abatt

Danilian's arrogance in this matter is evident. Instead of blaming Kevin McKenzie, he should be blaming himself and his lawyers for thinking that they could wiggle out of the non compete clause problem. It's also interesting that the Mikhailovsky management didn't think they had enough talent without Osipova and Vasiliev to warrant a tour to NYC. I hope this feud does not cause Osipova and Vasiliev to avoid signing up with ABT in the future.

I happen to be at the Koch Theater tonight for a NYCB performance, and I brought my Mikhailovsky tickets to the box office window for a refund. They had already credited my account for the full amount of the ticket purchase. The person at the box office confirmed that the tour is canceled. Very disappointing.

I highly suggest people run, don't walk to see Ashley Bouder's Firebird.

I have to agree. She was a spectacular Firebird. She devoured space with her breathtaking technique. Her understanding and portrayal of the character was much more developed and nuanced than in years past. I also have to note the captivating performance that Maria K. gave earlier this week w. Tyler Angle in In G Major. Any reports on the tonight's All Wheeldon.

Frequently, contracts contain a non compete provision which prohibits an artist (dancer, opera singer) from appearing with another company in the same city during the time period for which they have contracted with a particular organization. The contracts that Vasiliev and Osipova signed w. ABT might prohibit them from appearing with any other ballet company in New York City while they are performing with ABT. We'll see.

It was nice to meet you too, Natalia, and to catch up with other Ballet Alert friends.

I don't have much time to write at the moment, but I have to say briefly that Kondaurova was thrilling last night as Zobeide. She exudes sexuality from every cell of her being. Her dancing was superb. Loved the entire evening. The house looked sold out.

It appears that Bushnell revealed the name of the party that Chuck was having an affair with simply as a way to seek vengeance. That might make for a good Sex & the City sequel. It certainly was not necessary to name names for her to file for divorce. It makes her look petty. Also, it does not enhance her legal position. She could have used the threat of revealing the info to the press as a bargaining chip in the divorce negotiations. A sad situation all around.

I was at last night's NYCB performance. I skipped Union Jack (too much marching.) Steadfast has never been one of my favorites. Ulbricht has the technical merit for the role, but I miss Damian W., who also always added so much to the role with excellent acting. I didn't see any element in Erica P.'s dancing that indicated a desire to be free. Tombeau is always a pleasure. Such a wonderful ballet. I loved Tiler Peck's musicality and timing. She didn't pull out all the virtuoso tricks that Bouder tends to do, but her performance was very enjoyable. (She threw in some changes of arm position for good measure during her spins.) I was not impressed with Garcia. He didn't make mistakes, but his performance seemed underpowered. I'm writing this from D.C., looking forward to a weekend of Mariinsky Madness.

There were a number of complaints on this thread, including mine, about Chelsea Clinton's inability to do an interesting interview. Looks like we are not the only ones who feel that way.

http://www.nypost.co...cUCYS0JvX9hmLiL

Hi Natalia. I also hated the production of ABT's Nutcracker and thought it looked cheap and small. However, if you look at it on the stage for which it was created (Brooklyn Academy of Music), it becomes clearer that the small size of the stage at BAM created restrictions both in the production elements and the choreography. The stage at BAM appears to be modeled after a New York City studio apartment. It seems to be ridiculously small.

From reading the posts on this thread, it sounds like I will have a lot of company on the Promenade level at NYCB this winter during my Extended Seven Deadly Sins Coffee Break, while I wait for Vienna Waltzes to begin. They have not yet announced who the singer will be for SDS. Last year they were touting Patti Lupone months in advance. Does anyone know who will be singing SDS this time around?.

Edit: Just answered my own question. The NYCB website indicates that LuPone is returning to sing SDS in February.

I have to agree that the Mariinsky visit to NYC in July was wonderful. There were also so many fantastic performances at ABT at the Met and NYCB I wouldn't know where to begin. So many incredible dancers to see in New York City - Osipova, Vasiliev, Cojocaru,Vishneva, Mearns, Bouder, Peck, Reichlin, Hallberg, Gomes. We are very lucky to have such a wealth of talent perform in New York. I also feel very lucky to have seen the Mariinsky in Washington D.C. in February, and I hope they continue to perform regularly in either Washington D.C. or NYC every season. Another high point are these ballet in cinema presentations from the Bolshoi. No, obviously it's not as good as seeing it live, but since I won't be visiting Moscow I'm happy to see these films.

The low point of the year was the poor judgment exercised by the adminstration of NYCB. I have no problem with them raising prices, but they went about it in the worst possible way. They have alienated a lot of long time customers. The other low point was ABT's program decisions for the City Center engagement. Obviously, they were looking to save money by using works with recorded music. While I enjoyed seeing certain ballets (Seven Sonatas, Duets), most of the works they presented were hugely disappointing (including the world premiere they presented) or too repetitive of prior seasons (enough of Company B and Sinatra Suite already).

