mimsyb

I also wonder whether it may be a lesser known member of the company.

She resembles Pamela May a bit to me, but as she retired in 1952, this might mean the photo is from the tour in 1949? In 1949, Pamela May was about 32.

Pamela May was blond.

In the background there is a piece of scenery etc. that's labeled "Royal Ballet". I don't think it's Beriosova and I'm sure it's not Maryon Lane, Anya Linden, Rowena Jackson - the list goes on. The photo is being sold by a dealer on line (but I'm not buying it, I'm just obsessing a little to find out who she is)... thanks everyone -

This doesn't look like Fonteyn to me either. Violetta Elvin? June Brae? Sadler's Wells became "Royal" in 1956, so it's possible that scenery would be marked that way. But if this is early 50s, then no, it wouldn't' have the "Royal" on it's scenery.

Pretty much any leading ballerina from the Kirov, Bolshoi, POB, Royal, etc. would be better than the incessant parade of Boylston, Seo, Copland, etc. Maybe it's just me, I don't know, but financially the season was a disaster, and that's not an personal opinion, but a fact. And my feeling is that it will get much worse before it gets any better.

The problem, for me, arises when visiting artists from these (and other) companies, only come to do the big, older ballet "warhorses". Which , I suppose, is OK, except they rarely "fit" with the rest of what's going on in the ballet. Stylistically, there's little coherence. They rarely even "relate" to others on the stage. And many, but not all, don't do the more forward looking work that is still a part of the ABT rep. Even Osipova could barely muster a performance out of "Symphony in C". And I would argue that she didn't come up to snuff doing the Ratmansky "Trilogy". For me, I would much prefer if we could see some of these visiting artists more frequently with their own companies, but of course that would mean they all do more touring abroad. The only dancer in current memory that defies all that I just said was Marianela Nunez from the Royal. She seemed to be a nice fit for ABT when she guested here. And Cojocuru. Well, it's an endless argument. One that resides on one's personal tastes. For now, I do support the dancers we have now in the company and enjoy so many of them. One day we may be adding any one of their names to the list you originally stated.

Sounds great. Too bad they will be excelling in that elusive style of their own in an empty theater. Nobody to appreciate it except for a few dozens aficionados and close friends/family of the home-grown 'stars'

And who exactly are they developing while their audience longs for really good dancers? Forgive my bluntness, but there's no Ulanova, no Guillem, no Maximova, no Fonteyn, not even Makarova in sight. ABT will end up raising another bunch of Boylstons and Seos that nobody wants to see, especially in Ratmansky productions. Probably the whole thing will be eventually relocated to LA where the culture-starved audiences will lap up anything for a couple of years, before the last trip to total oblivion in a storage dump somewhere in Nevada desert.

Well, each of those dancers mentioned were nurtured by their own individual companies. And probably represent a more "European" or "Russian" esthetic or style. Here in NY we tend to look to and appreciate the more open and athletic style of America. It's what Balanchine loved so about the dancers he found and trained here and what certainly influenced all that came after. I would argue that there are no finer dancers anywhere than at City Ballet (Sara Mearns comes to mind) and there are many at ABT that are also simply thrilling to watch. Skylar Brandt, Cassie Trenery come to mind. Catherine Hurlin in that list also. Tastes are what they are, I guess, but my vote still goes to bringing them up through the company and nurturing them accordingly.

Didn't Seo do two performances because she filled in for Semionova?

I don't mind one or two outsiders brought in per season, but one for each performance is too much for me, when I'm still waiting to see Gillian dance Giselle, Stella dance O/O, Sarah Lane dance Juliet, Trenary dance anything.

But I understand some folks feel differently.

I am of the opinion that a dancer doesn't get better or grow in a role if all they get is one performance in any given season. These things take time, nurturing. Any performance given over to a visiting star (who more often than not has nothing vested in ABT) is one less chance for our "home-growns" to discover what they need to do to improve or shine brighter. And if a ballet is not performed again say, for two or more years, well that's just time taken away from their growth as an artist. Getting real stage time is very important for any dancer. I hate to keep re-iterating this, but it's one of the reasons that so many of the dancers at NYCB can actually hope they might move up. Everyone does so much dancing during a season, in so many ballets, that an AD can really see which dancer is ready for promotion. I think at times if dancer "A" or dancer"B" is always seen in the "Swan Lake" corps, then that's where they stay. Maybe ABT should do a "Night of the Stars" and use that one performance to showcase a bunch of visiting stars. And then leave the rest of the Season to the actual company members.

