mimsyb

I finally got my tickets and,no, no info about the priority week or box office exchanges or any other benefits. I know tickets go on sale to the general public March 22. Generally, the priority week is the week just before. But I will call and ask to make sure. I'd suggest doing the same. The telephone number is 212-362-6000. Priority sales happen beginning this Sunday, March 15th at the Met Box Office. I think the windows open at Noon.

I would agree that sometimes a more seasoned dancer has the ability to act a role and become the character . As mentioned, both Ferri and Cojocuru danced this role splendidly and both did so well past the given age of Aurora. As for Fonteyn, she is still the ultimate standard bearer of this role. No one has ever surpassed her portrayal. MO. And of course we can also look to Ulanova who danced well past her supposed "don't use" date. Anyone who saw her dance Juliet can attest to her remarkable skills to bring a younger character to full life. These roles require so much more than just technique and actual youth. Can't speak to the new ABT production, but I have no trouble going with Vishneva for my first viewing of this revival. The "younger" ladies will eventually come into the role, but for now I would prefer to see the more seasoned ballerina. And besides, Vishneva has the remarkable Gomes by her side, so what's not to like?

I'd also like to see Joseph Gordon get a few more things. He's been quite impressive this Season.

I agree, to a point. While I greatly enjoyed Peck's musical response here, I still felt the music said certain things at times (accents, etc.) that just can't be avoided. Many of us are so familiar with this score and associate it with DeMille's work. Hard to put that aside. Oddly, "Mercurial Manoeuvres" (also on the same bill at NYCB) uses the same Concerto that Ratmansky used for his Trilogy, and here I found no conflict. I could enjoy it on it's own terms with no memory overlapping one or the other. Maybe further viewing of the Peck piece will give it it's own place. I did find it, overall, a good piece of choreography.

I didn't see the Mariinsky this time around at BAM, but did see Lopatkina at the Met (several times) during their previous visit. Don't get me wrong. I am very much a Lopatkina fan; I find her splendid. I was only commenting on what I saw vis a vis the two film clips. Lopatkina seemed to be "outside" the role, while Pavlova seemed to totally embody the swan. MO

Lopatkina is lovely, but Pavlova tells a story!! Lopatkina is all beautiful arms, legs and torso. A ballerina. Pavlova is the swan, wounded, vulnerable. Lopatkina says, "look at me"! Pavlova is almost painful to watch, as if she desires to die alone, like most creatures of the wild. I would applaud for Lopatkina, because it is a dance. For Pavlova I would be in tears.

Now you know why I call this the Original El Cheapo production. I first wrote "El cheapo" at an Internet cafe on Nevsky Prospekt the morning after witnessing the premiere of this ballet at the 2002 Mariinsky Festival. Now New Yorkers can "enjoy" the scaffolding. Now you know why I call this the Original El Cheapo Ratmansky production. I first wrote "El cheapo" at an Internet cafe on Nevsky Prospekt the morning after witnessing the premiere of this ballet at the 2002 Mariinsky Festival. Now New Yorkers can "enjoy" the scaffolding and flimsy polyester ball "gowns"!By the way, the notion of the Cinderella fairies representing the four seasons goes back to Zakharov's original version to the Prokofiev score, at the Bolshoi. Ashton's version came shortly thereafter, also with the season fairies. In those older versions, the fairies are women; Ratmansky's are men. Mathew Bourne in his version of "Sleeping Beauty" also had a few of the fairies in the Prologue danced by men. I guess ballet is an equal opportunity venture!

Hope they didn't get poison ivy!

Neither was the McGregor. What a strange assortment of work to present to a NY audience. Still, it's not the "same old, same old". I just purchased a seat for Wednesday (day after Gala). Got second Ring, first row! Yeah!

What a great idea! Giving Forster a Solar. First of all, he's a wonderful actor (see his Iago in "Moor's Pavanne" if you need proof). Also, he's grown so much as a dancer. The eye always seeks him out on stage. And he's tall. Please, please give him a chance. Before he too goes elsewhere.

Just back from tonight's performance. Pure joy! Such elegance and style from all the dancers. Clear, clean, batterie. Gorgeous port de bras. Perfect fifths! Every dancer a stand out. No show offs. No "hey, look at how great I am". Just wonderful, refreshing ballet. How I long for the whole company to dance again (and soon!) in NYC. I was grinning from ear to ear, start to finish. MacKenzie and Willy Burman behind me. A few NYCB dancers also. Highly recommended, if there are still any seats available.

