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    avid balletgoer
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  1. Sorry - suspended, terminated, declared redundant, whatever word you choose. It's disheartening and sad.
  2. Does anybody get this? If there are "no matters to pursue" against him why is he suspended?
  3. I think that belittles those women. They're not exceptions to any rule.
  4. Vipa - in regards to your "it's almost always a he" comment, there's Aurelie Dupont, Karen Kain, Tamara Rojo, Victoria Morgan, Lourdes Lopez, Colleen Neary, Julie Kent, Patricia Barker, Virginia Johnson, Emily Molnar, Dorothy Pugh, Carine Binda.....
  5. That's correct Emma - also whether you have the performance is a factor in the hours.
  6. Yes, the big difference being overtime, which, corps members have much more of than soloists.
  7. There's two issues here. Three. First, most dancers don't do it for the money. Second, being in the corps is very useful in teaching dancers about stagecraft, getting stronger, etc. And third, the kind of organization that might be a little slow with promotions is often the same kind of place that holds onto careers, giving those dancers a graceful and dignified period to exit. There's no rush is there? What could be wrong about Roman Mejia having another year in the corps? If he's promoted he has to come out of the corps so he'll have a lot less opportunities to get out there - which is what it's all about.
  8. Could someone clarify where this complaint stands? What happens when the DA declines to prosecute? I assume this case is ongoing so I'm confused. It hasn't been dropped has it? I would understand if they couldn't find evidence about involvement of the NYCB or SAB, but surely those pictures and emails would be sufficient to continue a case against Finlay (and possibly Ramasar) - no?
  9. I totally agree with cubanmiamiboy. Lack of production values, the panorama in particular, is why Balanchine never did a Sleeping Beauty - which he apparently wanted very much to do. I don't agree with nanushka about Midsummers. It's a beautiful, evocative production, the story is amusingly, very clearly, and succinctly presented - and then in the time honored fashion the 2nd Act is given over to dancing. And that on a sublime level.
  10. No report on whether or not the Tsch Pas was there?
  11. There are other reasons to hold off on promotions. Balance, getting top heavy, sometimes dancers look promising and then they get promoted and level out. Sometimes promotions work, sometimes not so well
  12. Balanchine left three ballets to Suzanne Farrell - Meditation, Tzigane, and Don Quixote. The Haieff Divertimento (although presumed lost), was left to Tanaquil LeClercq. It is now held by the Trust.
  13. Kathleen - thank you for that fascinating and informative post. I look forward to reading how you respond to "Voices".
  14. I've seen "Voices" twice now and liked it - more the 2nd viewing. To me this IS music, very unusual music - where the composer took clips of human voices and used the piano to mimic the sounds and cadences. It gives the spoken words a sing-song quality. I don't think what's actually being said is of any import whatsoever - it's all about the timbre, how the voice moves, when it's soft, when staccato. And Ratmansky added on another, complimentary layer with considerable originality. For me there's not a dull moment and I find those dancers absolutely extraordinary. Not just their dancing per se, but what seems to be their own contributions. It feels as if a fair amount of what we're seeing is coming from them, their own reactions to what they're doing. There's nothing rote, they're fiercely committed. I also like the structure. It is indeed an unusual piece - like nothing else in the repertoire - and that's good thing. We already have a PC2 and a Theme and an Allegro - they're done all the time. I find it refreshing and stimulating to have something like "Voices" added to the rep.
  15. I hope this isn't an overly jaundiced view of Ms Waterbury, but it was indicated earlier that she'd wanted Maxwell to come along with her complaint because having a company member join her would strengthen her position that the company was at fault in this. Continually going after Ramasar seems related in my view. Chase has disappeared. Magically not a factor any longer. And I wonder if it's all about money. She was clear the NYCB was the pot at the end of the rainbow for her. Ramasar, 'tho currently on B'way, is still associated with NYCB. I think Waterbury's focus is the company and there might be less passion and more calculation here. Her lawyer might even be encouraging her to make these associations.
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