But wasn't that the original problem -- Carabosse didn't get invited to the party, and so all kinds of hullabaloo ensues? The gods only know what might have happened if they'd kept shrinking the guest list!

More room on the stage to dance???

This type of situation is not uncommon in the ballet world. Joe Walsh left Houston Ballet as a principal, went to San Francisco Ballet as a soloist, and was promoted the same year. Kajiya and Matthews went to Houston Ballet as soloists and she was promoted after Nutcracker. He had to wait until June. We do not know why Whiteside had to do more principal roles. I know, from being in Boston, that Cirio has danced numerous classical roles, as well as Balanchine leads and contemporary roles, many more than his male soloist counterparts at ABT. Additionally, he has guested around the country and world, guestings that are not mentioned in his ABT bio for some reason. As ABT fans, it can be disappointing not to see favorites within in the company promoted. Imagine how SF dancers and fans felt or Houston dancers and fans felt with the aforementioned additions. This is the ballet world.

It is the ballet world. One might add the name of Simone Messmer to that list. First with SFBallet and then with Miami City. She was unhappy with the former, but seems to have found acceptance with the latter. David Hallberg probably ruffled more than a few feathers when he went to the Bolshoi. Osipova to the Royal. Joseph Phillips, Carla Korbes, Sterling Baca, etc. etc. Dancers need to go where they feel their careers will flourish the most. Some balletomanes and other company members will be happy about additions or promotions. Others may not feel the same. It's not an easy profession and nothing is guaranteed.

For me, the Ratmansky SB is the type of large scale spectacle that is perfect for the gigantic Met Opera stage. I hope they keep this production for a long, long time.

Well, they kind of have to do it almost every year just to amortize it's huge cost, etc. It must really cost a lot of money just to maintain the costumes. It would be the third year in a row if it's brought back again next year. Same with "R&J". However, in "Beauty's" case, it does offer quite a few slots in which to see many dancers. And that's all to the good. And besides, they do "Swan Lake" every year. It's all good. It's just not my favorite of favorite ballets to see repeatedly.

The fiddlers are there in the original notation, and actually, Aurora leaning on them makes sense if you look at her arabesque penchee position. It would make sense she's actually greeting people at her party. Don't know why you object to them.

Yes, yes. I know they are there in the original notation, but I've seen other productions where the same penchee position is taken down the line, but at times it's been on the shoulders of her "girl" friends, who are playing mandolins. At other times, I've even seen the four male suitors do the kneeling bit. I think what I'm objecting to is the ugliness and out of color scheme of their costumes and that they just add so many more people to that stage. Their costumes plus the really trashy costumes of the Garland Waltz folks just makes the entire stage look out of sorts. And there are 16! (yes) adult supers who are all dolled up in those period long dresses and wigs and hats also on stage. (BTW. Can't anyone teach those supers how to walk like Dukes and Duchesses? Some look like they just came up out of the subway on a hot day). So, in the end, I'm not objecting to Aurora "greeting people" at her party. I just wish that perhaps a few less people had been on the invite list. There's so much going on here; I merely wanted a bit more clarity and focus. It's why, for me, the Vision scene is such a stand out. One can actually see what's going on. As someone commented to me recently, that after all the frills and ruffles of this season, they were looking forward to a "black and white" of Balanchine. Amen!

Overall I liked the production and the choreography very much —I was mighty pleased that the design team kept the sequins and spangles to a minimum — but I loathed loathed loathed the puppet heads and animal masks — so you're not alone on that score. I was glad that Cinderella and Prince Fortune got to dance, but if it had been my show, I would have cut the walk-on fairy tale cameos. (For the record: Ogre and Ogress, Bluebeard and Ariana, Porcelain Princesses, Mandarin, Scheherezade, Shah and his Brother.) I might have kept Hop-o'-my-Thumb sans the puppet head to give the kids at the JKO school some more performing opportunities, but as it stands it's relatively charmless. Frankly, I prefer the Puss-in-Boots and Red Riding Hood material that Martins crafted for his version of SB. But I'll keep Ratmansky's Precious Stones, thank you very much.

I prefer a glamorous Carabosse myself, but a more obviously and conventionally scary one may be preferable for the kids in the audience.

