ksk04

Oy, that adagio was positively glacial.

I'm also a little surprised about Polunin, given how much I've heard about him: his arabesque, in the Ashton solo which is only really about the arabesque, seemed very tight. It doesn't help I just saw Dowell doing it on youtube a few days ago, and that is a comparison that would make any one seem poor.

Thanks, Ray. It's the lift at 3:53 and 4:02. It seems to be the same in the pdd with Kistler and Woetzel so I suppose that's how it's meant to be. Just not a pretty lift imho. Btw, how do they create the traveling arabesque en pointe? It's magical.

You can see how it is done here: http://video.nytimes.com/video/2007/12/20/arts/1194817097884/the-nutcrackers-2-000th-performance.html (Wendy Whelan demonstrates at about 1:40).

The "crotch" shot seems necessary in Nutcrackers at that moment in the music. The traditional pdd has the big pas de chats en l'air that always seem just as awkward to me.

Yes, I've seen de Luz with Peck before and they manage quite well though she definitely borders on "too tall." His charisma and technique still out shines her though, as crisp as she is. I don't blame Martins for wanting to put him on display, he's great.

Can't wait til the TV broadcast!

Which cast should I shoot for, now that they're known?

Well if you are a fan of Julie Kent, I think we can all assume she's winding down her career and the chance to see her Giselle in the future--especially on tour in Chicago--will be limited, so you may want to see her. Plus the obvious benefits of Marcelo Gomes and the divine Veronika Part.

The Sunday matinee is an all-debut cast, and I would see it for that reason and especially because of Matthews.

Those would be my two choices, for what it's worth. I am not the Osipova fan that many on here are, though, so I'm sure many would suggest you see her cast!

The promotions keep rolling in....

http://www.bolshoi.r...cles/2011/2013/

I'm starting to feel like Fillin is turning into Oprah: "You get promoted! You get promoted! You get promoted!!" It's great!

And it can't possibly be over now that he is really, really low on First Soloist ladies.

Congrats to Shipulina

Fillin isn't wasting any time! Excellent news

I expect Anna Nikulina should be bumped up to first soloist since it looks a little empty now? Hopefully, anyway.

I wonder who decided on this piece...

Added to the SCFTA program: Thirteen Diversions and Apollo

Apollo is gone from the triple; replacement = Duets.

There's an interesting article in the NyTimes about NYCB heading/or not heading into the digital age with their $9 million digital control room that is not being used . http://www.nytimes.c...oes-unused.html (it won't be used for the Nutcracker broadcast either, PBS brings their own equipment)

I'm not sure I understand the rational behind this, considering the success others have had with broadcasting. It seems if there are union disputes that stem from the possibility of its usage, they should be the priority of management. If it means paying them more money for broadcast performances...give them the money! If the Met is clearing $11 million a year from broadcasts NYCB could easily pull in a portion of that if they approach it in the right manner (taking into consideration ballet may be less popular than opera). The idea of something that cost $9 million sitting there languishing makes me a bit nuts.

To answer your question, it's to accommodate those who don't own televisions. Like me. At least that's how I'd like to interpret it! What would I do if it were only on PBS and I had to miss it entirely? There do exist people who limit their diet to sprouts and organic beans, others who run every morning at 5 a.m., and those whose personal idiosyncracy is to place a huge empty bookcase where ordinarily the huge TV screen would go. I am one of the last group, and my empty bookcase will hopefully fill up quickly with all the books I long to read - in between going to NYCB!

Jayne answered my question. That was what I was wondering. Not that it was shown in theaters but that they should have two live performances filmed. p.s. I do not own a giant TV.

Yes, we were both responding to the original idea that the theater screening and the PBS telecast would be independent live events. This is clearly not to be the case. Congratulations on not owning a TV. Since you don't and are asking, Kelly Ripa is an extremely popular daytime television host--she was Regis Kelly's co-host until he retired last week--whose involvement in the broadcast will likely draw in additional viewers for both the PBS and theater showings.

Agree with Jayne--hopefully Ripa will have some rehearsal footage on the show in the lead up.

So it's the same cast for both the screening and the PBS broadcast? What bad luck for us! And no Mearns?

Edit: I don't really understand the point of doing it live both nights if it's not for a different cast have the opportunity for each one?

