abatt

https://www.nytimes.com/2017/09/22/arts/dance/megan-fairchild-swan-lake.html&rref=collectionFsectioncollection%2Arts&action=click&contentCollection=arts&region?stream&module=stream_unit&version=latest&contentPlacement=8&pgtype=sectionfront Linked above is a NY Times article re Megan Fairchild's upcoming debut in SL.

I think it makes a lot of sense that Kochetkova's photo was removed now. They are presently in the midst of finalizing plans and casts for the Met season. If she decided not to sign on for the 2018 Met season, the deadline for that decision was probably during September.

The synopsis in the playbill tells the entire story. No need for supertitles. More informative would be some instruction on the meaning of certain gestures used in mime. Certain gestures are clear enough even for the first timer, but many mime gestures do require explanation to be understood by the casual ballet fan. I learned more about mime gestures a number of years ago at a pre performance lecture at ABT.

https://www.nycballet.com/Ballets/R/The-Red-Violin.aspx Dale, I think you may be looking at the original cast of Red Angels, not Red Violin.

Based on the way the casting is listed, it seems that Unity Phelan is doing the lead role in Red Violin - the role created for Jennie Somogyi.

Casting is up for Week 3. Lots of debuts in Polyphonia. Of course, Red Violin has been out of rep for so long, the entire cast is new. It's been so long I can't recall what I thought of Red Violin. Maria K is debuting in In Memory Of. Not surprised - they frequently use "older ballerinas" in this one. Most interesting, no Robbie Fairchild in The Times Are Racing - a signature role for him, created on him, that does not require a ballet body. Ashley Isaacs is doing R. Fairchild's role. Tiler Peck is cast in her usual role in this ballet. Draw your own conclusions. Added: I looked at Mearns' instagram, and she says there are many things she needs to work on for her upcoming SL performances. She knows last night's show was not her finest as O/O.

The problems relating to Litton's brisk pace are that positions could not be fully stretched or held, and feet were sometimes not pointed. The dancers were rushing around madly trying to keep up. I'm using these as examples, but I'm sure others could expand on it. I'm not advocating the funereal tempo we sometimes encounter at ABT, but I think all of the performances would have been better with a slower tempo. This is NOT Allegro Brillante. I looked at the schedule, and it appears the Mearns/Angle cast is getting Litton as conductor for every one their three Swan Lake shows. Added: The one place where the tempo worked best was the pas de quatre in Act III. Since that choreography is pure Martins NYCB, the fast tempo looked great and everyone kept up well. The briskness did not work well elsewhere.

NYCB had posted on its facebook page during August the following: "Congratulations to all the Company's newlyweds -- including Sarah Villwock & Giovanni Villalobos, Silas Farley (and wife Cassia Farley), Lydia Wellington (and husband Antoine Gobin), and Erica Pereira (and husband Craig Hall). Best wishes to all! " There are photos of each of the couples on facebook, but I could not copy the photos. By the way, the Craig Hall who married Erica is not NYCB's Craig Hall. Congrats to all.

I thought the conducting was much too brisk, and resulted in diminished performances from a number of dancers who were just battling to keep up with the music. I thought this was also an issue with Mearns' performance, especially during the second act. The last act was brilliant and left me emotionally spent. I counted 25 or 26 fouettes in Act III, although I don't recall doubles. Mearns was traveling forward a great deal, in a more or less straight line. I think Mearns' performances with Jared Angle were more intimate; she and Tyler seems to be still working out some of the details. I suspect that her next two SL shows with Tyler will be even better. Kudos to Ulbricht, Gordon, Pollack, Isaacs, King, Huxley and Woodward. Almost all the secondary cast was utterly stellar.

Here is an Op Ed from yesterday's NYTimes which discusses the subject biopic, but more broadly talks about cultural repression under Putin. https://www.nytimes.com/2017/09/14/opinion/artist-putin-russia-serebrennikov.html

I think national affinity, ethnic affinity, and racial affinity all contribute to the decision of some ticket buyers to purchase one performance versus another, or to attend at all. That's true not only of ballet, but of theater and other art forms too.