One of the MOST GLAMOROUS to dance Carabosse was Merrill Ashley at City Ballet. Oh my! She was enough to want to go over to the "dark side". I always loved the fact that she (Carabosse) was in her way beautiful, as it made more sense that she was indeed one of the "girls" (the other fairies). They are all so lovely, why shouldn't she be also? And it made sense why she would be really upset and angry that she wasn't invited to the Christening. If there was "real choreography" for Carabosse in the ABT version, I could easily see Veronika Part tearing it up. She has a wicked smile and that exceptional gleam in her eye.

As to all the "add ons" in this ballet, I don't object to most of them from the last Act. I do think the two ogres and all those children could be eliminated, however. Did anyone else have a problem with the fact that the Ogre goes after the kids with a meat cleaver at the end of their variation? My main objections come in the Birthday scene. Far too many people on stage, many just roaming around with no purpose. Most pull focus from what is important to the story. The Garland Waltz has the MOST hideous costumes ever! They have no relation to the rest of the decor. When all 48 of those people get going with their endless balance's, I got nauseous I know it's a waltz, but are there no other steps that could be done? Maybe about 12 or so fewer dancers in the dance would also make it more pleasurable to watch. I'm waiting for Balanchine's exquisite "Garland Waltz" come Spring at NYCB. As for those little fiddlers in the Rose Adagio.....geez! Also costumes that totally clash with everything else on stage and all that busy, busy stuff they do is just a mess. The four Princes have sleeves, hats, wigs that detract from the beauty of "Beauty". It's just all too much. There is much to like in this "Beauty", but one has to wade through a lot of dross to get to the wonderful parts.

I think the promotion of Cirio was a good move. He's versatile, has a winning way on stage, is a good actor, has danced lead roles at Boston (he was a Principle there), so I think he'll be of value to ABT. There will come a day when even Herman will start to cut back on roles. Simkin is good; I always enjoy watching him, so I think there's a place for both Daniil and Jeffrey. At this point, we don't know the status of Lendorf with the company. There seems to be a few female dancers now on the horizon for stardom, i.e. Trenery, Brandt, even Shevchenko (also small), so there may be a need for more than one smaller male dancer. I have no answer in regards to Sarah Lane or Joseph Gorak. That news may still be coming. Or not. Both have been passed over before,so who knows at this point. Also, I'm in the minority, but I don't feel Calvin Royal was ready for promotion just yet. Despite his winning way on stage, he has some technical issues to address. And no, it's not an illusion. He doesn't point his feet all the time. He goes in and out a bit for me. Some nights really wonderful, some nights just OK. But the best promotion was that of Blaine Hoven. He's worked so hard over the years, so this is well earned. Good for him!!

So happy for Trennary. I would've definitely gone to see her Aurora if only I didn't have to work during the day. What a pity they gave her one matinee only(((((((

Me too! Had to work. Boo! I really wanted to see her. But, for me, she is the face of the future for ABT. She has it all!! While I hope she gets new opportunities, my hope is that she will not go too fast. Avoid injuries, etc. One of the things with Trenery is that in addition to the more classical roles, she also excels in more contemporary work. Happy to hear she was a winner!!

ABT at one time had both longer tours and more rep nights (yes I am old). That combination naturally gave more opportunities to up and coming dancers. Having more rep didn't mean ties to Balanchine, as is sometimes suggested. I remember seeing works by Tudor, Ailey, DeMille, Feld, Tetley, Lubovitch, Ashton, Lichine and others. Often there would be a splashy pas de deus thrown into an evening. I'm not saying it was perfect or that everything was great, just that the company has moved to more story ballets and less rep while having a reduced tour schedule, and this presents difficulty in terms of developing dancers.

I too remember those years. It's one of the reasons I started watching ABT. Yes, not all the ballets offered were stupendous, but because there was so much diversity, the dancers became so well rounded in terms of having so many choreographers' works to dance. And more dancers got to show their "stuff". Now we may see a "Rodeo" now and again. "Fancy Free" shows up also, as does the occasional Tudor. But with so few performances a slight few get to dance the roles and then these ballets disappear again for several years (or forever). There's no continuity to build on and get better. Dancing a role once, maybe twice, doesn't allow for growth, either technically or emotionally. One just doesn't "pick up where one left off" and dance a credible Tudor ballet. It takes time. I too love many of the story ballets, and I am also grateful for any offering of Ashton's work that ABT gives us. But I do wish that ABT weren't so reliant on the "biggies" for monetary benefit. And I wish it didn't have to play the Met. I sometimes wonder if NYCB had had to dance at the Met all these years instead of the wonderful State Theater, it would look as great as it does. I think, at times, having to give the rep it has to give at the Met is a real downer for the ABT. Sadly, NYC doesn't seem to be able to offer a better alternative.

