mimsyb

Also, wouldn't Ashton fit into this category? Although a great mime and he "danced" many character roles, he was never considered a great dancer. But what blissful choreography! And wouldn't Tudor also fit the bill? Stretch it a bit and you'd have DeMille.

Yes, I could also do foster home for kitty. I recently lost both of my own so there's room! And I have a blue bedspread (a' la the NY Times photo), so Selah would feel right at home!

NINA, very definitely. Also in my list would be Plesetskaya and Svetlana Beriosova. Perhaps Cynthia Gregory.

Totally agree that the Balanchine canon is so large and varied as to not seem repetitive to NYCB and yet still give ABT dancers an opportunity to dance a bit of Mr. B's exciting works. " Liebeslieder Waltzer" would be wonderful!!! I'd also vote for "La Sonnambula" (which I believe ABT has done in the past). What about "Danses Concertante"? Or if there's anyone still alive and around who remembers "The Card Game" . What about "Ballet Imperial"? Just a few thoughts

And remember that students are accepted according to a very rigid and demanding physical standard. The "weeding out" process is brutal and early. Only the very talented and brave survive. And the technique taught (Vaganova) is the only thing taught. Not a little of Ceccetti, a bit of RADA, an ounce of French school. It's very specific. The refinement and pedigree shows, even in how they take their bows.

I say this with all politeness but . . . I have to disagree. In my opinion, New York doesn't need a second home for Balanchine. Instead, ABT should revisit its pre-Baryshnikov past for inspiration and renewal -- there's a lot there. I, in no way meant or implied that ABT should become a second home for Balanchine. But he is considered by many to be the finest choreographer of the 20th Century, and most classical companies, both domestic and foreign dance his works on a regular basis. And in New York City whenever companies come to visit. (MIami City Ballet, SF Ballet, the Mariinsky, etc. etc.) His extensive canon of works allows for many opportunities for companies to show their dancers in his particular genius. His ballets offer technical and musical challenges not always seen in other choreographers' works. Many companies offer productions of Ashton's works. Or Robbins. Or MacMillan. Or Forsythe. Or Petipa! Balanchine should be included on a regular basis. As should Tudor. Perhaps even Fokine. How else can a classical company be truly measured and considered? Seeing either/ or of the NY companies dance Mr. B's work doesn't detract from either. But enriches both. And surely we, the audience, would reap the benefits.

I'm with you on more rep nights! And even some of the rep you and others have mentioned are in some ways "story ballets", so they fulfill two needs. Both "Rodeo" and "Billy The Kid" tell a story. As does "Lilac Garden" certainly. Most of Tudor has a story of sorts to tell. As does Ashton. I'd love another go at his "Sylvia" and possibly "Ondine", for either Cojocaru or Osipova. "The Dream" is always right up there. As is "Illuminations". As for Balanchine, as you said, anything they can get hold of. But one that ABT has done in the past is "Symphoney in C". It's best done on a large stage as it uses so many dancers. And it offers so many opportunities for the dancers to really do something!! Someone also mentioned "Jewels", which I'd certainly pay to see ABT dance. And also, alas, "La Fille". The current ABT crop of dancers would do wonders with this ballet.

Thank you Helene for that wonderful review. I am also in total awe of Cojocaru. Seldom do we see such complete artistry and musicality in one dancer. Her ability to take and use a musical phrase to the benefit of the role and character are unique and breath taking. Brava Alina!! The "Prince" you refer to in the Rose Adagio is the splendid Isaac Staapas. He has been such a pleasure to watch over the years in so many roles. IMO he owns Tybalt in "R&J" (no one even comes close to his interpretation). To see his Jailor in "Manon" is to see evil incarnate. His Hilarion is very special. Even his Lizard Rothbart is an amazement. Again IMO he should have been given a chance at "Purple Rothbart" also, as he is so handsome and sexy on stage. And could do the technique, I'm sure. I could go on and on about so many more of his roles, both character and classical. No one' dies' on stage like Isaac (with his eyes open!!). His partnering in everything he does is assured and right there for the woman. He is always in character on stage. He is able to create for himself (and thus for us) a total being on stage that holds our interest, whatever he does. Sadly, he is retiring this year (I think after L.A.). ABT's great loss. He has been one of the BEST ever! A classsy guy. He will be so missed. And if anyone can talk him out of retiring, PLEASE DO!!

I agree about Jose. A real possibility. I've also been noticing Daniel Mantei a bit lately. He's improved a lot even in this season. And I like Roddie Doble too. And Joseph Phillips. Ribagorda always looks good, and Joseph Gorek is starting to catch the eye also.

