mimsyb

Amour - I received my trio/create your own series tickets a little while ago.

Has anyone received the exchange ticket instructions with their trios/create your own tickets? The MET only included a form to mail exchange tickets back to the box office, but nothing else. Does anyone have the priority exchange dates, and know if box office exchanges are still possible 24 hours before a performance? Thanks.

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.

Margot Fonteyn as Aurora and Alessandra Ferri as Juliet had the ability to portray youthfulness long after their youth.

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'm glad to hear you enjoyed the Lovette/Finlay R&J abatt. That's really too bad about Chase's injury though. Since he's come back from his from his foot injury he hasn't seemed as strong a dancer. If he is seriously injured we could have Robbie, Andie and Chase out for Spring:( That really leaves a big gap for the men. I predict Huxley and Stanley will get more and more roles. But La Sylphide! I was pegging Andie to do at least a few of those. I guess we'll just have to see what happens.

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

I cannot erase the images of De Mille's Rodeo as I try to absorb the Peck piece... it gets in the way of my appreciating it. I would have a much easier time seeing the Peck work on it's own terms if I had never seen DeMille's.... my mind did keep interrupting with 'but.. but... but..." and it is distracting.

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.

To Amy and mimsyb - when was the last time you saw Lopatkina dance live? from the audience in the theater?

and certainly Lopatkina is not a ballerina that says (acts like), "look at me" - it's not her culture nor her.

I have seen her dying swan in 2008 at NYC City Center and now at the Kennedy center, and both times she made me cry. it was a very intimate portrayal of dying swan, and i felt almost as if i am trespassing the privacy of a dying creature. Her swan was not fighting for life with falls or swaps of wings but more with her feet and something inside of her body that was refusing but can't help death.

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.

Cinderella. Nope. A big nothing of a ballet. I got it a few days ago on DVD so I was not surprised tonight but still it was a disappointment.

The sets and costumes are very minimal. They have a sort of industrial look, like Fritz Lang's Metropolis. The story is very confusing though. If I hadn't seen the Ashton and Kudelka versions I'd be totally lost. Who are the four seasons and why are they here? (There were none in previous versions......

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.

Cinderella. Nope. A big nothing of a ballet. I got it a few days ago on DVD so I was not surprised tonight but still it was a disappointment.

The sets and costumes are very minimal. They have a sort of industrial look, like Fritz Lang's Metropolis. The story is very confusing though. If I hadn't seen the Ashton and Kudelka versions I'd be totally lost. Who are the four seasons and why are they here? (There were none in previous versions......

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!

That was indeed interesting -- many thanks for the link.

So many ballets are set in some version of the natural world (Sylphide and Sylphides, Giselle, Swan Lake, just a few), but we don't often think specifically about what it is like to dance outdoors. I loved the way she slid into a lunge after running, and the look of her feet on pointe in the loam.

Hope they didn't get poison ivy!

This is not being presented by Lincoln Center festival. The Joyce Foundation, with additional funding from other sources, rented the Koch Theater for that week. I think most of the tickets for the first night are being held from sale because the first night is a gala to raise money for the Joyce Foundation. The gala program is only the Dream (a one hour ballet), without any additional ballets on the program. That's why the regular seats are a little cheaper than other nights. You are essentially getting half an evening of ballet. On the other nights the Dream is being presented along with the MacMillan work.

From what I recall, the Scarlett work was not well reviewed.

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!

Someone up thread suggested giving Forster Solor at the Met. I would LOVE to see that and think he's more than earned that chance. He's been in the corps for seven years. S

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 agree with the prediction that Copeland will be principal, provided she gets good reviews in the NY press for her Juliet and her O/O.

What incentive does Kochetkova have for leaving SFB? She is a star there, and has been there for a period of years, gaining pension and other benefits over time. She enjoys guesting elsewhere, including numerous galas all over the world. She has no real incentive to go full time at ABT as a full member of the company. She is probably quite happy to drop in for a few guest appearances during the MET season. I guess if ABT throws enough money at her it could happen, but I would be surprised if she left SFB.

I guess I'm a pessimist, but I don't think McKenzie has any intention of ever promoting Lane to principal. She never gets important new roles in full length ballets. She has been doing SB and T&V for a few years already.

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..........