OK. So, I've thinking and pondering for a day or more about the Thursday Ferri/ Cornejo "R&J". I even took a day off to see "King and I" across the Plaza. Excellent, BTW). But to "R&J". I am with McCauley and the "approvers" on this one. I didn't buy a ticket to this expecting to see the Ferri of 20 years ago. I bought my seat with the assumption that if she had agreed to dance this role again and with her old company and back on the Met stage, it was very possible that she felt ( for her) there was more to examine and say about this role. And so I went just to hear this new "voice". I came "to listen". Somewhere up thread someone made the comment that her mother asked when "the words" would happen. For me they happened the minute she came on stage. I heard again the poetry of Shakespeare in her dancing. Her ability to use the choreography to tell Juliet's story was astonishing. So often we see a dancer "move here on count six","drop the green shawl just here". But for Ferri it was as if it was all just happening, now, in the moment. Yes, some of the choreography may have been a bit altered from what we know, or even danced in a different place on the stage than where we usually see it done. But that only added to the immediacy of her dancing. Think back one week to the discussion of whether or not dancer "A" or dancer "B" does 32 fouettes in Black Swan and you'll know what I'm talking about. It really isn't relevant to the entire portrayal; the whole picture. Here we saw a young girl come of age before our eyes, fall in love, find the need to make a possible life altering decision, and in the end come to utter betrayal and heartbreak and death. Ferri's ability to "say" all of this with her dancing was what I came to see. And I found my reward. OK, she started out a bit tentatively, but then so does Juliet. Her awareness of Romeo and it's ultimate repercussions were finely etched. The beginning moment in the balcony scene where she places his hand on her heart also brought the beautiful lyrics of "One Hand, One Heart" from West Side Story to mind. And I thought the bedroom scene from pas de deux onward was one of the best ever. Was this the definitive "Romeo and Juliet"? Hard to say. But it is the one from which I will judge all others. A very great artist has "spoken" to us in a new and energizing "voice" . I truly hope that the wings at the Met were crowded with the young dancers of ABT. (I know. That may not be possible).. Still, this was an exquisite lesson in how a ballet should, or could transform us. Thank you to Alessandra for your courage to dance again. And thanks to ABT for making it happen. Bravo to all.

NYCB has the advantage of SAB which funnels excellent dancers into the company. What I noticed about NYCB is that in the last five or six years there has been a big turnover in the principal roster at NYCB. Unlike ABT, everyone loves the new dancers especially the ballerinas Sarah Mearns, Tiler Peck, Tess Reichlen, Lauren Lovette et al. There is also a huge number of young ballerinas like Ashley Isaacs, Ashley Hod, Sara Adams etc. that people are excited about. Thanks to the nature of the repertory with lots of casting opportunities, these young women are getting major breaks. The male roster at NYCB is much weaker with less promising male talent coming up. Chase Finlay's injuries stalled him after a quick progress to the top. When I came to NY circa 1990, NYCB had a stronger male roster than ABT with young prime time Boal, Woetzel, Evans, Adam Luders, Soto et al. The problem with the male roster at ABT is that Kevin kept hanging on to that "Born to Be Wild" contingent for too long. Gomes and Hallberg started to be developed in the early aughts. But since then only Cory has been developed and brought forward from within to replace them. Meanwhile lots of defections over the years.

The problem with ABT is that the JKO School hasn't yet delivered the same results that SAB has in recent years. There are talented dancers out there like Catherine Hurlin but thanks to the hierarchical nature of the casting and repertory, they don't get enough chances. Ratmansky always gives corps dancers breaks, also dancers who are being neglected by McKenzie. But there is a lot of stagnation going on and the rash of retirements that occurred over the last few years hasn't brought new dancers the public has taken to their hearts except for Misty Copeland. Copeland's rise is due to her own self-promotion and I don't hate her for it. Not only she benefits but the company and the African-American community's representation in the arts but the whole genre of classical ballet in itself is getting more visibility. Boylston shows little progress in artistry and style, Seo is bland and technically weak despite all the push she has received. Stella Abrera has shown the qualities of a great ballerina and expressive artist but still isn't being used to her fullest extent and only has about five more years at the most.