Absolutely - Sarah Lane has leapt to another plateau. She holds the stage and projects and appears to have found out that less is more: that she is "bigger" just doing her thing instead of punching herself out and trying to be "big." Of which principal in operation Alina Cojacaru is Exhibit No. 1. How extraordinary! I was thinking the same thing watching Lane last night. It's as if she watched Cojocaru and a light bulb went off in her head! IMO she's had a sort of rough go of it this season. Never really making an impression. Always making simple mistakes and seemingly to push on herself so as to become a distraction. But last night in Bluebird she just became another dancer. I could see her breathe into all the technique and just "do" the role. No pushing, No weird faces. No technical mess ups. And she didn't seem to be fighting Simkin in their partnering. She just let it happen . She absolutely showed herself to be on a higher level last night than all season. Brava Sarah!

Totally agree. There just are not enough opportunities for the corps to really dance. Every dancer needs stage time, in addition to special coaching and training to feel comfortable in a role. At NYCB, everyone dances every night, sometimes in two or three ballets. And not usually stage decoration roles like peasants, etc. Whatever one felt about the most recent three ballets done at ABT during their recent Classic to Premiere week, both Ratmansky and Wheeldon used corps dancers in their ballets and they danced beautifully! Whenever we see them dance in ballets like 'T&V 'and "Leaves Are Fading", etc. they look like remarkable technicians AND partners. I saw many dancers in these ballets who looked like they had very real potential for upward movement. ABT has a problem with their insistence on doing so many story ballets that have limited opportunities for the entire company. I think after awhile the dancers forget how to really do what they trained to do for so many years. And after many years of this, even the corps dancers get older and no longer look so motivated. As someone noted on this thread, if management keeps bringing in the stars, there's no real hope of going forward. There seems to be a lack of mentoring, along with great teachers working with the dancers to bring them along. It must be very discouraging for a corp dancer. I realize that stars sell tickets, which is maybe our fault as an audience too. And most of the audience (other than we, the balletomanes) really only want to see "Swan Lake" and "Giselle". It's a conundrum, for sure. While we're at it, my vote for male dancer movement would be Joseph Phillips, Mikhail Ilyin, and Roman Zhurbin. (outside of all those crazy disguises he wears, he's a wonderful dancer!). I would have added Isaac Stappas, as I think he is amazing, but I understand he is leaving after L. A. A real loss for ABT.

I would tend to be on the side of a spectacular farewell performance last night. Unlike some, I found Julie to be the most passionate and moving of all the Odettes I saw so far this season. (all but Michelle Wiles). Her vulnerability and softness in Seigfrieds' arms was heart wrenching. Her mime was wonderful and authentic. She told her story. "Here's how I got here". Unlike others, I find her arabesques to be absolutely right. Long before it became obligatory to hold those balances (especially in her entrance), it was correct to pique on "one" and recover to faille for the lovely arms and head movements. The music absolutely tells it to be so. She is so musical as to be an extension of the score, so I never know where the dancing begins and the music overlap. Few can master this. Ulanova was one. Not much more can be said of Jose and his extraordinary partnering skills. They were in absolute synch the entire time. I didn't let go of my breath until the final bourree off. I might add that Julie's soft , whispering battu into her slow final fouette before the final pose was breathtaking. And when she repeated that move in Act IV, now with the leg barely circling the fouette in a much lower mode, it spoke to her complete dejection and shattering of her love and hope for salvation. She has so many details in her interpretation that no one else manages. Brava! Gillian, as others have reported, was beyond belief. Nothing technical stands in her way. But unlike some, I find her "gruffness" entirely appropriate. She's a villain, controlled and in cahoots with Rothbart. The fact that she comes across as so different from Odette and is still able to fool Seigfried speaks to his character also. It makes the change up all that more tragic. She doesn't need to have a relationship with Siegried. Her real relationship is with Rothbart, and here she succeeds, utterly. And I think the fact that Rothbart and Odile go in separate directions at the end is fine too. Surely they will meet up later to "divide the spoils", so to speak. Perhaps her other image is an owl, or a bat. Whatever, Rothbart has probably conjured her also and given her human form at his whim. Jose was just so wonderful throughout, pulling out all the stops. His turns and even most of his jumps were age defying. But his partnering and stage manner stood out in every way. What a presence! He will be surely missed. Most of the rest of the performance was of a higher caliber than on other nights. (IMO). The corps got it together, cynets and big swans looked great. And even the Act III dances had a higher energy than previously. Kudos to Susan Jaffe, looking very regal and sexy at the same time, so you could believe her momentary attraction to Rothbart. Like the other princesses, even she seems taken in by him. Given Hallberg's wonderful sinister manner and gorgeous lines and jumps, who wouldn't be taken in by him? A big shout out to Joaquin! Nice to see you out of leotards for a change! Altogether a great send off for Jose! The after glow continued into all the bows as others have mentioned. Great fun. Especially seeing Bocca do his little "rhumba" step on stage! The lady who I think others have identified as Ferri, I think was Vishneva, but I could be wrong . When she first came on stage with her back to us, I too thought Ferri, but when she turned around, I thought Vishneva. I friend who was at the party afterwards did not mention Ferri being there. Does anyone know for sure? Part came on all in black with VERY high heels! I didn't see Osipova either. I didn't see either Cornejo or Corella. But just seeing Jose's beautiful smile and honest gratitude at the bows was so worth the night.