For those who don't know, Patty McBride was one of the honorees of the Kennedy Center, shown tonight on CBS. The show is worth well watching, both to see old clips of Patty and for Tiler Peck's outstanding performance in excerpts from Who Cares (old costumes, yay!) and Dances At a Gathering. Tiler is so remarkable, such an artist, it is always such a great pleasure to watch her. Unfortunately, they also chose to have Jeffrey Cirio (Boston Ballet) and Lauren Lovette do a few minutes from Rubies and Misty do a few minutes from Tchai Pas. This is the 2nd time I've seen Lauren do Rubies (the other time at YAGP with Herman Cornejo) and both times made me cringe. I also did not like her Sugarplum in Nutcracker this season. I'm not sure what's going on with her but she is not ready for prime time, IMO. I think she's being pushed too fast. And Misty in Tchai Pas? She looked leaden. Why not Ashley Bouder? Patty was a NYCB ballerina after all. For that matter, why not spritely Sarah Lane (if you're going to use an ABT dancer)? Anyway, the show was a loving attribute to Patty and well worth watching.

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!

Congrats to her - a huge loss to ABT.

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

I think the Trilogy was his best work for ABT, but it evidently didn't sell because ABT has not brought it back.

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.

"Doesn't even have a "real" Sugar Plum Fairy." There are other productions that don't have a traditional Sugar Plum. Nutcracker is one of those works that I think really does accommodate a lot of different choices.

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

Of the dancers at ABT, I would say that Gillian Murphy is their best Ashton ballerina. I've seen her do Sylvia, The Dream and Cinderella.

Looking forward to seeing Nunez at ABT doing Cinderella in July 2015.

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.

Personally, after seeing this production once, I had no interest in seeing it again. canbelto, as you said, the choreography is weak in Act 2. It doesn't have the divertissements I enjoy seeing in a Nutcracker. And the grand pas de deux is odd and sometimes childish. I don't like all the cutie pie stuff the female dancer does. With regards to Brooklyn, you'd think with all the families and gentrification, you'd have Brooklynites with money looking to attend a Nutcracker in their own borough. Maybe ABT needed to do more outreach.

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.

Very sad news. Sizova had the most amazing elevation I ever saw.

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

I think this development calls into question whether ABT is serous about offering high caliber ballet training anywhere, including at the JKO School. There are reasons that pretigious institutions like SAB refrain from this sort of gimmick.

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.

One thing I noticed about the Mikhailovsky is how diverse the company is compared the the Mariinsky.

It's very different from the Mariinsky, with their army of girls who look like they've all been selected to fit a certain aesthetic.

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 was there tonight. I really hope to read other impressions to compare notes, but here are mine. I thought it really a mixed bag. First thing - there were a lot of empty seats. I don't know why.

Raymonda Divertissements - IMO Hee Seo just doesn't have the amplitude, musicality and assurance to do this. It takes a ballerina that can do a lot with steps, port de bras and covering space. To me she doesn't own the stage and project enough to bring this off. Whiteside's variation was good. Copeland & Lane are a mismatched duo in the first variation, but it was pleasant enough. Skylar Brandt and especially Christina Shevchenco pulled off their variations well, but truthfully I'd love to see a little more musicality and phrasing.

Lilac Garden - I'm one who thinks this should always be in the ABT rep. I was with someone who rarely sees dance and she was riveted by the stop action moment and what followed. I thought Devon Teucher a good Carolin but didn't care for Part as the mistress. The main reason is that I never saw the "stop action" moments from her that suspend time. Martine Van Hamel was amazing in this way. Also some of the lifts didn't gel. There is one lift where she is almost parallel to the floor which became a move-though instead of a heart stopping moment. It's funny because my usual criticism of Russian dancers is that they seem to me to be too position oriented.

Fancy Free - Loved Gomes & Cornejo. Stearns didn't make much of his solo. Julie Kent was a disappointment in the pas, but maybe I'm too used to seeing Tiler Peck across the plaza.

I'm going again next week. I hope ticket sales improve.

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.

I don't know whether this is more or less orthodox than Villella's Corsaire pdd. This television production of Brigadoon has never been released on video.

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.

I don't know whether this is more or less orthodox than Villella's Corsaire pdd. This television production of Brigadoon has never been released on video.

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!

meunier fan, I was also lucky enough to see Bruhn in those two roles and know exactly what you mean. Did you ever see Henning Kronstam in character roles? I saw him as the puritan in Whims of Cupid - so stiff you could almost hear him creak.

I suppose the Danes are so much better because of their exposure to the stage from an early age. They go from kiddie extras in Napoli to dancing first the Sylph and, when age permits, Madge.

Danish character dancers always remind me of that James Bond title song: 'Nobody does it better, makes me feel sad for the rest'.

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.