Kochetkova was brought in to partner with the short male dancers at ABT- Cornejo and Simkin. With Simkin joining the Berlin company, and Cornejo approaching retirement, Kochetkova's usefulness may be scrutinized more closely in the next season or two. Moreover, they now have Lane as a principal, with Trenary and Brandt having the potential to also move up the ladder. These factors make Kochetkova less essential as the "go to" partner for the short guys. Kochetkova is Bolshoi trained, and that may be a factor in her favor if the Russian audience turn out for her performances. She is quite popular at SFB. What ABT really needs is another tall male principal.

I'm expecting both Boylston and Abrera to continue as Gamzatti. Teuscher is very well suited to do Nikiya, and I hope she gets the role. I think they might deem Abrera as too old to debut as Juliet. I hope they allow Lane or Trenary to debut as Juliet.

For me, R. Fairchild's most stunning and memorable performance was in Who Cares with Tiler Peck. Many people could do the steps, but when those two danced to "The Man I Love", there was enough electricity to power all of New York City. So sad that we will never see that again. Other Robbie Fairchild roles that suited him perfectly were Slaughter and Thou Swell. Although I did not like The Times are Racing, his tapping pdd with Justin Peck was a highlight. I'm glad it's preserved on video (the video that was shot in the subway). Duo Concertant would indeed be a very fine closing ballet for his departure. This is a big loss to NYCB. Robbie had a large fan base from his appearance in American in Paris, and I think he brought new audiences into NYCB.

SL is also a very difficult and technically challenging role. The difference is that in SL, McKenzie allows Copeland (and others) to make whatever adjustments /changes/modifications they want in order to get through the role. I'm not sure how much adjustment Ratmansky would permit in his reconstruction of SB. In any event, Copeland's audience shows up even if she is cast as Florine, rather than Aurora.

I suspect that in addition to the stated reasons, his split with Tiler Peck probably also played a role in this development.

Catazaro seems to be "next in line" for promotion among the men, and Fairchild's departure moves up the timetable. He gave some lackluster performances last season. I hope he can make a great success out of his debut as Siegfried.

Ferri had trouble with the choreography of Nikiya back when she was younger and stronger. That's why it never became a signature role for her. She certainly could not do it now. I agree with the above post that it's time for the Ferri Comeback Tour to end, at least at the Met. It's great that she is having new works created on her to suit her current level of ability, but she should stop resurrecting her old roles of yesteryear. If McKenzie is only inviting one guest artist a season, I can think of a long list of ladies I'd prefer to see over Ferri.

I'm sad about this development, but I cannot really say I'm surprised.

I think Part's brother lives in London.

The NY Times Arts preview section states that the ABT 2018 spring season at the Met will include seven full length ballets plus one mixed rep program. The mixed rep program will include a new ballet by Wayne McGregor. The season is as follows: Giselle Don Q Bayadere Swan Lake R&J Whipped Cream Harlequinade Ratmansky Firebird/New McGregor https://www.nytimes.com/2017/09/08/arts/dance/dance-listings-for-the-fall-season-and-beyond.html

He will continue to dance with ABT during their Spring seasons at the Met https://www.nytimes.com/2017/09/08/arts/dance/daniil-simkin-joins-staatsballett-berlin.html?rref=collection%2Fsectioncollection%2Farts&action=click&contentCollection=arts&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=sectionfront&_r=0

If I could only see one SL, it would be Mearns. Of the four ladies at NYCB who have previously appeared in the role, she has the deepest understanding of the role. I agree completely with cobweb about Bouder in SL. She can spin like a top, but there was no fluidity in her movement. I also agree w. nysusan about Reichlin, with the added comment that Reichlin did not pay much attention to her arm positions. But who knows - maybe practice makes perfect and these ladies will surprise me during the upcoming run.

The casting is quite a departure for NYCB. Martins has only been casting medium to tall ballerinas as O/O in SL up until this point. Casting "short girls" in the role like Megan and Tiler is a new path at NYCB. Where is Robbie Fairchild in this casting news? He is in New York. (He will be appearing at the Chita Rivera Dance Awards ceremony in Manhattan on Sept 11.) He has done Siegfried before, and he has become an audience favorite. And yet he is not cast. I had a feeling Jared Angle would give up the role of Siegfried. The technical demands of the solos are too much for him at this stage of the game.

That's Sara Mearns in the ad, isn't it?