abatt

I would say the NYCB version. It's a classic. Based on the prices they are charging for rep, I'm sure the prices for Nutcracker this year will be through the roof.

Kajiya and Simkin are doing principal roles in Don Q in Japan. It seems like the objective was to present everyone at the conference who was undertaking principal roles, irrespective of their official rank within the company.

If you previously had a third or fourth ring subscription, they permitted you to renew it if you so desired. However, they purportedly were not selling any new subscriptions in those rings. With respect all single ticket purchases, my understanding is that they will only sell you tickets in the orchestra, first or second rings for most performances, except for certain "popular" programs. For the "popular" programs, they will also sell third and fourth ring. No info has been provided on which dates the 3 & 4th rings will be open during the rep season. (I'm sure they will open every ring for Nutcracker.) The majority of the seats in the fourth ring are now priced at $129 and $89 for rep performances (subscriber price is slightly less). I'm not sure who they think will buy those obscenely over-priced fourth ring tickets for the popular programs. Theoretically, there are $29 seats now in the orchestra, first and second rings. In practice, (a) it appears that they are very few in number and (b) many (most) of those $29 seat locations are in awful, partial view locations. They have yet to announce what, if anything, they are doing for people who have been Fourth Ring Society Members. While I think that the $15 tickets they used to offer with the Fourth Ring Society pass were priced absurdly low, they have now gone to the opposite extreme of over-charging for most seats in the auditorium, in my opinion. I agree with you that the brochure was useless. The one I received had NO PRICES. I'm not sure if they published a new one since then. If anyone has a different understanding of the new price gouging system, or additional info, please post. There is a big difference between making a profit and profiteering. I believe NYCB is engaging in the latter.

The comparison made between Whelan and Lopatkina caught my attention, but I'm not familiar enough w. Lopatkina's dancing to judge whether it's valid. I am very familiar w. Whelan's dancing, and her claim to fame is not classical, tutu roles, but neo-classical "leotard" ballets.

I think the rationale is to remove half the seats in the house from public sale (decrease supply) in order to increase the demand for the high priced seats in the other areas of the house. The fourth ring has a vast number of seats (considerably more than the third ring, and perhaps even more than the orchestra section). They are playing games with supply and demand in an attempt to increase revenue from ticket sales. They are saying that there are affordable options now in the orchestra, first and second ring, but they have never released any figures on exactly how many cheap seats are in those areas. I think it's a pretty small number. I don't think this has anything to do with improving the experinece of the audience.

I attended both performances on Saturday. I thought Somova did a wonderful job in LHH. The role suited her very well. Carmen Suite was even more tedious for me on the second viewing. Lopatkina has gorgeous limbs that go on forever, and wonderful technique. However, she is so regal in her demeanor that I couldn't believe her as the flirtatious slut Carmen. Escamillo was once again wooden. Tereshkina was so much better (and musical) than Somova in the first movement in Symphony in C. I liked Kondaurova very much in the second movement, but for me Lopatkina's performance was breathtaking. The thing I dislike about the tutus in Symphony in C is that they are too wide. For example, in the opening of the second movement, the demi-soloist ballerinas are promenaded by their partners past a line of six corps ballerinas. The tutus are so wide that as the demisoloist passes the corps girls, the tutus of both are crushed out of shape. It's distracting and lacking in elegance. This problem recurred in numerous spots in the ballet on both nights. Did the person who designed the tutus ever see the choreography before he/she designed the costume? Apparently not. Although the rep they brought to NY was not exactly top tier ballets (except Symphony in C), it was wonderful to see the company. Unfortunaely, their visits to NY have become much less frequent than they used to be.

I thought Carmen Suite was trash. The "choreography", if it can be called that, consists mainly of Vishneva wiggling her hips and standing in sexy poses. It looked like a strip tease act, not a ballet. Why would a virile man like Don Jose wear a hot pink shirt with red polka dots? I don't have my program, but the man who danced the bull fighter role did not have an ounce of charisma. He looked very uncomfortable executing the choreography. Bizet must be turning in his grave. The arrangement of the score butchered it. Awful in every way. Lopatkina was a dream in the second movement of Symphony in C. She was exquisite and riveting. In fact, the entire cast was wonderful, although Somova lapsed into some of her bad old habits in the first movement with hyperextension of her leg. I thought the tutus were too wide in diameter, and I prefer the all white tutus used at NYCB.

More drama at NYC Opera http://artsbeat.blogs.nytimes.com/2011/07/15/two-city-opera-board-members-quit/?ref=arts

Why would anyone from City Center give a quote to the press indicating any negative impact to City Center from the departure of a resident company? Never let them see you sweat, I believe is the expression.

If you look on the Paul Taylor website under Schedule, it still lists City Center as the venue in which it will perform in April 2012. It's likely that there was a mutual understanding, up until yesterday, between City Center and PT that the company would be performing at City Center in 2012. PT's withdrawal at the last minute from City Center for the 2011-12 season leaves a pretty large gap for City Center to try and fill at this late date. I also thought the reference in the article to the acoustics was not credible, since PT uses recorded music.

