great for getting every nuance. Orchestra middle: not too bad as long as you don't have heads in front of you. No way to plan in advance unless you have a subscription and so do the people in front of you. Grand Tier Center: Okay if you like to see ballets in panorama, e.g., I would recommend for a first time Giselle. However, for the nuances of acting and expression, it's too far back for my taste. Center Parterre: Pricey and also too far back if you like to see the dancers close up. You can't watch an entire ballet through binoculars. Side Parterre: first row only - don't sit anywhere in the side parterre except first row. Good seats, you see up close, but you miss a corner of the stage. Dress circle, first row center, best seats for the money. Hard to get. Balcony and Family Circle: Okay if you have really good eyesight, but I don't. This year we got our subscription for Row E Center Orchestra. I will report further on how this worked out. angelica

Wish list: More Veronika Part--partnered by Hallberg. Stella in Giselle title role. Osipova with Simkin in Don Q. Something else, not Cinderella--there's nothing I like less than a ballerina dancing with a broom! Enough time and money to see every performance!

Actually, their partnership began last year with Giselle. Yes it did, and that Giselle was great. But I know exactly what Angelica means. This R&J was on another plane completely. It may not have been the first time Osipova and Hallberg danced together, but it felt like it could be the beginning of a legendary partnership. And, as with Angelica, it was a performance of R&J that I will remember forever along with Fonteyn/Nureyev and Ferri/Bocca. Thank you, nysusan, that is exactly what I meant!

Rosa Mexicano is a wonderful upscale Mexican-inspired restaurant right across the street from Lincoln Center on (I believe) Columbus Avenue, and a great way to spend time between the two performances. But I'd advise you to make reservations in advance. Two weeks before Super Saturday I went online to Open Table to make a reservation for two, and the only time available was 5:30. It was already booked for 6:00 and later. But it worked out very well.

At the outset, let me say that I will long look back upon this past Saturday as a day when I was privileged to witness a historical and momentous event--the first performance by Osipova in Romeo and Juliet. It was historical firstly because it was her debut in the role, and secondly because I believe the day will go down in history as the beginning of a great partnership between Osipova and Hallberg, as important in the history of ballet as the Fonteyn-Nureyev partnership of decades past. I like to think that on my death bed (okay, it was R&J, after all) I will be able to look back and remember how beautiful was the budding of this partnership, and that I was witness to it. Like many others, I, too, saw both performances on Saturday. Although it has been suggested in the various postings, I would like to spell out what in my view was the most significant difference between the two interpretations of the lovers. I felt that in the characters of Romeo and Juliet as played by Hallberg and Osipova, the protagonists, upon seeing each other for the first time, were stunned, overcome by feelings they had never before experienced, hardly knowing what to make of them but understanding their enormous significance without being able to put words to them. They did not know this was "love at first sight," they knew only that something extraordinary and previously unknown had just happened to them. The attraction to each other was palpable, and with this attraction each of them became the characters in the drama for the entire ballet. During the curtain calls they both looked, at first, shaken, as if they had gone through a rite of passage together, an intense experience for them both that went beyond the drama of the performance and extended into real life. Hallberg had become Romeo and had initiated Osipova into the role of Juliet, for which she would be eternally grateful to him and which he felt honored to have done for her. An enormous bond between them had been strengthened. Whereas in the Vishneva-Gomes performance, I felt that the moment Romeo and Juliet saw each other they knew that they had each found true love. They seemed more experienced with these feelings, they weren't stunned by them, but rather, were overjoyed. Vishneva danced with joy and abandon, which was different from Osipova's sense that something new and special had just happened to her. Both Vishneva and Gomes danced magnificently, but it was a different sense of communication that took place between them, a more knowing understanding of what had transpired. As for the scene with the doll and the nurse, perhaps I'm taking this too literally, but I think that when the nurse touched Juliet's breasts and then Juliet touched them herself, registering surprise, it was the nurse's way of saying "You are becoming a woman, my dear child, you are developing womanly breasts," and when Juliet touched them herself, it was as if realizing for the first time that she was, indeed, becoming a woman, and all that that awakening meant for her.