I've mentioned this before but ABT never really replaced the late Georgina Parkinson and Irina Kolpakova cannot work with everyone and doesn't from what I have heard. Susan Jaffe is no longer in the picture. That leaves the likes of Susan Jones, Nancy Raffa, Clinton Luckett and Keith Roberts - not exactly legendary ballet names like Kolpakova though probably very competent dance professionals. Golden age ABT dancers like Cynthia Gregory and Eleanor D'Antuono are around (D'Antuono has been working with the New Jersey Ballet) but aren't being tapped by McKenzie. The reasons may not lie with Kevin but these former ABT dancers themselves - Gregory lives and works on the west coast.

To return to the topic at hand: I didn't see any "Swan Lake" performances this year but Veronika Part is recovering from an injury from last Winter. I was told that it was a back injury according to someone who spoke to Part. So the stiffness in her upper body may be due to this injury - back injuries take a long time to heal and often continue to plague one over time.

I think Susan Jones only works with the corps. But one dancer who is in the New York area is Cheryl Yeager. Why she is not being brought in for coaching is beyond me. She would very much be a plus for the young women coming up. I think her daughter is in the company now. Hannah Marshall. AS to the JKO school not producing the same level of talent as SAB, things may change now that Cynthia Harvey is in charge. It will take time, but the previous level of leadership at JKO wasn't very compelling. MO

To segue back to the Swan Lake discussion (although I'm enjoying the discussion of the current and future state of ABT): We all know that Gomes is the ultimate purple V. Rothbart, but I'm curious who here thinks is the best (or has the potential to be) of the remaining dancers doing the role. I saw Hammoudi do the role last week and was disappointed. He didn't command the stage (although he had the cape swirl down pat) and lacked control in several of the steps. I would have liked to have seen Forster and Baca. Any reports on them? PS - I'm sad for the audience that Baca is leaving ABT but happy for him in his new path, secretly hoping that one day he'll return.

I found Forster to be quite compelling in the Purple Rothbart role. Very sinister and his dancing chops were solid. He has also shown his more sinister side in "The Moor's Pavanne". Going forward, assuming ABT keeps this version of "Swan Lake" (or keeps the "PR" role in some other version), I'd like to see either Jeffrey Cirio or yes, Joseph Gorak given a crack at the role. Both have incredible technique for the role and I think we just might be surprised at this perhaps anti type casting. Remember how winning Hallberg was in this role, and he certainly wouldn't be the first dancer I would have thought could have done it. Yet he was amazing in the role. Also think Calvin Royal could do it and even perhaps Daniel Mantei. Possibly Duncan Lyle.

Without having all the familiarity with the corps de ballet that others do, I also think ABT has outstanding talent in the pipeline. And I am also strongly inclined to agree that coaching could make a huge difference to what happens with these dancers. (I am always struck when ABT dancers who win various fellowships and prizes use the money to hire additional coaches.) Perhaps one can hope that some donor will consider making support for coaches and teachers a priority.

But I do think boards of directors would (and should) be extremely wary of ABT drawing talent from NYCB for guest performances especially now that NYCB has its own storehouse of nineteenth-century classics. (I know it happened with Veyette in Theme and Variations.) For myself, I have to admit, too, I don't favor moves in any direction that would homogenize the two companies . . . and don't know that I think the results would be artistically convincing. (I wouldn't mind seeing Mearns or Peck or Bouder do ANYTHING, but I think in less neo-classically inflected versions of the classics performed in a theater considerably larger than the Koch they would not necessarily look the way they look at NYCB. They would likely need multiple performances to make the experiment a success. And that hardly serves ABT.)

At NYCB, I have sat next to (quite nice) fans of the company who were adamant ABT was just dancers "walking around" in fancy costumes; they would not even entertain the possibility of going to see them. This attitude would not have surprised me except that we were at a performance of Martins' Swan Lake. They had no problem with NYCB dancing a full length Swan Lake or with Martins' production, but had no interest in seeing ABT's version (and even repeated the "walking around" business several times when I asked about it). This was 8-9 years ago, and they may not have been altogether typical, but the conversation did make an impression on me.

