angelica

I think They will be invited to be special guests on the..... TAMALE TRAIN!!!!!!!!!!!!!!!!!!!!!!!

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

I think They will be invited to be special guests on the..... TAMALE TRAIN!!!!!!!!!!!!!!!!!!!!!!!

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

DVR set to record! Thanks, Fleegull!

Please forgive my ignorance, but I'd like to set my DVR too. At what time and on what channel does the David Letterman Show appear? And how long does it run? I fell in love with Veronika Part this year but will be away on Thursday night.

Many thanks, angelica

Letterman is on from 11:35-12:35 pm EST.

My guess is that Ms. Part will be the second guest. The first 20 minutes is almost always monologue, Top Ten list etc.

He's on CBS.

Thank you soooo much for the coordinates. I will definitely record it!

angelica

She will be a proper guest, according to a Time Out NY blog:

http://www3.timeoutny.com/newyork/tonyblog...avid-letterman/

Thanks so much! Got it! angelica

DVR set to record! Thanks, Fleegull!

Please forgive my ignorance, but I'd like to set my DVR too. At what time and on what channel does the David Letterman Show appear? And how long does it run? I fell in love with Veronika Part this year but will be away on Thursday night.

Many thanks, angelica

L. Underwood replaced S. A. as Ceres

Oh dear, is Stella injured again? I hope not. I've been overjoyed by her presence this season, albeit in soloist roles. I'm still eagerly awaiting her debut in the title role of Giselle, which had to be postponed this year and last. angelica

I would just like to add my voice to those who adored Veronika Part in the role of Odette-Odile. This is the first year I've seen her in principal roles (I know, I'm a little behind the pack). I fell in love with her in La Sylphide and only then decided to get a ticket for her Swan Lake--Box 1, seat 4 was the only available seat left anywhere near the stage. It was worth it just to be there, despite missing 1/4 of the stage. Part was extraordinary. Her long limbs and her perfect classical line were the foundation for the emotional depth she brought to the role. I couldn't believe anyone could sustain so much suppleness and fluidity, expressing the widest range of emotion with her arched back, long arms and long legs. Every movement extended amplitude to its limits. I couldn't take my eyes off her.

I also want to add that seeing Stella Abrera last night was reason enough to go. I've missed her terribly and she danced beautifully, with the very special softness and lightness that had me predicting her promotion to principal two years ago, before her injury caused her to miss her debut in Giselle two years in a row. Welcome back, Stella! I have high hopes for you.

angelica

I saw Veronika Part and Cory Stearns dance La Sylphide last night and was totally enraptured by Part. I had loved her as Myrta earlier this season and wondered whether she would be a mismatch for the role of the Sylph, especially in comparison with the petite Osipova. To my delight, Part was exquisite in the role. There is something very special in the quality of her movements. They have amplitude and a quality of seamless expansiveness, in which she opens slowly into a position, keeps opening and opening, more and more, until she reaches it and then moves on to another. She is never static. She dances with complete authenticity, never posturing for effect. One movement blends into another, and with her gorgeous classical line I couldn't take my eyes off her. I've never seen anyone else dance quite like her, and I can't wait to see her again. I enjoyed Cory Stearns as James. Craig Salstein had the audience (including me) laughing out loud when he imitated the Sylph, he did it so well.

Admittedly, this was my first Sylphide so I didn't have any other performances to compare it to. When I referred to Osipova above, I was imagining her in the role based on her Giselle.

But I did want to put in a good word for Part. I was appalled to find her name omitted from the McCauley review of Giselle earlier in the week. I am now a committed fan.

angelica

Osipova/Hallberg/Part

I'll be brief, since most of what I have to say has already been covered!