Is Renata retiring? Hope not!! She is one of the most reliable of all the corps, who as mentioned, has been dancing nearly a soloist load for a few years without the promotion. Can't figure that one out. Her technique is more consistently assured than either Sarah Lane or even Yuriko. Her piroettes are magic and she's one of the few corps ladies who can do a decent entre chat six. And her stage presence in everything she does is a stand out. A wonderful dancer in many styles. A true asset to ABT. It would be so nice to see her get that promotion! SL tonight was a totally different story than last night. Gillian just gets better and better (especially her white act), and her Black Swan is pure force of nature! David superb, especially in his acting which gets only better. And oh, those feet! Everything about this performance said "special". Except for Gennadi as "purple Rothbart" who looked like he became injured mid solo in Act III. He seemed to stop dancing and also looked to be limping a bit when he walked. Hopefully, it's not serious. But aside from that, the performance was a triumph! One thing. what's with the curtains? Last night the red divider curtain wouldn't open properly and tonight the traveler wouldn't move either for the bows. A small blemish.

Agreed, Abatt. Irina just couldn't get it together with Jose. (how hard is that?) She literally walked through the White Act, and her Black Swan was a bit over the top with no real interesting technique to make her alluring. She just gets the job done these days. Period. Jose looked wonderful. And even with his best dancing days behind him, still he brings a strong personality to the character and I can still admire his technique, however diminished. As for Gomes! Wowza! The whole stage came alive at his entrance and everyone seemed to be in another ballet at that point! Up to then, it was somewhat back to the same shaggy corps work from previous weeks. For me, the Pas de Trois lacked clarity and nuance. The three dancers all had a different idea where the count of "one" happens, thus the work looked blurred. And those overly long dresses on the ladies in the First Act make it difficult to see much of anything going on with the feet and legs. Little Swans was OK, if not totally together. Big swans, likewise with little amplitude to either Stella or Hee. Ballroom dances were OK, I guess, but after seeing so much of that style of dancing in "Coppelia" the week prior, it's beginning to look a bit like "So You Think You Can Czardas!" But Gomes made it worth the price! And I had had the same experience with no tickets available, so bought a Grand Tier standing room. But I was rewarded just before the curtain went up with the usher coming over to me and giving me the one un-occupied seat in the house! A no-show for Center Grand Tier! Now, how bad is that? Everything IS beautiful at the ballet!

Baffling? Stupifying is more like it! What a blown opportunity to welcome ABT back to City Center with a rep of almost no consequence. OK, "Upper Room" never fails to electrify and "Seven Sonatas" is a lovely work. But they did dance it already at City Center at their last season there. "Sinatra Suite" is a total throw away. Why only do the "junk pas" from "Known By Heart"? In it's totality, it's a wonderful work. The male duet alone is worth the price of admission and a tour de force for two great male dancers! Both of the Taylor pieces are better danced by the Taylor company. (and Taylor just did "Black Tuesday last Spring) . "Duets"? With Cunningham closing shop, is this the way we will now see his work? Can ABT even do his style? "Garden of Vallandry"? Do I remember correctly? Is this the one with the nudity? Oh yummy! Volpi? Maybe he's the next dance genius! I needn't even list or mention the many choreographers and their works that are missing from this rep. We all know who and what they are and what they represent to ABT. What a shame! But one thing I did notice about this rep is that outside of "Seven Sonatas", which is performed on one grand piano, none of the works needs an orchestra! Mmmm? The wave of the future? So sad!

