mimsyb

This is just a guess but I bet the Ashton full length will be Cinderella. Two Ashtons in a season? mmmm?? Would that it could be "La Fille Mal Gardee" rather than "Cinderella" Or here's a long shot. A "Daphnes and Chloe" Guess that wouldn't sell tickets, but I can wish.

Stay with Kochetkova. Because with her you get Herman Cornejo! Oh yes!

How wonderful that a new ballet, it's music, history and choreographer can generate so many diverse opinions and comments. I, for one, applaud the fact that art can make us all think and contemplate so much. How often does this happen today?

This is truly a masterwork, rarely seen. I won't comment on the dancers, as I thought each cast had something important to offer the work. Everyone stood out, each for something unique. Ratmansky has a way with dancers, for sure. I hope this Trilogy is shown again, and soon. (perhaps in the Fall Season). And I hope it won't be split up. Each ballet offers something of a very special nature. Layer upon layer. Impossible to digest with one viewing. I saw three performances (and both casts). But as a Trilogy it stands as one of the finest dance works in recent memory. Thanks to ABT!

I wonder if this news has anything to do with the fact that Osipova will be now dancing at the Royal. I'm only wondering.

Well, that's just crazy. All dancers get injured. It comes with the territory. ABT has seen it's share of injured personal. To deny promotion based on that criteria is nuts. There maybe is some other reason? One has only to look at how she's dancing so far this season to understand she is most definitely of principle caliber.

I agree about Gemma. She's usually quite good in these roles, so maybe it was just an off night for her. She's been getting a lot lately. My all time favorite in this role is Renata Pavam. Not seen much lately. I think she's had an injury. But she danced last night as one of the wedding guests and looked her usual sparkling self. Yeah, Renata! I also very much liked Gillian and MAtvienko. A nice pairing and he's a wonderful presence. More, please. And Stella and Sasha were in peak form....both individually and as a team.

Also, don't forget that NYCB usually has reduced price tickets available at the Rubenstein Box Office (Atrium) on day of performance. I've always gotten pretty good selections there. ABT doesn't use this service. And I agree about sight lines. Just better at the State Theater.

Corsaire with Murphy gets my vote. Pretty silly story though. R&J definately go with Vishneva/Gomes. Sylvia with Murphy/Gomes. Another silly story, but a fun ballet nonetheless. Avoid Sleeping Beauty. Really ugly sets and costumes. Go see NYCB

It could be that "Month in the Country" is more of an "ensemble " work, even though it does have leads, etc. Hard to know. Sometimes (although I would doubt that this is the case with Ashton) a choreographer designs the bow and decides who/where/how a dancer bows. What about Tudor? (it seems so long since we've seen Tudor at ABT). I believe there are no front of curtain bows in say, "Pillar of Fire". And clearly works such as Tharp's "Upper Room" don't get front of curtain bows, even when Cornejo or Gillian are dancing. It could simply be the "mood" of a piece.

To digress ever so slightly. Rudeness (it seems to me) has become the norm, not the exception at some performances. All that whooping and hollering, giggling and snorting has become something to be expected these days when certain stars step onto the stage. And while I can agree to a point that "Don Q" is a"popcorn ballet", it is still part of the traditional canon of classical roles and needs to be addressed as such. Sometimes too much salt on popcorn can make it unappetizing and coating it in caramel brings to mind the circus. Cue the whooping and hollering!

Just a follow up to some of the observations re: "Symphony in C". One of the posters did mention that Balanchine would alter steps to allow for different dancers abilities, etc. As ABT's version was taught, set and coached by Merrill Ashley and Stacy Caddell, my guess is they had the option to add or subtract as they saw fit.. for this company. Not every company has to dance this ballet exactly like NYCB. Wrist flicks and shoulder heaves are individual "tics" , perhaps of training. Remember that NYCB dancers are almost all SAB trained, unlike ABT where training can come from varied sources. Sometimes certain moves are not appropriate. As for the "six o'clock, forehead to knee arabesque", this too can be an "invention" (if you will ) of current and past dancers. LeClercq never put her forehead to her knee. We see it; we think it's the "norm". But it doesn't necessarily have to be. And as someone else noted. 2nd Movement is not a tragedy. It's almost a declaration of joy and "other-worldly-ness. Having danced this movement (and 4th), I can tell you to be on stage during it is no tragedy. One feels exhultant

I can only offer thanks to David LaMarche for daring to take the "Symphony in C" tempos at proper speed (especially 4th Movement!), and to the ABT dancers in this cast (Thursday night) who danced brilliantly throughout! I thought only Ashley Bouder could move so quickly, so cleanly. Such excitement! The hair on my arms was on end ! (still is!) Could we even hope that this ballet will be presented again in the Fall at the State Theater? And I need to re-iterate my thought that Stella was simply outstanding! No words.