I concur: both Stella Abrera and Hee Seo are principal material! angelica

I'm sooooo glad to hear that others were as enraptured as I by Veronika Part's performance in Saturday night's SL! I learned of the cast change only at the last minute and feared that I wouldn't be able to get a ticket. Thankfully, I did, in center orchestra, and I was in awe of her performance. After Nina, I thought I would never again fall in love with a ballerina, but I did fall in love with Part that night. Stunning. I've been going to the ballet since 1950 and I sat there mesmerized. The nuances, the intensity, the eloquence! Images of that performance will be forever engraved in my brain. And of course David Hallberg is the ultimate prince. I felt he had a bit of a struggle in some of the lifts, but all he has to do is stand there to capture your attention. Gorgeous. And when he jumps, he floats. angelica

I almost forgot to mention what a pleasure it was to see Stella Abrera dancing so beautifully in the first act pas de trois. I think (and hope) she will move up in the ranks. angelica

Last night, seeing Part and Hallberg in SL, I knew I had gone to Ballet Heaven. Part was gorgeous, her dancing/acting, as a single entity, was eloquent. The two long-legged dancers with perfect ballet line had me in awe. Part's expressiveness and Hallberg's responsiveness had me holding my breath as each movement unfolded. David is perfection itself. And I can hardly find the words to describe Veronika--amplitude, eloquence, intensity, breathtaking. angelica

"I preferred Maria Riccetto over Michele Wiles as the Lilac Fairy. Wiles was way too stiff and brought very little personality to the part. The most beautiful Lilac Fairy that I ever saw was Marianela Nunez with the Royal and I would have Yekaterina Kondaurova (who I saw back in February when the Mariinsky was in DC) in second. The Lilac Fairy should set the tone of "Hey! - Don't worry! - Everything is going to be OK!" I did not get that from Wiles at all and when I watched her with my opera glasses (I was in Family Circle last night) she usually had a very pained expression on her face." I fell in love with Stella Abrera when I saw her dance the Lilac Fairy three (four?) years ago. After her first variation I said "She's going to be a principal next year," and bought a pair of her autographed pointe shoes. Although she wasn't promoted to principal the next year, she was scheduled to dance Giselle on a Wednesday matinee, for which I bought a special ticket. Then she was taken off the schedule because of her injury. I am absolutely thrilled that she is back. This season I saw her dance Mercedes in the Saturday night Don Q and thought she was exquisite--charming, seductive, with exquisite port de bras and technique. I hope ABT will do Giselle next season and that Stella can finally make her debut in the title role. angelica

Stella Abrera is back! And she is dancing magnificently! Please, ABT, promote her to principal dancer! I can't get enough of her! Also Sascha! angelica

Please, please, ABT, promote Stella and Sascha to principal dancers. Wouldn't they look wonderful together in Giselle next season? angelica

Saw Don Q last night from Row A Orchestra. We were trying out the seats because several people we know swear by them. Although we couldn't see the dancers' feet unless they were on pointe (or releve) at the front of the stage, it was a spectacular view of the individuality of each dancer. Biggest excitement for me: Stella Abrera is back and looking fabulous, exquisite technique as well as acting. I'd love to see her and Sascha become the next principals. She was slated to dance Giselle for two years in a row, but each time was taken out due to injuries. Welcome back, Stella! Be well, be safe, and dance for us forever! angelica

Thanks for this great information! This is the first I've heard of it (okay, so I've been living on a mountain top in Tibet). Using that function, I just got a single ticket in orchestra front and center for the Osipova-Hallberg R&J for July 10th. And we already have tickets for the Vishneva-Corella R&J for the evening. What a day that will be!

I had just taken a class at Ballet Arts, and as I was walking west on 56th Street towards Seventh Avenue, suddenly coming right towards me from across the street were David Hallberg and Marcelo Gomes, looking as gorgeous as they look on stage. I went up to them and told them how AMAZING I think they are, how much I enjoy their dancing, and thanked them for bringing so much joy into my life. I also told them that we had ordered our subscription tickets to the Spring season. They were warm and friendly and gracious. I felt I had just received a beautiful gift. Angelica

