Departures from ABT...

So ABT finally updated its website and along with a few previously-known departures there are some other faces missing today:

Principals

Irina Dvorovenko - retired in June, still gorgeous and a wonderful actress.  Here's hoping she keeps popping up on the New York stage.

Natalia Osipova - not sure what the official story is here, but I for one thank the Royal Ballet for spiriting her across the pond.  It's probably too much to hope for that she won't be guesting next season and real opportunities will finally go to Stella, Sarah and Yuriko, but I'll keep my fingers crossed anyway.  

Soloists

Simone Messmer - we knew it was coming, but it doesn't make her understandable move to San Francisco any less sad for New York audiences.  I suspect she will be especially missed during the fall repertory season.

Corps

Roddy Doble - don't have any official word on this but a while back I'd heard he was off to the Boston Ballet for better growth opportunities. 

Mikhail Ilyin

Vitali Krauchenka

Renata Pavam

Anyone know anything about these departures?  Vitali in particular I thought was dancing quite well this Met season....

ABT City Center (and Bard) Casting - thoughts?

So the bulk of the American Ballet Theatre fall season casting for City Center just went up online.  Thoughts? Gripes? Cheers?  

Here it is:

What Fools These Mortals Be (ABT La Bayadere, May 26, 2012 Matinee)

No matter how many times I see American Ballet Theatre's production of La Bayadere, I still don't love it (more on that below) as a whole even though there are perennially wonderful and unique elements.  Also on the plus side, each performance seems to have different highlights, each dancer brings something different to each of the lead roles. And, like in this performance, when someone brings something special to one the non-dancing character roles - it can become a more balanced, slightly more credible story.

A little love letter to the ballet.

For those of use who love ballet, it can be so hard to understand why the rest of the world doesn't see what we see, can't feel what we feel.   How do most people not experience the same overpowering physical exhilaration we feel when merely sitting and watching, yes watching, a ballet dancer living their dream on stage?  The freedom when technique meets ability meets passion in just one human being on the stage ripples out into the audience and fills every muscle, every cell in my body with energy and implausible possibility.  

Perhaps this what other people feel when watching athletes like Michael Phelps, Michael Jordan, Larry Bird, Nastia Liukin or Dara Torres.  But while I root for these athletes and love to watch them strive, the feeling I get as a spectator is so different than watching ballet.  I feel nerves and hopes for these athletes, I feel the stress of pretending my will as a spectator can help them win, but still I don't feel their work with them.  But when I watch Marcelo Gomes in an abstract contemporary piece (or almost anything really), or Alessandra Ferri as Manon, or Julie Kent's sheer strength during the endless, countless overhead lifts in Lady of the Camellias, or Ethan Stiefel as Albrecht in Giselle, or Simone Messmer in this November's Volpi pas de deux, or Stella Abrera in Meadow or as Emilia in Othello, or Ulyana Lopatkina as Giselle, or Michael Trusnovec from Paul Taylor Dance, or so many more....I can't explain how but I think I get just a little bit of what they must be feeling while flying or turning, while forcing extreme tension into their limbs to make the tiniest moves important, while living so inside the music that it appears to be emanating out of their bodies rather than the orchestra pit, while letting everything go, to make the biggest leaps soar.

Have love for ABT soloists....will travel.

So while time and money cruelly prevented me from traveling to New Zealand this fall to see Stella Abrera's much-praised debut season as Aurora in Sleeping Beauty with Ethan's Stiefel's Royal New Zealand Ballet...when I heard that American Ballet Theatre had scheduled soloists Yuriko Kajiya and Jared Matthews for their first (and arguably overdue) Giselle, I knew I was going no matter where it would be.  
March 25th. Chicago.  Be there.  

In related news, when ABT came asking for my subscription renewal, I politely explained that while I absolutely love ABT, and anyone who knows me will tell you no less, I subscribe to see (and donate to support) ABT dancers - not guest artists - and so would be holding off on buying any tickets until the schedule is more set closer to the performance dates.  

I want to see Misty Copeland. I want to see Stella Abrera (who frustratingly is scheduled for large roles currently only on Wednesday matinees at Met).  I want to see Jared Matthews, Yuriko Kajiya, Herman Cornejo, Sascha Radetsky, Simone Messmer, Joseph Gorak, Arron Scott, Brittany deGrofft, Christine Shevchenko, Adrienne Schulte, Nicole Graniero, Julio-Bragado Young, Alex Hammoudi, Gray Davis, Roddy Doble, Roman Zhurbin, Eric Tamm, Sarah Lane.....and all of the other hard working, dedicated, beautiful dancers ABT has selected and trained year after year.   If the powers that be think these dancers are not ready - the powers have no one to blame but themselves.  Give these dancers the opportunities and more coaching and they will give every ounce of their determination and energy to be ready. To be more than ready.  To fly.

I want the dancers to be inspired, to have opportunities to grow and mature before our eyes.  I want to show them we support them - and for them to have their turns to inspire us. I want to see artistry and emotion, rather than flashy jumps (to the extent they are accompanied by lackluster partnering and hammy acting). I want ABT to bring back the longer fall season which highlights both the amazing contemporary power of so many of these dancers, and gives more of the company real opportunities to shine.

