angelica

23 minutes ago, Kathleen O'Connell said:

I think this is where I ritually chime in with a rant about the infelicities attendant to mounting an eight week season at the Metropolitan Opera, a house wholly unsuited to productions of less than gargantuan scale, and just all wrong for dance generally. ...the sight lines are lousy from more than a few seats, including the expensive ones. 

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.

5 minutes ago, vipa said:

I'm very surprised that casting in Harlequinade was changed after the Copeland fans, no doubt,  bought tickets. 

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.

7 hours ago, cubanmiamiboy said:

I didn't see one GREAT Myrtha this season. They all had problems getting their penchees right. To be honest, all the MCB Myrthas I saw during their last run of Giselle were far more proficient. 

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.

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.

2 hours ago, Inge said:

This year's crop of Myrthas (played by dancers who have been fabulous in other roles), was really underwhelming. I didn't see Katharine Williams' debut and reports about her were few and far between. For those who've seen her, could she carry the torch when Gillian & Stella bow out of the role? 

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.

1 hour ago, bingham said:

Yes, it did. A successful debut. Btw, who did the peasant pdd? From the back of the orchestra, she did not looked like Trenary.

It was Skylar Brandt. She was splendid, as always.

12 minutes ago, nysusan said:

  Head and neck positioning but especially the romantic arm positions fell completely by the wayside. Don't get me wrong, her arms were lovely but they weren't in the romantic style and for the second act of Giselle that is a big no-no in my book. Plus something indefinable was missing.

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. 

33 minutes ago, nysusan said:

And as we are seeing now they'd have to combine ballerina A's 1st act Giselle with ballerina B's second act to give us one completely satisfying Giselle.

Unfortunately, with just a couple of exceptions ABT's principle roster now is a study in mediocrity. They definitely are no longer in the top 5 in my book.

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.

From watching many performances of Giselle over the years, I believe that Katherine Williams sets the Gold Standard for bourrees.

1 hour ago, KarenAG said:

Hello, 
Everyone.  I see some of you will be at Giselle 2 pm tomorrow.  So will I!!!  Should we meet up near 'Christian's Bar' (that's the Met bar, correct?). I have a seat in Row G - thought of changing it, after reading above, but they want $30 dollars to exchange!  Unbelievable.  I'll live with it. I do hope my sight view won't be impeded.  I'm very excited about my trip down and can't wait to see Sarah and Danil dance!   

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.

19 minutes ago, abatt said:

Who performed at the dress rehearsal?

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.

1 hour ago, Outside said:

I am considering exchanging my grand tier ticket (1st row, pretty far to the right) to orchestra Row G, the first seat of the aisle section. I am short, but is this seat pretty good in terms of the person in front won't matter since you are looking to the side? Is G too close to see dancers' feet?

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.

I saw her dance Aurora in 1962 or so, when the Kirov came to perform in New York. She is a miracle!

No one has mentioned Nina Ananashvili, who I believe was the greatest dancer of her generation.

35 minutes ago, Meow said:

I do not have the extensive knowledge and history of others on this forum, so I cannot really answer the topic question, but I am glad to see Obraztsova mentioned.  When I think of a "complete" ballerina, I do not look for someone who excels equally in everything.  I look for someone who is sublime in much and excellent in all.  I believe she is that.  I also look for someone who is never awkward or unsure in the management of her limbs, light in movement, has body positions that appear harmonious and fluid, and it neither wooden nor overly affected in acting or stage manner.  To me she is all of these.  I have not found all of these qualities in some other ballerinas mentioned, who often receive more attention from management and who have much merit also.  I disagree that she does not have the dramatic acting ability for many classical roles, and I do not think long limbs are necessary; it it how one uses what one has.  I do not understand how she is not more used at the Bolshoi.  I also think Cojocaru ranks highly and is exceptional. 

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.

31 minutes ago, its the mom said:

They are having a Works and Process at the Guggenheim this evening with McGregor. Perhaps that will shed more light. 

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.

1 hour ago, ABT Fan said:

I just received an email from the company promoting Kim in Bayadere, so he's still coming. 

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.

Kaho Ogawa?

1 hour ago, ABT Fan said:

I noticed that Kim wasn't listed in the brochure as well. I didn't take that to mean that he's no longer cast, but that the brochures were printed up before he confirmed as a guest artist. Their brochures are typically inaccurate in terms of casting because of the print timing.

And, as California noted, he's still listed on their website (and on the Met Opera's website, which is usually more up-to-date than ABT's website.)

I'm sure you and California are right. I was confused because his name has been on the online site for so long now, and the brochure arrived just yesterday. They must  need a very long time to print and mail the brochures.

9 minutes ago, ABT Fan said:

I noticed that Kim wasn't listed in the brochure as well. I didn't take that to mean that he's no longer cast, but that the brochures were printed up before he confirmed as a guest artist. Their brochures are typically inaccurate in terms of casting because of the print timing.

And, as California noted, he's still listed on their website (and on the Met Opera's website, which is usually more up-to-date than ABT's website.)

Thank you, I hope you're right.

I don't see Kimin Kim listed anymore. Now it says TBA. Does anyone know anything about that change?

I just received the new ABT brochure for the Spring season. Please can someone tell me why it includes a stunning photo of Hallberg and Abrera in Romeo and Juliet, and yet Hallberg is dancing two performances of that ballet with Boylston, and Abrera is paired with one of my least favorite male dancers? Shouldn't the photos be a preview of the upcoming season?

And am I alone in thinking that the cover is particularly ugly?

12 hours ago, Helene said:

Stop discussing the discussion and each other. 

Thank you, Helene.

1 hour ago, laurel said:

Family emergency, maybe?  I know if I missed her performance, I would have an emotional breakdown, the likes of which my family has never seen, and they would definitely consider that an emergency situation . . .  

This will be the third Wed. matinee in which I've seen Lane perform the leading role.  The earlier ones were in the old Sleeping Beauty production:  first was her NY debut as Aurora, and and the second her follow-up Aurora performance six years later.  Both of which were astonishing and unforgettable displays of technique and art.  Somehow, it seems, if Lane is dancing the lead at a Wednesday matinee, pure magic happens on stage.  I would never miss one of these matinees.  I cannot allow an AD with very poor judgment and little taste to keep me from seeing the dancers I want to see perform.  He can keep on trying to shove mediocrities my way by giving them more convenient time slots, but I know who I want to see and I will rearrange my life for a day or two to do it. This fool can't stop me.  Theater performances are ephemeral, they vanish with the fall of a curtain, and don't intend to miss the great ones if I can help it.

Well said, laurel, well said!

OMG, Sarah is going to sweep us out of our seats (to mix metaphors)! Thank goodness we are going to see this at the MET!