I know he can often be diva-like with his behavior but usually I find his complaints stem from somewhere. In the Mesericordes docu posted above, Wheeldon was woefully underprepared for dealing with the Bolshoi system, and while Tsiskarizde's methods are questionable the problem he is rebelling against is certainly not made up.

Similarly, he criticized the management a few years ago for passing over established ballerinas for younger dancers for everything, and made it a point to invite those who were on "the outs" with management to partner him. I think because we are not used to a dancer airing dirty laundry he gets a bad rap, but at least he's honest about his feelings and can back up it with his dancing. I don't know, I've always liked him despite, and perhaps because of, all of this.

Good on her--she is just divine. I would have liked to see her Aurora in the broadcast rather than Zakharova's. I thought she would never make it to the top since she seemed like she was stuck at the soloist level for so long.

Other thoughts: I missed the series of fish dives in the Grand Pas de Deux - is this always the case in the Bolshoi SB?

It's the case with any Russian production. Fish dives are a Western European addition.

I caught the delay. I was only able to stay for the Prologue and Act I as I had somewhere to be (but I wanted to show up to increase the attendance numbers to encourage the new theater to keep adding the ballet productions)--I was hoping to be able to stay for at least Act II (which is usually my favorite) but the screen flashed that there would be a 30 minute (!!!!) intermission and so that would have only let me see about 15 min of Act II. I thought the Carbosse was too camp and limited in mime to be more effective. Zakharova I did not warm to--the extensions, the angularity....it's not for me. I had hoped pregnancy would soften her but it does not appear to be the case. I can imagine, though, she would be more effective in Act II, so I am disappointed I could not stay for it. I would have preferred to see Alexandrova as Lilac (though I would prefer to see her in most anything given the option), but I understand they probably have to spread the wealth to Allash. I thought she did a lovely job, though, quite secure.

I did like the patterned floors when we had a straight on shot, but whenever they did anything from a overhead angle it seemed like too much.

I'm not going to pretend to understand the motivation behind all of this from ABT BUT I find it exceptionally interesting that ENB is letting Muntagirov come. I read an interview with Sergei Polunin a few days ago (the other darling of the UK currently, and I believe another suggestion in the previous thread) and apparently the Royal Ballet nixed the offer from Kevin/ABT from last year for him to come, much to his disappointment. I guess they aren't feeling so confident to let their darling fly and return home.

Looking at American companies, how many principals dance more than 3x / month at their own companies in lead roles?

It's not even American companies, though. Around the world you'd be pressed to find a company that could give each of their principals much more stage time than that (NYCB excluded because of their specific rep, but they also have a lot of layoff time as well). I understand the frustration that Osipova and Vasiliev feel, but the reality is that it's not just them, it's what most principal dancers deal with in their own companies; this is only magnified by being off and dancing internationally. Look at Cojocaru and Vishneva--both of them reached the top heights in their own companies and then took their careers internationally as well. They now dance considerably less with their home company. It's a trade off. I don't think you can have it both ways and still be fair to others in your home company, who maybe don't receive the same type of outside work.

I don't begrudge them wanting to dance more things, more frequently (who wouldn't?), but it's a reality that today's dancers cannot expect to be everywhere and dance everything in the ballet world, immediately--no matter the star power behind them.

Agreed, I was almost as taken aback by this picture as from the news of Villella being forced out. How unflattering for the poor dancer! The LA Times often posts pictures like this of dancers and I just have to wonder who approved them.

WOW.

Osipova has said on her FB it's because of "lack of repertoire." Compared to the Mikhailovsky, the Bolshoi looks like a veritable feast of rep. I guess she means personal repertoire, but the Bolshoi has many ballerinas to take care of.

I too am guessing it has to do with more freedom to guest, but also the fact that they are young and want to dance everything whether it's appropriate or not; the Bolshoi has just started to let Alexandrova do a bigger rep outside of her emploi as she has grown as an artist...I'm guessing Osipova would be allowed to eventually as well (and Vasiliev) once some of their rawness is tamped down.

EDIT:

Here is her FB statement:

For me, a native Muscovite, the decision to move to The Mikhailovsky - Is a very serious step. The main reason why I'm leaving the Bolshoi Theatre - is the lack of repertoire: everything that you could dance, I danced. We are going for creative freedom. Life has become too comfortable for me, I feel a great need for change and desire for artistic expression. I hope you understand and have a beautiful day!