The worst ballet I saw in 2011 was Lynn Taylor Corbett's Seven Deadly Sins at NYCB. Terrible choreography. Whelan was completely miscast. What a shame we have to sit through this ballet in order to see Vienna Waltzes.

I saw Anne Hathaway sing at an Encores presentation in New York of the musical Carnival. It was in 2002, I think. She was excellent. I think she also sang at the Academy Awards the year that Hugh Jackman hosted. She's also singing in the upcoming movie of Les Miz, where she will sing Fantine. She's much more than just a pretty face. She is multi talented.

I have to disagree about Glenn Close. I thought she was the only person in the Cook tribute who had a poor voice. So many divas on one stage!

I agree with you, Eileen. It is also absurd to charge $89 (plus facility fee and handling) for seats in the fourth ring that are virtually on the roof of the theater. But people appear to be buying them. Lots of desperate tourists, I suppose.

I don't think that the pricing variations are based directly on the cast. It is based on a computer program that jacks up the prices based on consumer demand/ticket sales for a particular performance. Good casts stimulate ticket demand, so I think the casting indirectly results in increased prices. I think it would be very demoralizing to the dancers to know that the company was pricing a Mearns performance higher than an A. Stafford performance, for example. This is especially true in a company which prides itself on the motto that there are no "stars" and that the choreography is the star.

I'm glad to hear that M. Fairchild did well as Dewdrop. I think it suits her much better than Sugar Plum.

check out pricing on Ticketmaster to NYC area shows for Foster The People, Tool, Coldplay, etc. Runs from $47 - 428. Art is expensive in the Big Apple.

I guess I'm getting old. Never heard of Foster The People or Tool.

I too thought about taking in an additional NYCB Nutcracker before the end of the season, but I opted against it when I saw the prices and seat locations. I looked at Fourth Ring A pricing ($89), expecting a seat in either Row A or B of the fourth ring to come up. Instead, they were trying to sell me Row L seat 7 for $89. No way, no how. Rip off. I'll add that I saw a breathtaking performance by G. Murphy and D. Hallberg at ABT's Nutcracker last night for $25 for a great balcony seat with an excellent view of the stage.

I'm happy to report that David Hallberg danced last night with Gillian Murphy. Both were in excellent form. This was my only ABT Nutcracker of the season. The tickets sold well for this performance.

Mercurial was created on Soto and Weese, with Liang in the solo principal role. I think the parts Wheeldon has created for Whelan tend to mirror or emulate the Balanchine leotard ballets. He takes full advantage of her flexibility and angular, neoclassical approach. In his more story driven ballets, he tends to use Tiler Peck, who has great dramatic skills. (Didn't Tiler originate Carousel A Dance with Woetzel? She definitely originated Estancia, which has a narrative "plot.") I loved Tiler in Mercurial earlier this season.

From what I saw, the attendance rate seemed lower on many rep nights than it used to be. I think the fall season had a lot of performances of Ocean's Kingdom, which was well attended. Swan Lake also sold well. And of course there was the Chuck Askegard farewell. Maybe those performances counter-balanced the lackluster sales for most of the other nights. I suspect most of the new subscriptions they sold were at the $29 price level - people who were looking for an alternative since the Fourth Ring Society program was being discontinued. I'd love to see the renewal stats for the high priced seats.

What was up with Chelsea Clinton listing every tiny role that she has ever danced in Nutcracker? Even funnier: Martins' wide-eyed awe as Clinton spoke, hanging on every word..."Ooooo....Is that so?" Duh.

I wanted to scream at my TV set STOOOOOP when she listed all of her minor roles. She lacks the gift of gab. What is she doing on TV! .I didn't think Martins was wide eyed because of awe. He was wide eyed because his eyes were glazing over from being bored.

Did anyone else think that Chelsea Clinton was stiff as a board, and the worst part of her role was the mind numbingly boring interview w. Peter Martins. Does anyone give a @#+*& about all of the minor roles she danced? It seemed like she didn't prepare enough questions, and then she had to fill dead time. .

The concept --"he/she always delivers" -- does explain a lot of casting, though it sometimes begs another question: "Dellivers what?"

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Based on what I've seen over the years, DeLuz always delivers a strong technical performance, has strong partnering skills and a charismatic, charming stage presence. Many of NYCB's men are technically inconsistent, with flubs large and small in demanding classical roles. .

Yes, Dale. I think they wanted to give DeLuz the broadcast because he always delivers, so they needed a short Sugarplum. However, I would have paired DeLuz with Tiler Peck. Peck is a bit too tall for DeLuz but they would have managed. Peck is commanding and very musical. Oh well. Guess I'll have to see her Sugarplum live at the Theater Formerly Known as the State.

I didn't see the movie (I'm seeing it on TV tonight), but I was surprised that M. Fairchild was the broadcast Sugarplum. Sugarplum is a role that requires grand authority, and that is not a trait that I've seen from M. Fairchild. She has strong technique, so she fits better as Dewdrop.

I noticed some additional casting info for the spring season. Apollo will be danced by Hallberg, Gomes and Max B. No info on the Muses, though. Has Gomes danced this role before?