Reyes/Cornejo...oh the pairing could go on and on. The thing that is so frustrating for me is that ABT hasn't performed this Ashton classic sense 2003 I believe. Which I don't understand. The critics loved it. Everytime I went to the Met to see it the house was nearly always full meaning that the public clearly enjoyed it, and you can't help but get the strong sense that dancers adored dancing the ballet. It needs to come back - ASAP. vipa - I get what you're saying and I understand it. Vasiliev is an unpolish gem in many ways. But maybe with the proper coaching - from Tharp herself or perhaps even from Baryshnikov, Vasiliev could perhaps pull it off. It certainly would be a challenge for him but I think at this point in his career he needs challenges in order to further develop himself into an even great artist. IMO. I also love your suggestion for Miss Julie. I've never seen it but I've heard and read enough about it, it would certainly make me run to the theater to see it. I think Mussel created this thread asking the posters their own personal opinions at what they believe ABT maybe bringing to the Met during their 2012 season. Nothing has been posted on ABT's website about what ballets they will be performing because I think it's too early for that. I think this thread is merely a fun guessing game for us ballet lovers. I could be wrong...it certainly won't be the first time. LOL. Here we go again! Vasiliev isn't even a regular at ABT! Even with coaching from either Tharp or Baryishnikov, wouldn't ANYONE want to see perhaps Joseph Phillips or Craig take on the role? Or Aaron Scott? That's a prime example of a ballet that could so easily and successfully be cast from within the company ranks. For me, after seeing all the casts of "Coppelia", my best moments came with Riccetta/Mathews. Wonderful, honest dancing that came across the footlights with flair and fun without all the physical derring do that often seems so false. Especially in these story ballets that rely on mime, staying "in the box" and relating to others on stage are so important. Keep it in the family!

Yes, I suspect we will be seeing Vasiliev next year, based on the audience approval rating. He is easy on the eyes, despite his thunder thighs (how else to jump so high?), but his Bolshoi style landings from said jumps were pretty noisy, and I'm pretty sure the menage of double sau de basques with the one knee up is the same one he threw into the choreography of "Bright Stream", that no other dancer doing the role did. So, maybe it's what he does. I wish his endings were clearer, cleaner, but his "gee whiz boyishness" is effective and he seemed to be OK with Xiomara. As described above, her big eyed delivery works for this role and she seemed at ease with the choreography. I wish I could say that the production had much going for it. Sets and costumes looked very dated, and the corps had none of the polish they had exhibited with "Bright Stream". They just didn't seem as happy to be there. It was back to the scruffy corps dancing seen so much this season. The frilly headpieces on the friends made them look a bit like chamber maids. "Dance of the Hours," "Dawn" and "Prayer" were all nicely danced, but the real dancing comes so late in this production that it almost seems a second thought. There's so much mime, especially in Act I that even the many kids around me had difficulty following it. "When do they dance?", said one Exactly! And for some odd reason there seem to be no other people living in this imaginary place. The open square that begins the ballet looks like maybe this is Chernobel, until the dancers finally do come into the picture. Usually, we get a few extras doing stuff to fill out the stage. Ah well, we can't have genius in every ballet, I guess. But coming after the delicious and inventive "Bright Stream" of the previous week, this seemed like weak pablum by comparison. I'm hoping Osipova and Simkin can breathe some life into this relic.

Vipa: I tend to agree with what you saw on Tuesday. I rather enjoyed "The Lesson" (maybe not the best opener), and found it an interesting piece of dance theater. Kobborg was menacingly scary,and until he was just announced as dancing with Cojacaru in "Sleeping Beauty", I thought it would be the only time I'd see him. So, now I'll get another chance! The work is dated, I guess, but still riveting in many ways. (BTW, I once had a chair thrown at me in class by a well known teacher who will remain anonymous) "Bourneville Variations" needed more rehearsal, in my mind, but still an interesting work. "Lost on Slow" showed the Danes in a whole new light. I liked their edgy attack and with most of Elo's work, one either likes him or not. I happen to think he's a different voice in the newer choreographic field. "Napoli" was sheer joy! Such energy and life. Loved the dance with the little boy! And I had no problem with the "differences " in costuming. Having traveled in Italy extensively and seen many local dance and folk troupes performing out of doors, the costumes were entirely in keeping with my experience. These groups are trying to preserve the older dance forms of the culture and one frequently will see the musicians, singers, and other members of the group in modern attire with perhaps a pair of suspenders on the men, or flowers in a ladies hair. But mostly the dancers, both men and women, all wear peasant attire from an entirely different era. So, it all made sense to me and gave the stage a real "human"look. I welcome the Danes and look forward to seeing "La Sylphide" on Sunday.