Osipova was incredible. From the moment she took the stage you could tell that she's head and shoulders above anyone in her elevation (*incredible!*), buoyancy, complete control of everything she does, and beautiful musicality. Sad to say, she truly made everyone else onstage look like a student. Even Hallberg, I felt, wasn't quite up to her level... and that's saying something, because normally I find him amazing. I felt their partnership had great potential, and I'd love to see it develop, although I felt it wasn't quite "there" last night. Perhaps that's connected to what others have said, and which I agree with, the lack of depth and passion in Osipova's characterization. I saw Ananiashvili on Friday and Dvorovenko on Wednesday night, and both were more moving than Osipova. And as an overall partnership, I felt Hallberg was a more perfect match with Riccetto at the Wednesday matinee. But then, they must be much more familiar with dancing with each other. I absolutely can't wait to see Osipova again.

Hee Seo and Blaine Hoven in the peasant pdd were fine but not great. They weren't significantly off in any way, but because I've come to expect such wonderful things from both of them, it was just a little disappointing.

Leann Underwood as Zulma was outstanding yet again. Those legs are so long and beautiful, her arabesque and penches are stunning, and she poured her soul into the renverses.

It's been a great week of Giselle. I've never seen Airs or La Sylphide before. I only hope it can halfway measure up to the great Giselle experience!

So much has been said already, but I'll add some brief impressions of last night's performance. I've been watching Giselle for over five decades, and to my mind this was the most magnificent overall performance I've seen since the Maximova-Vasiliev performance in June 1966, which I will never, ever forget! I especially loved Act II: Osipova was exquisite, Hallberg was eloquent in his grief. He seemed so overcome that he couldn't even smile for the curtain calls. Part was the best Myrtha I've ever seen and deserving of every brava and bravissima that emanated from a nearby box. There's a quality to Part's dancing that's indescribable, but it has something to do with grandeur. As for Osipova, I am stunned that a 23-year old woman--still a girl, really--could act with so much depth. I know that others have faulted her for her acting, but, for me, dancing trumps acting in Act II. Ultimately, on several levels, Act II is about the power of dancing, and her dancing was mesmerizing. And Underwood's renverses alone made the performance!

angelica

She is an old school dancer of a highly individualistic type that is out of sync with todays streamlined, fast and virtuosic ideal. Her upper body and arms weave spells. .....

She is a dancer who thrives on adagio and likes to stretch out the steps and elongate the line. She also slows down tempos. People think that this always makes things easier but it also requires strength to sustain the physical movements. She does sustain them and almost always seamlessly.

I agree completely. She's a very rate type -- a danseuse noble -- which is why she was so wonderful as Lilac in the Kirov's old/new "Beauty" and why she's so gorgeous in adagio. She's not built to do quick turns!

She was sensational as Myrta in the Giselle last night with Osipova and Hallberg!

angelica

This evening I attended the Spotlight Forum wherein Alessandra Ferri interviewed Nina Ananiashvili. I can't begin to describe how luminescent Nina was. First of all, no matter how magnificent she looks on stage, she is, if it can be possible, as beautiful if not more beautiful in person. Or perhaps you expect it on stage, with makeup and costumes. In person she was ravishing, utterly charming, and someone who has been chosen by the Gods, if such there be. She and Alessandra talked spontaneously and with much humor, revealing their engaging personalities in much of which was spontaneous conversation, although the questions were prepared (I wasn't sure whether the answers were.) Both were extremely articulate in languages not their own. It was a privilege to be there and now my only problem is how to go on living in the world as an ordinary mortal.

Angelica

Any reports of the Ananiashvili/Gomes opening night?

I saw Nina and Gomes last night and thought they were both resplendent. It pains me that there is no DVD of Nina dancing Giselle, no legacy of that to pass on to our grandchildren.

Gillian was, as usual, her technically magnificent, implacable Myrtha, exactly what is needed for that glorious role. And Gennadi was wonderful as Hilarion. He is a beautiful dancer and I think he brings a kind of reverence to the art of ballet when he almost literally transforms himself into the role with his superior acting as well as modesty and dignity. I liked Maria in the peasant pas de deux. She is technically strong and also lyrical, so it will be interesting to see whether she can command the stage in her June 10th Giselle. I won't be there, alas, but I trust someone here will let us know.

angelica

I am so happy to hear that Stella is performing again. Although she was taken out of Giselle again this year, presumably because of her injury, perhaps we can look forward to seeing her dance the title role next year! I've bought tickets for her debut for the last two years!