It's certainly worth a try. How would one call ABT? Does anyone have a telephone number that doesn't go through the Metropolitan Opera House? I'd be willing to make the call. Angelica Okay, I found the telephone number. I will call them during office hours on Monday or Tuesday and will report back for anyone who is interested. Angelica This is very strange, indeed. Angelica, please let us know if you find out something. Okay, everyone--Stella is back!! I saw her in the dress rehearsal at Avery Fisher Hall last Wednesday in the new Ratmansky ballet. She was exquisite! I couldn't take my eyes off her! I hope so much that 2010 will be the year in which she dances the title role in Giselle. WELCOME BACK, STELLA! Angelica

We "just happened" to be in Paris for opening night at the POB. Unlike last year, when they presented a Homage to Jerome Robbins, this year they opened with the 19th century loved-by-all Parisians Giselle. We had to get tickets months in advance. Overall, I was transfixed by the performance. IMHO, the men at ABT far outshine the men at POB, but the women were beyond extraordinary. Aurelie Dupont was weightless and perfection itself in both acts as Giselle; Anne-Marie Gillot was a wili on the warpath as she traversed the stage diagonally with her astounding leaps; and the corps de ballet, along with the two leading wilis, danced selflessly, as one entity, completely devoted to the perfection of their dancing and the meaning of the ballet. I've heard that the training at the school is brutal, but they turn out the most exquisite dancers. Did anyone else happen to be there? angelica

Oh dear, I feel so ignorant. What is SDYTYCD? And what is Tamale Train? Thanks for any insight you can give me. angelica Okay, guys, I just googled "Tamale Train" and I got it! I think I'm the only person in the world who doesn't watch SYTYCD! angelica

Oh dear, I feel so ignorant. What is SDYTYCD? And what is Tamale Train? Thanks for any insight you can give me. angelica

"This was also the first time that I watched Diana Vishneva dance with ABT. She is an amazing dancer, but all the arm flailing and running from one end of the stage to the other over and over again became uninteresting and annoying pretty quickly." Thank you, skj, for articulating what I felt during the most supposedly dramatic of Vishneva's scenes. I had attended the dress rehearsal in the afternoon, and was totally captivated by Dvorovenko's first act (and Dvorovenko is not a dancer I've been particularly enamored of--now I feel I must see her again and perhaps alter my opinion), during which she was totally believable as an impetuous, adorable teenager. And such gorgeous legs and feet! And so lyrical in the balcony scene! Having been won over by her performance in rehearsal, at first I thought it was just a matter of finding it difficult to detach from her and bond with Vishneva. But it's good to know that my feelings are shared by others, and I did feel that Vishneva was not convincing as a teenager and was "over-the-top" in her attempt to communicate Juliet's despair. Both Dvorovenko and Seo, at the dress rehearsal, managed to do it wonderfully, without the histrionics. (On the other hand, for you psychologists out there, it was clear that neither Romeo nor Juliet had mastered affect regulation--and no wonder, given the parental and environmental input.) Interestingly, I thought that Hee Seo, also seen in dress rehearsal, was excellent. She displayed just the right degree of emotion coupled with the right amount of exquisite dancing. What a marvel! She is shown in the booklet as a member of the corps de ballet, and she has, to my mind deservingly, sky-rocketed to the top. I thought that Gomes was wonderful, especially in the balcony scene, where it seemed to me that the audience no longer existed for him, that he was dancing only for Juliet, and that his dancing said, over and over, with every turn and every perfectly placed balance, "I love you." I thought to myself "This is the year of Marcelo Gomes." But bring Cornejo out on the stage and you can't take your eyes off him, he is always so charming and engaging. His dancing appears so effortless, it is as if he can do absolutely anything (you want 10 pirouettes? okay, here we go), and it is always such a joy to watch him. In some ways, he stole the show. I agree that there were too many harlot scenes and too much sword fighting. At the same time, I was impressed with the teaching and rehearsing that went into making this production such a spectacle. But where were the elephants? And the orchestra definitely needs to replace the French horn player, at the very least. During the most intense moment of the marriage ceremony, the French horn has a solo passage, and the notes came out flat and broken. It was jarring and ruined the moment. I know the French horn is an extremely difficult instrument, and I feel bad for the player, who may well feel bad him/herself, but there must be certain minimum standards--like playing the key passages on pitch and unbroken. There was a woman in the ladies room telling another woman that she was going to be attending five more performances of R&J this week. I admire her stamina. angelica