Forget the Cubans! Wait for the Trocks! But see "Bright Stream". I think once the word gets out on this one, the seats will fill. This is just the BEST!

AGREED! This was the best new ballet ABT has acquired in a long while. Tears were running down my cheeks I laughed so hard. Everyone was outstanding in this first cast. (I'm happily looking forward to seeing all the other casts on future nights) Hallberg should be awarded a "Giselle" next year! His pointe work was really amazing! But his acting just blew my socks off! Who knew this most sublime of classical performers had a such a wicked sense of humor? But really, everyone was a standout. And the choreography just gleamed with style, wit and a smartness seldom seen today. Hats off to Ratmansky, but kudos to all. Especially the dog! SEE THIS BALLET!!

Agreed. Well put, Abatt, on all accounts.

Empty seats at ABT Across the Plaza one can see "Jewels" so bright and danced with glory Pas de Deux that need no story? Mearns and Peck and Wendy Whelan De Luz and Angle Who's complainin'? Clapping hands could not get much louder Especially when we watch Miss Bouder! But at the Met Across the way We get this pap from Neumeier Not for me this "Lady C" It's best to stick with Mr. B! I like NYCB. However, on a good night with a great cast there is no question in my mind that ABT beats out NYCB no matter what they are dancing. Is there any dancer at NYCB who can equal Vishneva, Osipova or Cojacaru? I think not! Similarly, there are no men at NYCB (since Hubbe left) who can equal Gomes, Hallberg or Cornejo. Not to mention we are seeing the superstars Kobborg and Vasiliev this season at ABT. Balanchine ballets require a certain technique - some think it a style. The classics performed at ABT's spring season, though we have seen them often, demand an enormous degree of strength and a pure classical line. I'd like to see a NYCB ballet dancer pull off a great Giselle. Ashley Bouder was complaining on Twitter when she had to dance Don Q in Russia because there were so many props (guitar, fans, castenets, etc.). After seeing Osipova last year as Kitri, I would say props are the least of that role's difficulties! Also, there are very few full length ballets at NYCB. Most are about 20 minutes and each usually has a different principal. It's no mean feat to be a principal in a full length ballet and do it 2 times in a week, which regularly happens at ABT. So, with the wonderful Vishneva and Gomes dancing Camellias last night (in an outstanding performance) I'd rather put up with the "pap" from Neumeier rather than see the well worn "Jewels" (not always danced well) across the plaza. Well, they are just such different companies! They are not "star based" in any way. One is as likely at times to see a corps dancer doing a solo as to see Mearns. Originally, there were no differences with the dancers. Everyone was listed alphabetically. And ask anyone who has danced "Concerto Barocco" or "Square Dance" as to how difficult is is to maintain THAT for twenty minutes! Many a great male dancer came knocking on Mr. B's door only to return to being a prince somewhere else. And I haven't as yet read any full reviews about Karla Korbes' interpretation of Giselle at PNB, but she was a real product of NYCB. As was the great Peter Boal. And Damian. It only shows, yet again, that there is surely room for everything in the ballet world. How very lucky we are in NYC, to see a Gomes or Hallberg, or Cojacaru. But also to revel in the amazing choreography of Balanchine.

According to the man at the Atrium window, it is ABT's decision, not the Met's. But he may not know the full story. He said they have requested several times for ABT's participation, to be turned down. Who knows? Likewise ABT's (not BAM's) decision during the monster blizzard last Winter not to reschedule any Nutcracker tickets, despite many people's inability to get to Brooklyn due to the storm. Ah well.

I saw Jewels twice over the weekend across the Plaza, and there were substantial numbers of empty seats there, too. Bad economy? Out of control ticket prices? People enjoying the great outdoors? Not sure of the explanation for this phenomenon, but if NYCB can't heavily sell Jewels - one of their most popular offerings - they need to do some serious analysis of the reasons. Last night the house was very much sold! Except for down the side boxes. I got my seat at the Atrium (a great deal!), which to my knowledge ABT does not participate in. Too bad. But you're right. Both companies have escalating prices and will need to address this issue in order to fill the house more.

Empty seats at ABT Across the Plaza one can see "Jewels" so bright and danced with glory Pas de Deux that need no story? Mearns and Peck and Wendy Whelan De Luz and Angle Who's complainin'? Clapping hands could not get much louder Especially when we watch Miss Bouder! But at the Met Across the way We get this pap from Neumeier Not for me this "Lady C" It's best to stick with Mr. B! To each his own I always say And better fare is on the way For on the morrow come the night We'll get to cross the Stream most Bright!