Angelica

I too have bought tickets for her Giselle debut the last two years, ultimately exchanging them once I became aware she would not be dancing.

We are birds of a feather. I did the same thing with my Giselle/Stella tickets!

angelica

I attended Tues. evening's performance. It was wonderful. Paloma and David Hallberg were excellent together. Her spins and jumps were fantastic, but we all knew that already. Her line and extension was gorgeous in the Act II pdd with Hallberg. Hallberg was wonderful, with gorgeous lines and feet. Angel gave his usual bravura account of Ali the Slave. Simkin was outstanding as the bazaar owner Lakadem ( I'm sure I didn't spell that right). His leaps were extraordinary, and he landed so quietly. I can't wait to see him in ohter roles. Yuriko as Gulnare had a beautiful line. However, I thought her turns were a bit out of control. Carlos Lopez was dazzling as the lead pirate. Stella was an odalisque. I guess she is trying to return slowly. I was happy to see her back. Ricetto was another odalisque. (I forgot who was the third.) Victor Barbee's mustache kept falling off. Lots of fun. The balcony was well sold. It looked like there were lots of empty seats in the orchestra.

I am so happy to hear that Stella is performing again. Although she was taken out of Giselle again this year, presumably because of her injury, perhaps we can look forward to seeing her dance the title role next year! I've bought tickets for her debut for the last two years!

Angelica

Would it be out of bounds to simply call ABT and ask what's up?

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

Would it be out of bounds to simply call ABT and ask what's up?

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

Hello all,

Last year Stella Abrera was scheduled to make her debut in Giselle at a Wednesday matinee of ABT. She was then taken off the schedule and didn't dance at all with ABT last season.

Now the same thing has happened again this year. She was scheduled to dance Giselle at the Wednesday matinee on June 10th, but I saw today on ABT's web site that Giselle will be danced at that performance by "TBA." I called the Met to confirm this, and was told that Stella is no longer scheduled to dance this season.

I love her dancing, and was so much looking forward to seeing her make her debut in a leading role. Does anyone know what happened?

Angelica

Additional casting info. re smaller/soloist parts would be wonderful, but I'm very happy that we are getting advance information re principal casting. For full length ballets, which are the bread and butter of the ABT Met season, casting info is crucial to my decisions regarding which subscriptions to purchase. I think ABT's management realized that they could make a lot more income through early subscription sales if they publish the casting months in advance. Of course, there are always some changes, as we all know too well!

Has anyone else besides me noticed the change in seating availability whereby ABT is allotting certain sections (e.g., Saturday night grand tier, orchestra prime, and center parterre) for 6-performance subscriptions rather than keeping them available for 4-performance subscriptions as well? Every day is an IQ test.

angelica

"I am one of those people who wishes ABT would announce fuller casting, not just principals."

Yes, I quite agree. Also, I just received the spring subscription brochure and noticed, when I checked the web site, that sometimes casting listed as TBA in the brochure shows up on the web site as N. Osipova. I caught some clips of her doing Giselle on youtube, and she looks wonderful. But one has to cross-check to get the latest information. And, of course, casting is always subject to change, which can be very frustrating if you've picked performances according to the casting. angelica

There is also a nice group photo of all the new company members on the Dutch National Website. I think that married dancers often dance with different companies it is not unusual.

I've just received the subscription brochure for ABT's Spring season at the Met in NYC, and I see that Stella Abrera is once again scheduled to dance Giselle at a Wednesday matinee (June 10th). Last year she was pulled from the schedule at the last minute. In the current brochure she isn't scheduled to dance in any other ballets the entire season. Can anyone provide a heads-up on her? I would LOVE to see her dance Giselle. But I don't want to buy tickets for that date and find that she isn't dancing.

