abatt

Theme & Variations is a masterpiece. City Ballet does it often, but if you've never seen it you should consider it.

Acqua di Parma is a major sponsor of Bolle's performances. I recall seeing their ads all over the opera house a few years ago when I attended a Bolle performance at the Met. Acqua is also sponsoring Bolle's gig at City Center in September, Roberto Bolle & Friends.

Asking dancers to attend company galas and balls (without compensation) does not seem unreasonable. It's only a few times a year. It's no different than when companies hold Christmas parties or other events and expect their employees to attend (without any additional compensation) in order to make a good impression on invited clients. Also, I think dancers tend to make important connections that are potentially beneficial to them at such functions.

I know some people who still boycott Woody films because of the Previn affair. However, Sun Yi Previn and Woody have now been together for a long time and have a few kids together. In fact, I think they have been married a lot longer than most other Hollywood types.

There was an article in the NY Times a few days ago regarding the costumes in Blue Jasmine. Woody Allen gave the costume designer a budget of $35,000, which is peanuts for a film like this in which the characters are supposed to be very materialistic and wearing gorgeous, expensive accessories. I linked the article below. http://www.nytimes.com/2013/08/22/fashion/in-blue-jasmine-suzy-benzinger-turns-clothes-into-characters.html?pagewanted=all

In case the link doesn't work, the article title is How Much Is That Dancer in the Program?

http://www.nytimes.com/2004/08/15/arts/how-much-is-that-dancer-in-the-program.html?pagewanted=all&src=pm I've attached a 2004 NY Times article in which the pros and cons of dancer sponsorships was discussed. Interestingly, the article noted that SFB and NYCB were among the prominent institutions that had rejected dancer sponsorship. I guess Helgi has become more desperate for money in the intervening 9 years since this aritcle was initially published.

I have not seen Blue Jasmine yet, but based on the descriptions I've seen of the film it seems similar or loosely based on the Ruth & Bernie Madoff story, but with much better looking people playing their parts. One of my friends disliked it because Blanchett's character never "grew." However, I think that's the whole point - the wives of the rich and famous have lived vacuous lives for decades, filled with material consumption and parties but without any substance. After living this way for decades, it is too late for them to change once the financial rug is pulled out from under them. By the way I did see Blanchett in Streetcar at Brooklyn Academy of Music. It remains one of the highlights of my years of theatergoing, and it was a shame that it was never filmed or done on Broadway so that a wider audience could have seen it. Blanchett has said in interviews that she was not attempting to channel Blanche Dubois or her prior performance in Streetcar into her performance in Blue Jasmine.

Interesting. They have this at ABT, but at ABT every principal dancer has a sponsor, even if it's a corporation rather than an individual. I think it's much worse for morale if only a few dancers are listed as "sponsored" because it leaves the impression that those who do not have sponsors are somehow not as good.

So if a principal dancer, like Osipova, is removed from the roster as she was in early August is that confirmation that she has left the company? The "official" word I recall when she announced that she was joining the Royal was that she would continue her relationship with ABT, but perhaps appear with them less often. That doesn't jive with her removal from the roster, unless she is reverting to 'guest principal" status. Osipova is listed as doing some pdd w. Vasiliev during ABT's Feb/March 2014 tour to Japan. (All the Japan tour casting is now up on the ABT Performance Calendar.) So it seems that Osipova will still have a relationship with ABT in 2014, but the extent of that relationship seems unclear.

When was Hammoudi promoted? I

Holy cow. That's quite a move.

I understand that sometimes the roles of Odile and Odette are split between two ballerinas, although it is much more common to have the same ballerina do both roles. If Odile is actually someone completely different from Odette, having two different dancers as Odette and Odile makes sense. I actually think it woudl be interesting to see two differnt ballerinas.

Since most audiences at ABT talk at full voice durng ballet overtures when nobody is actually dancing on stage, I regard the ABT prologue in SL as a blessing because at least the audience is quiet and you can savor the music, even if you don't care for the McKenzie prologue choreography.

I wouldn't send a newbie to Davidsbundlertanze. I love it, but many people find it tedious. I would send a newbie to a Black & White program (or a program that contained at least one B&W ballet) because I think that it is essential viewing to have an understanding of Balanchine's neoclassical ballets.

I haven't seen these other American SLs. The Mariinsky's version is widely considered to be one of the best in the world. The Mariinsky will be performing SL in Washington DC in 2014 (Late Jan or early Feb). Obviously, casting is always an issue. If you live anywhere within a reasonable distance of D.C., I would recommend going to the Mariinsky SL.

Very fun video.

I would agree w. everyone that the Martins SL is a hideous abomination (although I hate his R&J even more than his SL). The only reason to see it is if Sara Mearns is cast. IMHO, most of the other NYCB ballerinas do not excel at story ballets, especially something like SL (though they have many other talents in non-story ballets). However, if they ever decided to cast Tiler Peck as the lead I would be there in a heartbeat. Doubtful that they will give her a shot at the role, though.

Isn't Stearns appearing w. the Royal Ballet during that period, as part of that dancer exchange between ABT and RB. (We got McRae for two shows.) I think Boylston will be appearing w. the RDB as part of that exchange. Surprised that Hammoudi isn't part of the lineup Perhaps he's still injured, I will skip this engagement. By the way, Cornejo will be performing w. Ferri in a dance performance piece by Martha Clarke off-broadway during December. That/'s why he's not in the lineup.

Here is a fascinating article on the claques at the Bolshoi from the NYTimes. http://www.nytimes.com/2013/08/arts/dance.designated-cheering-spectators-thrive-at-the-bolshoi-theater.html?ref=arts

Thanks to everyone posting their reviews of these performances. It's been a pleasure reading them.

Here's a very sweet story on Troy & Ashley's relationship: http://www.nypost.com/p/entertainment/from_misstep_to_duet_zR4lXiSwncddil2XqYD8sN The wedding will be in June 2014

The difference was pretty striking. Nureyev and Jeanmarie were enthralling. The acting of N/J, their facial expressions- played a big part of why I found them more compelling. In fairness, I think the professional camera work on the Nureyev clip might have had something to do with why I preferred it over the shaky, unprofessional recording of Vasiliev. Wasn't that Osipova in the yellow dress? I didn't find her seductive at all, especially in comparison to Jeanmarie. I think I've only seen this ballet live once, when Julio Bocca brought his own company to NY City Center during the late 1990s.

Thanks. I will try another browser.

Thanks Daniel Benton. I actually tried it both by logging in and by not logging in. The "choose seat by section" choice just stalls and didn't work for me in either case. The only option that works on my computer is "Choose Seats by Price", where the computer selects your seats.