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Everything posted by angelica

  1. Thank you, abatt. The next time I have what might turn out to be a problematic seat I'll give that a try.
  2. abatt, I would just like to confirm this. When they inspect your bags going in, will they allow anyone to bring their own cushion? The size of a Met cushion? I once was seated next to someone who was sitting on her own cushion, but she had transferred from a wheelchair. IMHO, this is morally wrong. At least take it off during the performance.
  3. Perhaps we have to start a movement for Orchestra seats to be assigned by height. Young people are much taller these days than they were when I was growing up. I note that the seats in Grand Tier and Dress Circle are steeply raked. Not sure about Balcony or Family Circle. Does anyone here know the rules about getting cushions at the Met? Some years ago, when we brought my granddaughter, they had to see that she was a child before they would give us a cushion. Can short adults get cushions? Is there a height maximum?
  4. Not as bad as at the ballet, but very sad that people put their own primping and preening ahead of their fellow audience members' right to see the stage. Nobody taught them proper manners. They should be sitting in Center Parterre, not Orchestra.
  5. Yes, the Met should have been raked from Row A, but remember that it was built for opera, not ballet. I think it's selfish and narcissistic for people to dress in such a way that precludes the person behind them from seeing--at least at the ballet.
  6. Oh my, I really hope she doesn't sit in a front Orchestra seat with that hairdo! The hairdo of the woman in front of me was shaped like a round watermelon.
  7. LOL! He comes to the ticketing area, so you get a ticket to go out (which lets you back in), and then you go around the column, and you think this can't possibly be right because you are in a kind of no man's land. But then the PM comes out with his computer and you hope that the new seat doesn't have a twin in front of you. But if a seat is so bad that you'd rather leave than stay for the rest of the ballet, the new seat has got to be better. Also, I think that Row B Orchestra at the Met is somewhat lower than Row A. Is that possible?
  8. And this is where I ritually chime in with my opinion that every seat at the Met is a compromise for ballet. Except, maybe, J1, K1, and L1, and one can almost never get those. In fact, last night I had to change my seat after the first act because the tiny woman in front of me had a bouffant hairdo that was twice as large as her head and completely obliterated most of the stage. It turns out that there is a Performance Manager who deals with such matters, since the box office closes at 8:00. Thankfully, the new seat was ever so much better. Sometimes I want to play Whack-A-Mole, and we're talking about Orchestra seats.
  9. For whatever reason, whether it's the hardware in her leg(s) or the difficulty of the steps, or a combination of both, if Copeland were to miss the hops and fall, it could disappoint her fans (or not) and give another reason for her non-fans to complain that she cannot do the required steps. Maybe Brandt will pick up some new fans, as she's such a gorgeous dancer and can do anything. According to her first teacher, who told his adult students directly, I among them, she was doing 32 fouettes on pointe at the age of 10.
  10. Having not seen any of the MCB Myrthas, and not knowing whether any of them were debuts, I cannot speak to their proficiency. However, having seen Shevchenko's debut last year and two performances this year, wobbles notwithstanding, I truly believe she has the promise of greatness in this role. I would say the same for Katherine Willliams. Both of them accomplished soaring jumps, beautiful landings, and firmness in the drama of refusing to release their captives.
  11. I will definitely miss Craig Salstein. Whatever he was dancing, he was always spot on. In particular, I remember his wonderful performance as Hilarion last year. I hope he'll continue to work at ABT, as a teacher or coach.
  12. I thought Katherine Williams danced a wonderful debut as Myrtha. As I said earlier, I think she set the gold standard for bourrees, and I wish she could have done them again the other way across the stage, as is done in many productions. I also enjoyed Christine Shevchenko's Myrtha, despite a teeny bit of wobbling in her opening balances (rare for her). But she came tearing out of the wings like a Wili on the warpath towards the end of act II, landing beautiful grand jetes with her back leg high in attitude. Both Katherine and Christine are ready to carry the torch when it needs to be passed on.
  13. It was Skylar Brandt. She was splendid, as always.
  14. Sadly, yes, I noticed the lack of Romantic port de bras in Sarah's Act II (one word from Kolpakova and that is correctable), and yet I was still at the edge of my seat. What I love most about her is that she is small, but she dances large. The amount of space she covers with every step I find thrilling. I tend to prefer dancers with long legs, and yet Sarah's extensions are like an optical illusion, as they keep going higher and higher. I'm completely with you, though, in your perception that ABT is no longer a world class company.
  15. IMHO, Sarah Lane and Daniil Simkin did a completely satisfying Giselle at their Wednesday matinee performance. I do agree with you that ABT's principal roster is a disaster right now. On the women's side, with Brandt, Trenary, and Hurlin in the wings, and maybe Ogawa and K. Williams, this may work itself out in time, hopefully sooner rather than later. On the men's side, I don't see much happening.
  16. From watching many performances of Giselle over the years, I believe that Katherine Williams sets the Gold Standard for bourrees.
  17. Karen, please make sure that your trains (Amtrak?) are running before you set out. Metro North had to cancel service at the northernmost ends of their lines tonight because of downed trees on the tracks. Don't want to scare you, but thought you should know.
  18. Lane and Simkin danced Act I, and were stunning. Copeland and Whiteside danced Act II, and afterwards Boylston and Whiteside danced Act II from the PDD on. Katherine Williams danced Myrta.
  19. We were sitting in the first row of the grand tier very far to the right for the dress rehearsal yesterday, and the sight lines were wonderful. No heads to worry about. A fraction of the stage was cut off, but nothing of consequence. You've got a great seat there.
  20. I saw her dance Aurora in 1962 or so, when the Kirov came to perform in New York. She is a miracle!
  21. No one has mentioned Nina Ananashvili, who I believe was the greatest dancer of her generation.
  22. I'd just like to pick up the thread of dramatic acting ability in Obrazstova. When she danced R&J with Cornejo a couple of years ago, I was quite sure that right after the performance they were going to run off to City Hall ASAP and seal the deal.
  23. I really miss the LiveStream that the Guggenheim did for a few years. It's just too much for me to come into the city for a one and a half hour program, but I'd definitely watch it on my computer.
  24. ABT Fan, thank you for remembering my query. I got the same email today. I note that they cannot spell Nikiya. I think that's because they were using a device with Autocorrect. My cell phone made the same mistake in another connection.
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