Re ABT's Swan Lake...Do people think Teuscher might have Odette-Odile potential? I was wondering about that after watching her this season in the Shostakovich Trilogy. And last year, in the Ratmansky Sleeping Beauty, I thought she carried off the huge Lilac Fairy headdress very well. That's a minor thing perhaps, but speaks to stage carriage and presence. (I don't know her exact height, but she has lovely legs.)

Another potential O/O (for me, at any rate) would be Christine Shevchenko. She too has lovely line and extension and when given the right role always brings a warmth and intelligence to that role. On someone's opinion of doing "SL" over a longer period of time, it could be done certainly. Many companies (ABT included and of course NYCB ) already do that sort of thing with "Nutcracker, and in City Ballet's case, every Spring they seem to do quite well with "Mid-Summer's Night Dream". "Swan Lake" is one of those ballets that has numerous opportunities for dancers to do small and not so small roles, so it offers more dancing to more of the dancers. I know it would cut into perhaps doing other, more experimental works, but this year's "Golden Cockeral" didn't do all that well with ticket sales. I wish that on a few of the rep nights, they would insert a ballet that always sells tickets, such as "Upper Room". Also, ballets such as "Rodeo" and "Fancy Free" usually brings in audience. I think "Les Patineurs" could become that type of ballet also. The list of ballets from ABT's rep is very long, but we so seldom get a chance to see them. I'd also like to see an extra week done at the State Theater in the Fall, so to offer more opportunities for the dancers to perform works. New works, revivals, even perhaps trying something like "Bright Stream". It's such a superior venue for dance than the Met stage.

Not this season. I mean instead of something else next season. Too bad for those of us, I included, who have a long wish list, but having seen how empty the house has been the first three weeks of the season, I'm thinking of helping to spread the gospel and bring in more ticket sales.

Perhaps too many people come just to see the current "stars". Ticket prices are high, so it precludes many from "trying" either an unknown ballet or a somewhat unknown dancer. If one were to cast Misty in more works, I'm sure the seats would fill more readily. It's a shame really. But sometimes putting all of one's eggs into one basket makes the basket very heavy.

I wasn't very impressed by Part when I saw her back in 2009 but I changed my mind this week. Other than Part I don't really have any favorite for Odette. I like Gillian as Odile but not as Odette. I know many people will hate me for saying this but I never liked her port de bras in SL.

To me, the gold standard is Nina and no one on current ABT roaster comes close to her.

I agree about Nina. No one could touch her of that generation. A magnificent and complete artist. How she is missed!! I remember seeing two dancers when I was young who seemed to be the epitome of the dual role of Odette/Odile. They were both from what was then the Sadler's Wells Ballet, now the Royal. They were Svetlana Beriosova and Beryl Grey. Both were stunning. But after seeing many of those dancing the role now at ABT, I would have to say that Gillian has upped her game considerably. We know she can do the dazzling tricks of the Odile character, but I was greatly impressed with her Odette this season. She has grown in this role and now stands above all the others. After seeing her with Cory Stearns (yes!) on Wednesday, I came away breathless. The two of them brought such rapture and passion to their roles. The way he "discovers" her, caressed her arms during the pas de deux, fell into her at times as if truly protecting her and showing great love. I wanted at times to say, "get a room"! It was that passionate. I could see them "falling in love". He too, has upped his game in this ballet. What an amazing soft, giving plie' in all of his dancing. Bliss! I came away from the theater on Wednesday feeling I had seen greatness on many levels. Nina? Perhaps we will not see her likes again, but really it was an incredible evening on Wednesday.

Regarding "Schlagobers", the ballet. In addition to not being a well known entity, it's odd to pronounce and certainly opens itself up to some negative play on words. "Schlockgoobers" anyone?

As to "Raymonda". She has a lot of friends and they ALL have variations! It would need some serious editing and also serious marketing in order for it to sell tickets. It is a long ballet; very long.

Yes you would -- it's a lovely ballet.

And ABT would do it great! Also, love the idea of seeing "Birthday Offering". Lots of wonderful dancing.