Thank you for posting this; it made me check the listings again on the off chance a theater closer to my house would be taking on the broadcasts...and, finally, THEY ARE!

I hope it's to free up more time to spend with his new son, rather than to increase his ability to share his choreographic....uh, gifts with the rest of us. I'd hate for him to miss baby's first steps due to a contractual obligation!!

Segerstrom Center has put up the program for the Kings dates later this month. I guess we didn't realize how lucky we had it with the original Kings program. This looks like its along the lines of Reflections, which I hated last year.

ACT ONE

“JAZZY FIVE”

Music by Federico Bigonzetti

Choreography by Mauro Bigonzetti

Costumes by Igor Chapurin

Lighting by Carlo Cerri

Assistant to Choreographer: Carlos Prado

Costumes produced under supervision of Holly Hynes

Performed by

David Hallberg, Marcelo Gomes, Guillaume Côté, Ivan Vasiliev, Denis Matvienko

ACT TWO

“KABURIAS”

Music by Leo Brouwer

(Elogio de la Danza)

Choreography and Costume by Nacho Duato

Assistant to Choreographer: Thomas Klein

Performed by David Hallberg

“TUE”

Music by Barbara (Songs: Drout, Sid’ amour a mort)

Choreography by Marco Goecke

Assistant to Choreographer: Rolando D’Alesio

Performed by Guillaume Côté

“GUILTY”

Music by Frederic Chopin

(Nocturne #1 In B Flat Minor, Op. 9/1, CT 108)

Choreography by Edward Clug

Performed by Denis Matvienko

“LABYRINTH OF SOLITUDE”

Music by Tomaso Antonio Vitali

(Ciaconne in G Minor for Violin and Piano)

Choreography by Patrick De Bana

Performed by Ivan Vasiliev

“STILL OF KING”

Music by Franz Joseph Haydn

(Symphony No 100 In G, H 1/100, “Military” – 1. Adagio, Allegro)

Choreography by Jorma Elo

Performed by Marcelo Gomes

“KO’d”

Music by Guillaume Côté

(Piano Sonata no. 4 in F# minor)

Choreography by Marcelo Gomes

Performed by

David Hallberg, Guillaume Côté, Denis Matvienko, Ivan Vasiliev, Marcelo Gomes

One night last week I had a $31 Orchestra seat - I know of at least 3 student ticket holders in Row A.

$149.00 seats sold for $15.00 - cellphones lit, jeans and sneakers propped up on the orchestra pit wall.

This is their target audience? These are not SAB students. At what point in time do they think these people

will pay $149.00? The website shows Student tickets available for every performance this week.

NYCB pricing scheme is clearly out of hand, but the availability of student tickets, in general, should be supported rather than denigrated. "These people" will perhaps pay $149 when they become professionals and can afford paying more. I make use of student discounts all the time and I don't feel guilty about it--I make a pittance teaching and can't afford going regularly to the ballet otherwise. Student tickets fill in spots that have holes in the audience--so when a person with prime orchestra seats donates their tickets at the last minute, they feed those into student rush availability if they cannot be sold. Perhaps you didn't like these students, but NYCB has to do something to fill seats in the house, and I'm sure they did it (and others do it--do you have similar issues with ABT's $29 orchestra seat package for under 30s?) even before they drove away a lot of their audience this season.

Any news or reason given for the absence of Irina and Maxim? My husband has not been in touch with them in the past few months (he and Irina graduated the same time) so this is news to us. Has ABT issued any notices?

I don't think Irina or Max have participated in the Fall Seasons for several years, so I'm not sure how much you should be alarmed (though clearly Max is slowing down if this MET season is any indication). I assume they have alternate arrangements/guest spots as they aren't in the Nutcracker either.

Some brief thoughts about opening night:

Trio - There are some nice parts, but the first and last movements have, seemingly, no relationship to the second movement. The first movement was fast-paced but dragged on too long, and despite seeing differences in the choreography between the 1st and last movements, it felt very repetitive overall. Zahorian and Kochetkova were technically flawless and made everything look easy, but they seemed to be giving it the hard sell and lacked the softness (especially in the upper body) that made Van Patten's section moving, despite consisting of choreography that was nothing special. I'm very pleased with my decision to see Van Patten as Juliet.