I too would be surprised if Kochetkova left SFB for ABT. Her rep at SFB is far more interesting and challenging than what she would get at ABT. But who knows? As for Sarah, this may be sacrilege, but to my eye she hasn't improved remarkably in the past few years. She dances the same roles, pretty much as she has always danced them. Well, but not so improved or better. Unlike Stella, who seems to be dancing at a new peak of perfection. And even Stella can't land that promotion! And let's not forget that "newbies" (Teuscher, Shevchenko) are both fast rising in the ranks. I hope the best for Sarah, but I wonder..........

I believe that Ashley Bouder has been injured this fall (someone please correct me if this information is inaccurate). I am not sure about Sarah Lane's situation, but she could have declined their offer. Patty appeared to enjoy all four excerpts, and America got to see several leading dancers in some Balanchine classics. I'd say it's a win on all fronts. The program was filmed a few weeks ago, so perhaps dancer availability had something to do with casting. I did love getting to see the short film clips of Patty dancing. She was one of a kind. And what I liked was that she seemed to be having such a wonderful time at the presentation. And not just when she was being honored. Every time the camera came on her (and it was often, as she was seated next to Sting!), she was smiling and clapping and seemingly to be thoroughly enjoying herself. Her wonderful smile was everywhere!

Agreed. Big loss for ABT and the NYC audience. But she deserves this, big time! Congrats all around.

At San Francisco Ballet the Trilogy (co-produced with ABT) is being brought back for a second year – "due to critical and audience acclaim." It wasn't originally scheduled when the 2015 season was announced, only Concerto #1, so everything was reshuffled to make way for it. Here's a reheasal clip (with 10 lovely seconds of Simone Messmer at :52). https://www.sfballet.org/tickets/production/overview/program-5-2014 I saw the SFB's production of The Trilogy last Spring. Stunning! Huge audience success! Well danced in every aspect. Never once did I miss or long for the ABT production. Well worth bringing back for a second year. Haven't a clue why it doesn't sell here.

Perhaps. But the music tells us differently. The dance and choreography have to be in compliance and harmony with the score.

I too look forward to Nunez this Summer, but I would also add Julie Kent as a fine example of an Ashton Dancer at ABT.

I agree. I saw it twice when it first was produced and I never much cared about seeing it again. I too agree that it is choreographically weak, for the most part. The "snowflakes" are about the only thing that held any interest for me. Most of the rest was just too silly and convoluted to make much sense. It never captured the wonderment that the Balanchine version has in spades. It simply isn't much of a fantasy. Doesn't even have a "real" Sugar Plum Fairy". Most of the divertissments were sort of dumb with little dancing to make them interesting. And all that "when I grow up stuff" (inside the house) was pointless. This ballet has one of the most beautiful, expressive dance scores ever written and yet Ratmansky missed the boat again and again. And on a personal note. The sight lines in the Opera House at BAM are just not very good for dance. (I know, lots of dance is performed there). But unless one is in a front row of a section, one is usually directly behind another person making it difficult to see. Compare that to the State Theater where most of the seats are just fine for viewing, no matter what the price of your ticket! Also, there was that horrible snow storm during the first year they did this ballet. And ABT refused to make any accommodation whatsoever to ticket holders who simply couldn't get to the theater. They did them selves no favors in the PR department there. (but what else is new in that area for ABT?) I for one was soured on ever going back to see it again. Let's face it, while the production will please many, it just falls so short of being worthy of seeing in so many ways. I have seen the Balanchine "Nutcracker" so many times (and danced in it when it first came to San Francisco when it was first produced....Party Scene and Hoops!), but I am always newly enchanted whenever it comes around again. There's a reason it's still the one by which to measure all others. Pure magic! Let the snowflakes begin to fall.

Yes, it was astonishing! A startling technician with such grace, style, and personality. Seeing her dance was life changing.

Yes. And it might be noted that at many established (and wonderful) companies in this country the "Balanchine style" has been displayed and preserved without taking anything away from each company's "individual style". SF Ballet, Boston, PNB, Miami City Ballet are a few examples. Each of these are currently run by ex NYCB dancers. All have excellent schools that train beautiful dancers. None have felt the need to have an" extension" of SAB as part of their training programs. And it might be noted that in each of these cases there are other schools in these cities that likewise offer good training. I do feel that to put the "JKO" label out there cheapens the product to some degree. As a few others on this forum have mentioned, there still are not a lot of dancers of high (or higher) quality being turned out at JKO. I know a few teachers who have taken the JKO "courses" that qualify them to teach that method, but in reality are not better teachers now than they were before. Much of the public is unaware or ignorant of what qualifies as good, or great teaching. They see a label and run to it. But the proof will always be in the product. In putting their name on it ABT and JKO will be responsible for it and it's care and handling. Time will tell.

