abatt

It is really long which is a really good thing.

It was even longer yesterday than usual. It started 45 minutes late because of computer problems involving "The Machine" (the massive set).

I've attended a few performances this week. The less said about 7DS the better. The only thing deadly about it is that the choreography is deadly boring. Whelan is miscast, in my opinion. On a more positive note, I thought Kowrowski was excellent in the final section of Vienna Waltzes. She was much better at the second performance than the first. I also saw Mearns do the role this afternoon. She was utterly brilliant. She uses her supple spine to thrilling effect, and she can create a world of drama simply by standing still. A sensational debut. Bouder and Garcia debuted this afternoon in the Voices of Spring section. Garcia was in excellent form. It's good to see him back. Bouder's phrasing was a little disjointed, but I'm sure she will improve. Stafford was an excellent partner for Ringer in Gold and Silver Waltz. I'm not a big Marcovici fan. He was an able partner for Mearns in VW. I also saw Reichlin and Mearns in Concerto B. on Friday evening. Reichlin has improved a lot in Concerto B. since I first saw her in the role 2 years ago. Not as lyrical as Maria, though. Mearns was wonderful in the second violin role. These are exciting times at NYCB, as fresh faces take on important new roles.

How wonderful for the company to have Cornejo replaced by another ABT dancer rather than yet another guest.

Nothing against Salstein, but I think that casting him instead of a guest was a matter of necessity. Unlike the old warhorse ballets where ABT could potentially find a quick guest replacement, I don't think many companies are performing Shadowplay. I'm guessing there is a very limited number of people who know the role and could perform it on short notice.

When I left the gala on Wed. I was wondering what in the world was going on. There were police everywhere and huge crowds. I had no idea it was a Koch protest.

Carbro, I had the same reaction when I first encountered this pricing issue with tickets I wanted to purchase at the Joyce Theater a few months ago. The price they wanted to charge me at the box office for the ticket was higher than the price they published in the brochure. However, the brochure contained a small asterisk, and in fine print the booklet stated that prices were subject to change after a specific date. This is "variable" or "dynamic" or "demand based" ticket pricing, and it appears to be legal as long as there is a statement in the printed materials that prices are subject to change, or words to that effect. (By the way, I did not buy the Joyce tickets as a way of protesting the policy.) Ticketmaster is also starting to do this with events they sell. It's pretty outrageous, in my opinion. I haven't checked the fine print in the current NYCB brochure.

If anyone is interested, the libretto for the Seven Deadly Sins is now available on the NYCB website. There is a link on the homepage.

3. Three latecomers decided to seat themselves in the row of armchairs at the back of the first ring and proceeded to scrape them noisily across the bare cement floor to get them pulled into position for what seemed like an eternity. If I'd had a weapon I would have been sorely tempted to use it.

I could not agree with you more. The same problem exists throughout the auditorium, including upstairs in the Fourth Ring, where scraping chairs on the un-carpeted floor REGULARLY disturb the performance. If anyone at NYCB is reading this, there are MANY people who are complaining about this problem. There is an easy, cheap fix to be found across the street at Bed Bath & Beyond. It's a magical invention called Furniture Slides, which are attached easily to chair legs. No more scraping! Use our new $2 per ticket facility fee to pay for it. When that's done, all of the doors need to have springs installed so that they do not slam when someone leaves the auditorium during the show.

About the performance, I thought Megan and Chase were very good in Duo C. yesterday. Hyltin's reading is more satisfying though, in my opinion. I'm not complaining, though. Duo C. languished for more than a decade because of poor performances. I never knew there were so many steps until last year. Reichlin was brilliant in M&M. I liked the pairing of Maria and Mearns in Concerto B.

PBS announced that it will broadcast The Little Mermaid in the Fall. See the link below from the NY Times

http://www.nytimes.com/aponline/2011/05/09/arts/AP-US-TV-PBS-Schedule.html?ref=arts

Apart from raising prices for performances that are "hot" tickets (Swan Lake in the winter, Seven Deadly Sins program), they are now adding a $2.00 "facility charge" to every ticket sold to every performance. I guess it was only a matter of time until they did that. The Met Opera and Philharmonic have been doing that for a few years.

The house was packed yesterday, but Mother's Day is always a big day at the ballet.

Chase Finlay was even better today than on Thursday. He looked more relaxed and confident. Also, Whelan's performance today was much improved compared to opening night. I had never seen Bouder dance Square Dance. She was terrific. To answer Vipa's question, the only other ballerina that currently does the main pas in Agon is Kowrowski. I would love to see Reichlin do it some day.

I attended the May 5 performance. Chase Finlay made an incredible debut in Apollo. In the past I've found him a little disappointing in some lead roles, but my opinion changed when I saw him in Apollo. He clearly had been coached in every detail. Although he needs to iron out a few nuances of the performance, he was very impressive. His lines were gorgeous, and he brought youthful attack and energy to his role. His debut gave me a new appreciation of the role because most of the men I have seen dance the role were older. Finlay also did an excellent job in partnering his muses. I think there were five curtain calls, and the audience would not stop applauding until Chase emerged for a solo bow before the curtain. The audience was ecstatic. I'm sure it was a very special and memorable night for him. Bravo Chase.

I enjoyed the performances of Scheller and Peck. However, I think Hyltin is miscast. Her performance didn't have the lyricism or musicality required for the lead muse, in my opinion.

I enjoyed the 4T's, especially Somogyi/Angle and Reichlin. Garcia did Melancholic, but he doesn't have enough upper body flexibility to do the role justice.

I was also present at the Tues May 3 performance. I feel that M. Fairchild is somewhat bland in Square Dance. Huxley gave a very fine performance in the male solo.