I agree if a choice has to be made, it would certainly be Copeland over Trenary. But, I'm guessing that if they do 8 performances of Giselle (a full week including 2 matinees) and there are 7 female principals who do the role or who would debut (Abrera, Boylston, Copeland, Kochetkova?, Semionova, Seo, Vishneva) then there'd be room for one more debut, unless someone gets to do it twice (Vishneva probably).

I think we should add to the predictions list whether or not David Hallberg will return.

Or IF Semionova returns! Personally, I don't see Misty as a Giselle. A Myrta would be a better choice for her skills. (oh, I forgot, she doesn't jump all that well ) I think Trenary would be a splendid Giselle.

I'm going to be a contrarian and say that Veronika's performance last night was not as good as her past performances. I thought her back looked stiff. There used to be so many details where she used her supple spine to heighten the choreography that seemed to be missing last night. As an example, there is one section in Act II where Odette is leaning into her partner with her back facing the audience and her partner is holding her lower back. That should have been the spot where Odette curves her back into a deep bend. Uncharacteristically, Part just leaned her head back but her spine remained erect and still. There were many such compromises last night, I thought.

Gomes stole the show. Incredible. He oozes charisma from every cell of his body.

Added: Part had no chemistry w. Whiteside. I never thought I would say this, but I think she is more "simpatico" with Stearns.

I would agree generally about Part's performance. Although brilliant and emotionally moving at times, she just didn't seem to be "on her game" last night as much as previous performances I've seen her do. Still, I think she is one of the best swan queens out there. And I would re-phrase your comment about having no chemistry with Whiteside to read that Whiteside had zero chemistry with her! She was doing her best, but there was absolutely nothing from him in return. But then he didn't have much rapport with anyone on stage last night. Totally a blank slate. Hence his dancing became boring, at least to me. The pas de trois in Act I was very well danced, with Calvin Royale looking especially strong. The Neopolitan duet with Gabe Shayer and Jonathon Klein also very good. The corps was a shambles in many places where they used to shine. First Act Waltz of the Aristocrats was a total mess (why can't anyone in this company do a decent entre chat six? Or for that matter count music?). Swan formations were also raggedy and sloppy. Kathryn Hurlin did stand stand out as one of the "big Swans", and as the Spanish Princess. She is a "comer", for sure. But the stage really only came alive when Gomes arrived as Purple Rothbart. His character has evolved now to one of total brilliance. The stage crackles when he is on it!! I might add that Gray Davis as "Swamp" monster" was only slightly alright. I've seen others in this role (R. Zhurbin, for one) who have made something truly menacing out of it. Not last night. All in all, just an OK performance. And I too don't care if a dancer does 32, 24, or no fouettes. As long as what is done is musical and makes dramatic sense to the role.

I just got back from The Golden Cockerel and I have to say never again. For me there was way too much theater and way too little ballet. Or maybe too much theater is not what I really mean. If theater is defined as spectacle with fabulous sets, costumes, front and back drops -- there was too much, when accompanied by such little dancing. If theater is defined as the expression of drama, and deep human emotion there was none. In other words, if it was supposed to be a theatrical experience, it failed to touch or move me. As far as dance goes, there wasn't much.

I would have enjoyed a revival of The Bright Stream much more. If we want to go back to a Ballet Russes kind of spectacle, Petrushka would be a better choice IMO. I won't be going to the ABT Sleeping Beauty this year. It's usually one of my favorite story ballets but I can't sit though the Ratmansky version again. I'll wait for NYCB to do theirs next spring.

Totally agree, Vipa. Far too much spectacle and repetitive dancing by the corps (I guess to give them something to do) and really not much in the way of any development of choreography for either the Queen of Shemakan or even the Cockeral. Way too much mime that unless one came early and read the synopsis, it would be a huge question as to what was going on. I could see the money that was spent on the gorgeous costumes and back drops, but there was little of substance on the stage. I wish the money had been spent to advertise and push "La Fille Mal Gardee" a much superior ballet, IMO. (and that was a more family oriented ballet than "Cockeral"). This was just another example of "no there there". Empty calories. And I too will be staying away from "Sleeping Beauty". Looking forward to NYCB and their version. Yeah!

My only fear for him is the amount they dance in Boston. I was trying to see his casting this past year and it didn't not appear to be too heavy. The soloist and principal men carry a lot in Boston.

True, but that may in part be why he is leaving. To dance more now while he still can. Many dancers "re-make" themselves when out of a more structured system such as the PO.