Well, the Koch has its first new dance company as tenant, Paul Taylor. I guess there is no such thing as loyalty when it comes to business. Paul Taylor has performed at City Center for so many years. http://www.nytimes.com/2011/07/15/arts/dance/paul-taylor-moves-shows-from-city-center-to-koch-theater.html?ref=arts

What a difference a ballerina makes. I'm just back from Lopatkina's Anna K. She was thrilling. She was so much more passionate than Vishneva. The chemistry between Lopatkina and her partners made this performance much more compelling than Vishneva's. Lopatkina's gorgeous lines, magnificent extensions and supple spine intensified the drama. Brava! The house was packed. I now understand why Russians regard her with such reverence.

LHH is a winner. Tereshkina was marvelous - such a fluid, elegant dancer. Shkylarov is a virtuoso. Kondaurova was lithe, sexy and winning. I don't understand why they presented Anna K. on opening night instead of LHH. The choreography of LHH is vastly superior.

I recieved an email from the Atrium (discount ticket booth for Linocln Center events) stating that tickets for tomorrow's MATINEE of Humpbacked Horse will be available for 50% off. The email also stated that discounts may not be available for all price levels.

I saw Maria B. too (in the lower level basement). My husband joked with her that we thought she was a devotee of NYCB (she's on the Board). She replied that she likes various types of ballet. I was wondering why one elevator on the right side was out of service. Now I understand what happened. Unbelievable.

Link to an article on potential possible rental options for the Koch: http://www.nytimes.com/2011/07/13/arts/music/city-opera-departure-leaves-vacancy-at-koch-theater.html?ref=arts

She had no chemistry whatsoever w. Vronsky. Vishneva's scenes with the little boy had more dramatic weight than any of her scenes w. either Vronsky or her husband.

I was extremely disappointed by Anna Karenina. I had a hard time convincing myself that this thin, dull choreography was actually done by Ratmansky. It made Lady of the Camelias look like a masterpiece. Even Vishneva - the master of tragedy, consumption, death - couldn't make this ballet interesting. The most positive thing I can say is that the use of projections as scenic backdrops was well done, and the costumes were very attractive.

I think the "passport problem" was an official line given by Osipova's manager and ABT. Osipova regularly travels all over the world, and has done so for years. I'm incredulous that she suddenly had a "passport problem." I guess Osipova, her manager and ABT think that the general public is gullible. It would be better to offer no explanation or reason than to insult our intelligence.

The true test will be box office receipts for the 2011-12 season.

Part was an excellent Lilac Fairy - one of her best roles. Also I need to mention how much I liked Boylston as the Fairy of Valor. I liked Gillian, but Cojocaru's Friday evening performance was my favorite of the run. I also saw the Saturday evening show. Cory was making a very good impression until it came time for the fish dives in the wedding scene. The first two were awkward but not terrible. When Paloma came out of the second fish dive she lost her footing slightly. On the the third fish dive, Cory pretty much lost control of her, and he had to use his right arm (the free arm) to steady Paloma and get her into a less awkward position. Neither of them looked too happy after that. Up until that point, Cory was doing pretty well. He was dancing big, with very high jumps. In the past he has tended to run out of energy by the end of his variations, but not last night. He was also doing well in partnering Paloma until the fish dives. Paloma's performance didn't have much nuance, but it was technically very good.

Bring back Raymonda.

I loved Cojocaru and Kobborg. It's not just that she can hold her balances forever. Her phrasing is gorgeous. She employs her arms, back, head and neck to beautiful effect. Cojocaru and Kobborg were better on Friday than Wednesday. Stella was marvelous earlier in the week as Lilac. I also loved Lane and Simkin in Bluebird on Tues and Friday evening. Lane held an unsupported balance last night forever (and without the help of the Cojocaru Gaynor Minden shoes to offer extra support). Why, oh why, can't we see Sarah in a lead role? Yuriko was a disaster as Lilac, in my opinion. (She replaced Ricetto.) She had little sense of musicality or phrasing. It's not merely her size that is an impediment to success in this role. I saw Part and Gomes earlier in the week. Gomes is such a gorgeous dancer in evey way. Part was lovely, and did a particularly moving Vision Scene. I'm seeing both shows today. I can't believe that the season ends today. The time flew by.

I didn't realize Herman came in as a corps member. He and his sister were dancing with Bocca's touring troupe before they were hired at ABT.

I'm not sure how you can say no new star dancers have been cultivated from within ABT in recent years. Gomes, Hallberg and Murphy each came up through the ABT ranks in recent years. Although Herman Cornejo came in as a soloist, I regard him as having been primarily cultivated at ABT. Each of the above listed dancers is a star, in my opinion. There are also several promising soloists. This has occurred under McKenzie's tenure.