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What Balanchine ballet ABT should dance next?

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After seeing what a wonderful job ABT did with Mozartiana, I was wondering what Balanchine ballet would you like to see the dancers of ABT perform in next? At first I was going to go with "Jewel", but then I thought that too easy. So I'm going with "Robert Schumann's Davidsbundlertanze". I think it would be a fascinating challenge to the dancers, a challenge I think they could pull off.

In the Suzanne Farrell role - the exclusive, unattainable muse who is bold, daring and dynamic, I think Nina Ananiashvili or Gillian Murphy could bring these qualities to life. In the role of the man who's desperate to capture her I see Guillaume Graffin or Jose Manuel Carreno.

In the Karin von Aroldingen role - the loving and concern "wife" who dance with a touch of melancholy sadness but is always noble, I can see Amanda McKerrow or Julie Kent. In the role of her "husband" the man with a inward loneliness that drive him to a comforted madness I see Vladimir Malakhov.

In the Heather Watts role - the spirited and vivacious lady who dances with an sense of abandonment, I see Xiomara Reyes, Monique Meunier or even Irina Dvorovenko. As her strong partner I see Ethan Stiefel or Marcelo Gomes.

And finally in the Kay Mazzo role - the quiet lady, who dance with a simple romanticism and grace, I see Alessandra Ferri or Ashley Tuttle with Angel Corella as her captivated partner.

That my choice. What do all of you think and what Balanchine ballet you will love to see ABT perform next?

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Curious to know what provokes your response to the question. Personally I felt that ABT's Balanchine program was ambitious and on the whole very well performed. But then, I was extremely happy just to be able to see Mozartiana, and Ballet Imperial, and Theme, three all-time favorite ballets, in the same evening! These ballets are so gorgeous and so joy-making!; but in addition they have a great deal to give dancers as well as audiences. I think the dancers cast in them can only have benefitted, both technically and artistically

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I don't think ABT should take any more Balanchine into its repertory. It has plenty already that it doesn't dance (Symphonie Concertante, Stravinsky Vioin Concerto), and I think the blurring of repertories between our two major companies is not a healthy thing. I'd like to see them have separate identities. It wouldn't bother me as much if ABT really performed their Balanchine rep on the road, that is, places where NYCB doesn't go. Then it would be worthwhile, to bring Bizet and Mozartiana and other jewels to audiences that otherwise wouldn't be able to see them. But they don't program them on tour, sticking w ith full-lengths like Giselle and Corsaire. I think they should stick to the Balanchine rep that NYCB doesn't do, like Symphonie Concertante (which they took the trouble of resurrecting) and Bouree Fantasque.

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None. I would much prefer for ABT to revive something we never see (and may never see again) -- like Antony Tudor's "Romeo and Juliet" -- than for them to stage more Balanchine works.

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I'm with Farrell Fan on this issue. I went to three of the Balanchine Tribute evenings and -- despite quibbles -- it was such a pleasure for a whole week to see just Balanchine ballets (which was what I had expected NYCB to be doing this year). ABT gave full measure to the ballets, showing that they were solidly coached and cast in deluxe style. I don't think Mozartiana will ever be an ABT favorite; it's too subtle and doesn't make the post-Misha audience happy (which mostly loves great leaps and multiple turns). In the Gigue section of Mozartiana, however, ABT returned to casting elegant dancers (as opposed demi-character ones that we have been seeing at NYCB in recent years). Good for ABT!! Also, I agree with Farrell Fan that Sonambula would be a perfect fit for ABT -- both for the audience and the dancers.

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I agree with Ari's comment about wishing ABT would take Balanchine on the road to audiences not reached by NYCB. I'm not sure, though, about the blurring of repertories. That's a very interesting question. How much Balanchine at ABT would constitute a blurring? Then there's the question of the blurring of repertory across the plaza...

I loved the chance to see those particular ballets, presented in full-evening format, and thought it was fascinating to see ABT perform them, even if, as someone said, there might have been 'quibbles'.

I like Ari's idea of ABT doing the Balanchine they have, but don't usually do. I think it depends so greatly on whom they choose to stage these ballets.

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A few ideas:

1. Midsummer's Night Dream - they already do "The Dream." Dancers who are often criticized here might actually shine in MND -- for instance, Paloma Herrera might be good for the second act.

2. Vienna Waltzes - a real crowdpleaser.

3. Who Cares? - another "digestible" Balanchine piece

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I really don't think NYCB or the Balanchine Foundation would let ABT dance things such as Davidsbundlertanz, Vienna Waltzes, Liebeslieder or Midsummer Night's Dream. And I'm not sure I'd like to see ABT, as a company, dance those things.

But I would like to see the ballets they reconstructed, Symphonie Concertante and Bourree Fantastique, return. Other ballets they've done, Apollo and Prodigal Son, would be interesting.

I think the point raised is, that there are dancers at ABT that one would like to see in Balanchine - such as Murphy, Meunier, Part, Stiefel, Hallberg. But I also agree that ABT should bring back some of its own ballets, rather than mirror the rep. across the plaza.

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According to its web site, ABT has these Balanchine ballets in its rep. (I'm adding those recently acquired and taking out those that are lost):


Ballet Imperial

Bourree Fantasque

Donizetti Variations

Glinka Pas de Trois

Harlequinade pas de deux

Minkus Pas de Trois


Prodigal Son

La Sonnambula

Stravinsky Violin Concerto

Sylvia Pas de Deux

Symphonie Concertante

Symphony in C


Tchaikovsky Pas de Deux

Theme and Variations

I'd love to see Glinka Pas de Trois again, especially since NYCB seems unwilling to do it anymore. Or Donizetti in its original costumes. Or maybe some of the little-seen Balanchine that Miami City Ballet does, such as Diana and Actaeon - Pas de Deux, Divertimento Brillante, Minkus Pas de Trois, and Valse Fantasie (1953).

But I'd leave the 4ts, Agon, Stars and Stripes and Ballo (and the like) to NYCB or visiting companies.

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Weren't Tarantella and Harlequinade pdd special one-time-only gala presentations of the Baryshnikov era? I may be mistaken on that, but if I'm not, it seems odd to include them in the standing rep. :shrug:

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