The difference I notice is not sizes or looks but training. The Mikhailovsky takes dancers from all over: Bolshoi, Vaganova, there is one American and they don't all dance alike. I actually find that a bit bothersome. I think ABT (which also takes dancers from everywhere) does a better job of having the corps dance as one better than the Mikhailovsky. As for Vasiliev, having come from Saturdat night's performance, I was shocked at how really sloppy his technique has gotten. Much worse than the last time I saw him with ABT a little over a year ago. As canbelto said, if he gets anywhere near vertical he's doing well. Those tours are looking worse than James Whiteside's. He needs to get himself into a steady class or have one coach who travels with him. Right now he has incredible stage presence and can still pull off those barrel turns (though not as extreme in their angles) and land without falling over. But given the deterioration of his technique in just a year, that is not a good omen for the future. Right now he is young and presumably healthy (uninjured) enough to set things right. I just hope he has the sense and discipline to do so. Saw the matinee today. What a joke! Vasiliev is more than an embarrassment. I felt he took a wrong turn and should have gone into the entrance for the Big Apple Circus! It's no longer just about the lack of technique. He isn't even a competent performer. As to the rest of the ballet; glad I saw it, but hope never to see it again! I just want to say 'sorry' to the French. Never thought I'd long to see "Les Miserables" so much!!

I agree Vipa. "Lilac" should always be in the ABT rep. It is simply a superb example of dance drama and it would offer so many of the dancers an opportunity to do this type of work. Both the men and women would gain from learning and dancing this ballet. Last night was lovely. A few quibbles, but all in all a good rendering. (as an aside, I couldn't help wish that Carla Korbes had danced this role. To my knowledge she never has, but what a splendid Caroline she would have made). I enjoyed "Fancy Free" very much with the three guys just wonderful together. I especially liked Cory who had previously danced in "Lilac". What a contrast. Both women were fine with me. I missed Julio Brigado-Young's bar tender. A small role, I know, but he had just the right demeanor for it. The major misery of the evening was the "Raymonda". What a mess! No sense of style or spirit to the dancing. I agree that Sarah and Misty were ill matched. One couldn't help wonder if that was on purpose, given that both women are forever poised for promotion but...... Skylar is fine technically, but simply disappears on stage. With the horrible lighting this performance got, she was all but invisible. Would someone PLEASE show her how to put on make up? The four men were, as mentioned above, not in sync in any way. Not even stylistically. But that was true of the corps in general. Legs and arms all over the place. Lines not straight. On and on. The whole piece looked slap dash and thrown together. MAybe more rehearsal. Oiy! Seo and Whiteside totally forgettable. She's stiff and has no sense of elan or presence and his landings leave a great deal to be desired. Partnering was pretty rough. As mentioned above, the lighting was pretty bad and there was just a blue back drop for the most hideous costumes I've seen since "Sleeping Beauty". The corps looked like refugees from Hershey Theme PArk! Brown fur? Really? More oiy! Tutus overwhelmed the ladies and the men seemed to be in straight jackets. Doesn't anyone look from out front? Kolpakova got a bow at the end, but I wanted to throw tomatoes. Perhaps more rehearsal and a change of cast will bring this up to snuff. The best version out there is still from the "Trocks" who at least bring a sense of glamour and commitment to the work. Their epaulment is to die for. Last night looked like bored class work.

This is so wonderful! When I was a very young student dancer in Chicago, I was taught this very dance by James Jamieson, who was at the time performing Harry Beaton in "Brigadoon" while on tour. He was a guest teacher at our school. My memory has been rocked! I'm very curious -- what did he emphasize when he was teaching? Well, please remember I was a young dancer and in no way a professional (not yet, anyway!). But I do remember him speaking about our 'ballon' and always pointing the feet. Also, the way we 'carried' our upper body and head. Important lessons for a young dancer, for sure. And as it was a dance for a male dancer, we surely must have struggled a bit trying to do as he asked and taught. But these are experiences one doesn't forget.

This is so wonderful! When I was a very young student dancer in Chicago, I was taught this very dance by James Jamieson, who was at the time performing Harry Beaton in "Brigadoon" while on tour. He was a guest teacher at our school. My memory has been rocked!

The Danes, of course. But we shouldn't forget Ashton. He was also one of the best. And Roman Zhurbin at ABT is well on his way to becoming a wonderful character actor/dancer.