Osipova danced the third movement of "Symphony in C" yesterday afternoon - quite well according to report. I will see her tonight. However, Herman Cornejo is injured (per a note in the program at last night's performance). He was replaced by a very fine Ivan Vasiliev whose sloppy showboating mannerisms were nowhere in evidence dancing Balanchine. He looked wonderful. Agreed. He didn't (nor did she at the matinee) "over dance" the third. But I wasn't impressed with how he looked in the black costume. Against all the other ABT men who looked so sleek, he came across as looking a bit "rumpled." But at least he can do a really clean entre-chat-cinq and that counted. Can someone tell me please. At the opening step combination in the third, was there ever a double sau-de-basque. I seem to recall that happening with a few of the male dancers of yore. Just wondering. My amazement wasn't so much with the Russian duo as with the absolute gorgeous-ness of Stella in the 1st movement! OMG! Sheer perfection. Tell me again why this woman is not a principle? And then there was the outrageous beauty of Polina and Marcello leading the 2nd. Words elude me. For a ballet that tells no story, the two of them spoke volumns. For me the cast from Wednesday matinee in all three ballets was the one to see. Happily, I get to see them again tonight!

Thanks for posting this. I couldn't be there, but it looked as if Irina had a wonderful send off. Her daughter looks to be a charmer. Thanks to Irina for many wonderful years at ABT. Well done!

I was told once by the man who helped me at The Atrium 1/2 price kiosk that it was indeed the decision of ABT not to use the kiosk or to discount tickets, unlike NYCB. The Met had nothing to do with it.

Yes, Hallberg started cooly, but heated up as the evening went on. By Act III both were on fire! That actually worked for me; he as somewhat the distant and unattainable one. She can use some work on her un-supported piroettes, but all in all a gorgeous performance. And Jos. Gorak was outstanding. Surely there is a Romeo in his future? A nice shout out also to Roddy Doble as Gremin. He, too, just gets better and better and more versatile. A seemingly stronger and tighter production than last year's. The many nuances of Cranko's choreography, especially for the corps, seemed to come into sharper focus. Seeing Vishneva/Gomes on Friday and I'm sure it will also be special. Orchestra last night was sort of filled, but many were there on freebies. I was, as were several around me.

Lara Teeter opposite Makarova was no slouch either! But I rather liked this production. Yes, Irina needed better amplification and maybe a bit more make up in Act I, but all in all I think she was splendid. Bravo for a musical theater debut! Also, Joaquin stood out. Funny, suave (well, sort of), good comedic timing and great tours en l'air! He also should look into musical theater if he decides to retire from ballet. Choreography by Carlyle was innovative and fun. Those supported fouettes on the benches blew me away! Nice work all around.

Both "Coppelia" and "Midsummer" require extra children, which may be a reason for not touring it to Kennedy Center. It entails extra rehearsals, $$$, etc. "Jewels" is (for me) like "Nutcracker". Never out of season and always perfection. it's a great opportunity to showcase an entire company also.

Thanks for this. Gelsey had just this special "ease of movement" not always seen in today's dancers. Even Osipova. I'm always aware of her doing things. Gelsey just did. It seemed to come from no-where, but stayed in the mind. Translucent. And Makhalina was always a favorite. Never got her due.

Freddie and Chura. "Nutcracker" " Everything was beautiful at the ballet"

It's better than "Mr. Selfridge". ;) Though to be fair, it's a completely different kind of show - simpler and more subtle. Selfridge should have been a great show, given the subject matter and point in history, but alas, no. Agreed. The simplicity of "The Bletchley Circle is what makes it so compelling. "Mr. Selfridge" has so much going on it becomes confusing at times. Cluttered. Like shopping at a Filene's Basement sale. But the hats worn by the female actors are all splendid!

Also recommending it. Great story, great atmosphere, and wonderful acting. Watch it!

Saw it. Granted it's still in previews, but it's very much a work in progress. For me, it never captured the persona portrayed. No one ever came to life. Under written, under directed, under played. Like watching paint dry. From watching this, no one would know these were giants of the last Century. (yawn)

And I believe he's been dancing in "Newsies" on Broadway also.