Dancers like Marcelo Gomes were not created in a day; he was given the chances to push himself along the way.  The younger dancers of ABT deserve no less.

So this Met season, and around the country and around the world - I encourage you all to go see and support ABT, and as many times as you can afford....but perhaps pay a little more attention to the casting this year, and try to support the company dancers rather than the guest principals.  You may be surprised at how much their fire will inspire you and win your hearts.  They will not disappoint.

For me....if Sarah Lane should finally get her full length debut during the US tour...I for one will be doing my utmost to be there.  If Misty Copeland wasn't scheduled for Firebird at Met season, you can bet I would be flying out to California to see that too.

The only thing I can really do to make my feelings heard is put my money where my mouth is.  And so, this year, and until a change is made, I will.

Fogpocalypse: ABT at City Center (Friday, November 11, 2011)

American Ballet Theatre's Friday night offering at City Center was the most uneven of the three performances I attended, and the most confusing.  But one thing became clear, even in the surreal moments when technical difficulties resulted in the stage (and much of the audience) completely obscured by fog for at least one movement of Twyla Tharp's In The Upper Room.  The unformed rumblings in my mind from Wednesday turned up the volume and took form:  soloists Simone Messmer, Sarah Lane and Misty Copeland are READY to lead. 

Farewell Reprise - An Unexpected Carreño/Kent Swan Lake (July 2nd Matinee)

I was on the bus home from a movie in Times Square on Friday night, July 1st, when my little corner of the twitterverse was buzzing with news: David Hallberg had sprained his ankle on Thursday night and so ABT had moved Marcelo Gomes from Saturday's Swan Lake matinee opposite Julie Kent to dance with Berlin State Opera guest artist Polina Semionova on Saturday evening.  I was immediately (and over-dramatically) plunged into despair, as Saturday's matinee was supposed to be my final viewing of ABT, and the beloved Gomes, until City Center in November!  But I soon learned that his replacement at the matinee would be none other than Jose Manuel Carreño, who had supposedly retired the night before.  What a gracious and wonderful gift to the audience (who I'm sure would have been sorely disappointed with any other replacement for Gomes given the uninjured options at ABT at the time).

A Gentleman's Farewell: Jose Manuel Carreno's (Almost) Final Swan Lake at ABT

I hadn’t planned to attend Jose Manuel Carreño’s farewell** to American Ballet Theatre as Prince Siegfried in Swan Lake on Thursday, June 30th. But, as the date drew nearer, I found myself checking the website for tickets every day or two.  By some magic, two days before the show some orchestra tickets opened up and I didn’t think twice.  I’m so glad I was there to witness this touching send-off to such a gentleman of the ballet.

A fairy tale told by many different authors - ABT's Cinderella (June 25th evening)

People seem to have really loved or loathed American Ballet Theatre’s production of James Kudelka’s Cinderella this season.  Based on the evening performance on Saturday, June 25^th, I’m on the fence (which probably contributed to the lateness of this review).  Overall, I liked it less than I had in previous years, but some of the things I DID like were things that had been missing in those past viewings.

A doll, an old man and two brats? (ABT Coppelia, June 17th)

It's taken me a while to write this review of Friday night's Coppelia at American Ballet Theatre.  While technically well executed, and despite one wonderful individual performance, I can think of only maybe one or two evenings at the theater that I actively disliked more than this one.  I kept hoping some distance over the past few days would change my mind.  But it hasn't.  So I thought at least I should tell you why.

A ballet with a thousand lifts…and a few stumbles

American Ballet Theatre’s Lady of the Camellias seems to be a ballet that people either love or hate.  Unlike the often-cranky New York Times’ reviewers, I really do like this ballet, and even love parts of it.   Based on the novel by Dumas, which has been told a hundred different ways before, including ABT’s Manon, John Neumeier’s choreography and the stark scenery of this ballet mostly works.  The Chopin score is beautiful, and beautifully played by three soloists.  And even though a lot of what happened at Saturday’s matinee was a bit of a mess, I still think that this is a production not to be missed.

Wheeldon’s Thirteen Diversions, Two Missed Opportunities and One Deep Bench

Well, I have mixed thoughts about last night’s mixed bill at American Ballet Theatre.  On one hand, there were a lot of things wrong with the program: uninspiring and even mundane choreography (ahem, Mr. Millepied?), a costume choice that may have been trying too hard (again, Mr. Millepied?), unfortunate miscasting or unnecessary use of two or three principal dancers......but really not much of what was wrong with the performance can be attributed to the dancers.  Not really.  On the other hand, there was Wheeldon’s “Thirteen Diversions,” which was well danced, lit, costumed and choreographed.  And, there were a few very strong performances by members of the corps de ballet and soloists in Ratmansky’s Dumbarton that, if you were really seeing, reminded me what I love about ABT, and gave me back more than a glimmer of hope for the company’s future.