The performances that Wendy Whelan used to give in Agon were thrilling, especially with Jock Soto. Unfortunately, Wendy seemed a bit unfocused on Tuesday. Her timing was off in certain points, and she doesn't have the same level of flexibility as she used to.

Kowrowski did fine work in Stravinsky Violin Concerto in Aria I. However, I didn't think Ramasar was a particularly effective partner for her. Hyltin did Aria II with Ask LaCour. I've seen her in this ballet before, and thought she had greater rapport with R. Fairchild.

Here's a link to an article in the NY Times about The Seven Deadly Sins:

http://www.nytimes.com/2011/05/08/arts/dance/seven-deadly-sins-at-city-balet-spring-gala.html

Casting is up for week two. Here's the link- http://www.nycballet.com/nycb/content/casting.aspx?id=14002

They are using the same cast for each performance of 7DS (Whelan, Mearns, Hall). I didn't realize they were bringing in famed conductor Paul Gemignani for 7DS. Looking forward to it.

Our new leads in the final section of Vienna Waltzes will be Kowrowski/Askegard (Askegard isn't new to the part) and Mearns/Marcovici. I've never seen anyone other than Kistler and Nichols in the ballerina role. I expect that both Mearns and Kowrowski will be marvelous.

Robbie Fairchild is back in action in Week 2, doing Duo Concertant w. Hyltin. Kathryn Morgan is also back in action, doing the polka section of VW.

Bouder will debut in the Voices of Spring section w. Garcia. That's PERFECT casting. Can't wait.

Please don't go out on strike, folks.

Is Gudrun Bojesen coming on the US tour? She's not listed for the Kennedy Center appearances.

Is Tour De Force an Ardani Artists presentation? I think it is. I don't have too much sympathy for that organization if they lose money. They charge outrageous prices for what is often garbage (Beauty in Motion anyone?).

I'm not being presumptive. My conclusion is based on Corella's previous interviews in the press, particularly last year when his company came for a visit to City Center. Corella has stated that Kevin McKenzie does not have room for him on the schedule. Corella attributed this last season to the fact that Corella Ballet was performing in New York, and McKenzie may have felt that the audience would be maxed-out on seeing Corella. If we are to believe Corella, he has been eager to perform more at ABT, but McKenzie has not been willing to give him more performances. Granted, we have never heard from McKenzie on this issue.

Simkin is short, but they seem to use him even with taller ballerinas. I was surprised that Ricetto was scheduled to be his partner in Coppelia. I think she must be considerably taller than he is, especially on pointe.

ABT seems to put up with a lot of absences by Stiefel related to his other job, but at the same time Angel Corella has been frozen out of ABT because of his other responsibilities with his own company. The audience goes nuts when Corella performs, and he puts butts in seats at the MET. He is only scheduled for one performance. I don't understand the logic here. I have to agree with the post above that notes that management would not do anything to piss off Ethan because the company needs Gillian. I also think that Stiefel's best years, in terms of the quality of his dancing, were actually at NYCB, not at ABT. I didn't plan any of my ABT performances around Stiefel, so I don't have a strong feeling either way about his cancellation, other than that it is inconsiderate. In fact, I'm looking forward to seeing Gomes as Herrera's partner in SL and SB. The biggest disappointment is that Cory is now doing the Don Q with Murphy. I can't even imagine him in that role. He is more the princely type, and certainly not a bravura technician, in my opinion. Let's just hope neither Hallberg nor Gomes get injured.

Changing topics slightly, I think its callous for ABT to schedule Stella as Myrta in the performance where Hee Seo will be dancing Giselle w. Hallberg. Of course, Stella was scheduled to do Giselle for 2 years with Hallberg, but it never happened due to Stella's injuries. From all appearances, Hee Seo seems to be prone to injuries herself. Why not give Stella the chance she has earned and let her do Giselle? If not, why rub her nose in it by casting her as Myrta in the Hee Seo Giselle?

There are TONS of changes/additions on the updated ABT online calendar.

Stearns replaces Stiefel in Don Q. w. Murphy on May 21 evening

Hallberg replaces Steifel in Giselle w. Cojocaru on May 28

Abrera is Myrta at the June 1 Giselle Matinee; Messmer is Myrta for the June 1 evening Giselle (replacing Abrera)

Part replaces Messmer on June 2 as Myrta

Simkin replaces Stiefel as Osipova's partner in Coppelia.

Jared Mathews replaces Simkin in the June 18 matinee of Coppelia

Gomes replaces Stiefel in Swan Lke on June 29 and in Sleeping Beauty on July 9 Matinee

Hee Seo is out of Bright Stream, replaced by Isabella Boylston. Simkin will perform in four of the eight performances of Bright Stream. (He has been added to the June 10 and June 15 matinee.)

Opening night program info is up.

It seems like they are using Simkin a lot in principal roles. How about pairing him with Lane!

Steifel's exit leaves lots of openings on the schedule. I guess we'll be seeing a lot more of Cory.

I think they are pushing Chase Finaly way too much. I think rushing him along. Okay, he's a fresh face, but so what! I don't think he has the polish or maturity yet to take all these lead roles.

I have to agree. Finlay has a lot of promise, but he sometimes looks a little green on stage when he is given difficult principal roles. Certainly, I hope he does an excellent job in Apollo. We'll see.

I wouldn't have predicted that Chase would have gotten this role so soon, though. He is still in the corps. Robby Fairchild, who just did Apollo in D.C., is not listed on the casting sheet for any ballet.

http://www.nycballet.com/casting/casting.html

Casting is up for week one. Chase Finlay is Apollo!

I thought it was strange that they never mentioned the company that Sarah dances with (ABT of course), but they repeatedly used footage of ABT classes and rehearsals.