Someone told me that Sascha Radetsky, Stella's husband, has joined the Royal Ballet. Is that true? Might Stella remain in Europe and come back to ABT for guest performances?

Thanks for any light people can shed on this magnificent couple.

angelica

I just learned of the departure of Sascha from ABT. I am sure his wife will be leaving as well. That's a real loss for NY ballet lovers. Both of them were terrific.

How 'bout some good news?

Thanks so much for the heads-up. Yes, it is a great loss for those of us in New York, especially people like myself who have JUST gotten to know her dancing and fallen in love with her. But at least she isn't injured. That was my primary concern. I love Sascha too. Does anyone know what company they'll be joining/have joined? I wonder if they left to dance principal roles. They are certainly more than capable. I hope it's a company that comes to NY and we will we see them dance again. Otherwise I might have to go to Europe--it would be worth the trip.

Angelica

Does anyone know what is happening with Stella Abrera? She was supposed to dance her first Giselle with ABT during this past season, but I understand that she never got to do that because she was injured and was out for the remainder of the season. I don't see her name in the casting for the fall season in New York. Is she going to be all right? I hope so because I fell in love with her the year before when she danced the Lilac Fairy in Sleeping Beauty. I said to my husband "Next year she is going to be a principal," and I even bought a pair of her autographed pointe shoes. I am concerned for her. I hope she is getting the best possible care and is going to dance again.

Angelica

[

"...just cant stop thinking how sad is not to have Nina's Don Q, Swan Lake and Giselle for the ages."

There are two DVDs of Nina at the age of 29 (approx, I'm not exactly sure of her age then), one dancing Don Q and one dancing Swan Lake with the State Ballet of Perm. She is breathtaking in both. I understand that the Swan Lake DVD is becoming a collector's item, so get it while you can. I recommend Amazon or Kultur. But why no Nina as Giselle? I think someone should capture Julie Kent and Ethan Stiefel before it's too late.

Where are you, DVD people?

Angelica

I saw both Monday night's performance of Giselle and also Tuesday's. Will also be going to see Cornejo make his debut as Albrecht on Thursday. I've been attending performances of Giselle since the Bolshoi first danced it in the US in the late fifties. I thought Nina and Angel were exceptional on Monday night, perhaps the greatest performance of Giselle I've ever seen. Nina danced with every pore of her body. She used her eyes to perfection, in addition to her radiance, her perfect line, and flawless technique. In Act II I couldn't take my eyes off her for even a moment. Why, oh why, is there no DVD of her performing this work? That is such a great loss to posterity. Why is there no good DVD of Giselle to be had?

And then I saw Julie and Ethan on Tuesday and I felt the same way--that this was the greatest performance of Giselle I'd ever seen! Julie was breathtaking. She was charming and delightful in Act I, completely in command of her exquisite classical line and technique. In Act II she was truly a spirit, completely weightless, with fluid Romantic arms/hands and finely articulated legs. She reminded me of Carla Fracci, whom I also adored in that role. Julie's performance should be captured on DVD before it's too late.

I agree about the veils. I sat in the side parterre (my favorite seats, as I'd rather sacrifice a corner of the stage in order to see the expressions on the dancers' faces) and saw the arm and the string ("oh, so that's how they do it," I thought). In older productions the wilis used to go offstage for a moment and return without their veils.

Both Gennadi and Sascha were great Hilarions. My impression, though please correct me if I'm wrong, is that the role of Hilarion contains more classical dancing than it used to. Perhaps this is because the quality of male dancers has improved greatly since the 1960s. Gennadi's acting was superb, as well as his dancing. Sascha is a joy to watch as well. I hope that before too long both will be able to move up the ranks to become principal dancers.

I am eagerly awaiting the debut of Stella and David in the leading roles. May her injuries heal quickly and completely. We need her back on stage!

Both performances are indelibly etched in my brain. But where are the DVD people? Why weren't they capturing these transcendent performances?

Angelica