RakU - I liked the choreography for the 4 soldiers at the beginning especially, and, really, anytime they were onstage. The music is beautiful throughout. While Tan was certainly giving it her all onstage, it didn't do much for me as a ballet piece (audience felt markedly different--she got a giant ovation). Several elements of the choreography reminded me of The Little Mermaid (one wonders how much time Posskhov spent in those rehearsal rooms)--the Black Monk recalls the Sea Demon, the rape (?) against the white box, etc.

Symphony in C - All hail Sofiane Sylve. What a great, real ballerina--so much so that the other dancers seemed to disappear in the finale (a hard feat to accomplish on a stage packed to the brim). I don't know whether Sylve and Mazzeo are often partnered together, but she looks like she would be more comfortable with someone who has more bulk (he practically disappeared behind her--and not in the good, cavalier way). It was so nice to see a dancer who has resistance in their muscles--she never casually flung her leg up in the air as is often the case--everything was perfectly stretched, giving the movements weight and breadth. Frances Chung was lively in the 3rd movement and she has an impressively light jump, but she seems to dance under herself, rather than moving outward (something that seems crucial in the 3rd movement with the choreography covering every part of the stage).

Does SFB dances a slightly different version of Symph in C than elsewhere? There were a few moments were I felt like I missing steps or things were executed in a different manner than I'm used to (from my limited experience). Has anyone else felt this way or have an explanation? One such section was in the 3rd movement when the couple moves along the diagonal and the ballerina is lifted into the splits en l'air; I thought she balanced in passe for a few precarious moments, with the cavalier moving in at the last moment to then lift her up. Chung did not do this (the passe), and I don't know whether it's an emendation that I've gotten used to or just another way to set the piece.

All in all a fun evening; the house was more filled than it has been for most of the dance events last season, so that's good new. Onto R&J!

Peggy--thanks for the insight. Luckily stars align and Sylve will do the 2nd movement on opening night.

Here is the casting from the SFB website:

TUESDAY, SEPTEMBER 27—7:30 PM—OPENING NIGHT

TRIO

Conductor Martin West

Choreographer Helgi Tomasson

Vanessa Zahorian, Joan Boada

Sarah Van Patten, Tiit Helimets, Vito Mazzeo

Maria Kochetkova, Gennadi Nedvigin

INTERMISSION

RAkU

Conductor Martin West

Choreographer Yuri Possokhov

Yuan Yuan Tan, Damian Smith, Vitor Luiz

INTERMISSION

SYMPHONY IN C

Conductor Martin West

Choreographer George Balanchine

Lorena Feijoo, Davit Karapetyan

Sofiane Sylve, Vito Mazzeo*

Frances Chung, Isaac Hernandez

Nicole Ciapponi, Lonnie Weeks

WEDNESDAY, SEPTEMBER 28—7:30 PM

TRIO

Conductor Martin West

Choreographer Helgi Tomasson

Vanessa Zahorian, Jaime Garcia Castilla

Sarah Van Patten, Tiit Helimets, Vito Mazzeo

Frances Chung, Taras Domitro

INTERMISSION

RAkU

Conductor Martin West

Choreographer Yuri Possokhov

Yuan Yuan Tan, Damian Smith, Vitor Luiz

INTERMISSION

SYMPHONY IN C

Conductor Martin West

Choreographer George Balanchine

Lorena Feijoo, Davit Karapetyan

Sofiane Sylve, Vito Mazzeo

Courtney Elizabeth, Gennadi Nedvigin

Elizabeth Miner, Hansuke Yamamoto

FRIDAY, SEPTEMBER 30—7:30 PM–OPENING NIGHT

ROMEO & JULIET

Conductor Martin West

Choreographer Helgi Tomasson

Maria Kochetkova, Joan Boada

SATURDAY, OCTOBER 1—2:00 PM

ROMEO & JULIET

Conductor Martin West

Choreographer Helgi Tomasson

Sarah Van Patten, Pierre-François Vilanoba

SATURDAY, OCTOBER 1—8:00 PM

ROMEO & JULIET

Conductor Martin West

Choreographer Helgi Tomasson

Vanessa Zahorian, Davit Karapetyan

SUNDAY, OCTOBER 2—2:00 PM

ROMEO & JULIET

Conductor Martin West

Choreographer Helgi Tomasson

Maria Kochetkova, Joan Boada