Every time ABT's artistic director needs a new principal dancer, he opens the desk drawer and pulls out the Ardani Artists Take-Out Menu and orders delivery instead of dragging his ass into the kitchen and cooking a meal.
Everyone knows what happens when you rely on a steady diet of take-out. The wallet slims down while the butt and gut puff up. All those empty cartons and plastic containers pile up in the garbage while you continue to hunger for something of nutritional value. So you keep collecting take-out menus and search and search for more crap to eat. 'Tis the season for eating crap. And so it will be during ABT's spring season at the Met.
What ABT is serving us this spring:
Osipova=junk food. Vasiliev=junk food. Semionova=junk food. Kobborg & Matvienko=last week's take-out with mold growing on it. Cojocaru=last week's takeout with mold and extra sugar stirred in. Muntagirov = undercooked sea food gumbo.
Haglund is sick and tired of the crap being served up by the Ardani cooks. He's skipping the Vishneva Dialogues, Kings of Dance, the Nacho-Botcho Mikhailovsky, and Eifman. And he's skipping ABT's full service of take-out that it's throwing on its paper plates this spring.
ABT shouldn't expect any extra tips for the few times it puts whole food on the table which has been prepared in its own kitchens. Too little, too late.
58 responses to “Ardani Take-Out Menu”
I don’t like ABT hiring so many guest stars, but calling them junk food and moldy is pretty mean, Haglund.
I don’t like ABT hiring so many guest stars, but calling them junk food and moldy is pretty mean, Haglund.
While I may wind up having to see one or two of said guest artists (No way I’d miss Jared’s Lensky just because Osipova is dancing)….I’m holding back my annual donation and not getting subscription tickets this year.
And they’re not getting said donation back until I see some better use of dancers like Stella Abrera, Jared Matthews, Misty Copeland, Simone Messmer………
While I may wind up having to see one or two of said guest artists (No way I’d miss Jared’s Lensky just because Osipova is dancing)….I’m holding back my annual donation and not getting subscription tickets this year.
And they’re not getting said donation back until I see some better use of dancers like Stella Abrera, Jared Matthews, Misty Copeland, Simone Messmer………
I want to see Misty’s Firebird. That’s all I have to say about that.
I want to see Misty’s Firebird. That’s all I have to say about that.
And of course, all of a sudden Macaulay loves ABT, praising it for having “outdone itself” in bringing in these guest artists. I guess the “outdone itself” part is correct. Speaking of part, I want to see seven Part performances on the program, not seven Osipovas.
And of course, all of a sudden Macaulay loves ABT, praising it for having “outdone itself” in bringing in these guest artists. I guess the “outdone itself” part is correct. Speaking of part, I want to see seven Part performances on the program, not seven Osipovas.
I, too, withheld my annual donation and will not subscribe. Who is doling out the cash for these guest artists? We’re in an economy where everyone else has to cut back, make sacrifices, do more with less, and make do with the people they have in their businesses. Where does ABT get off spending lavishly on guest artists while wasting the in-house talent? Who is throwing the cash at these guest artists? In this economy, where is ABT getting the money to waste like this?!
I, too, withheld my annual donation and will not subscribe. Who is doling out the cash for these guest artists? We’re in an economy where everyone else has to cut back, make sacrifices, do more with less, and make do with the people they have in their businesses. Where does ABT get off spending lavishly on guest artists while wasting the in-house talent? Who is throwing the cash at these guest artists? In this economy, where is ABT getting the money to waste like this?!
Let me add this about Macaulay.
Alastair Macaulay would not be able to identify the ballet steps in most any eight count combination on the diagonal in a beginners’ classroom. He wouldn’t know the names of the steps; he wouldn’t know if they were executed correctly or musically. He is yet another one of the great journalistic in-your-face frauds that The New York Times allows to babble across its pages – unedited, unvetted, unresearched, uncorrected, unrestrained, and uneducated in the art form in which he professes expertise. He continually misuses the influence and power of his employer to advance personal preferences and viewpoints misguided by ignorance and inexperience in the art form. At performances, he insists on double seating to accommodate his guest that separates them from other critics and then he openly trashes performances in full earshot of paying audience members. He is harmful to ballet. He is harmful to dance criticism. He is harmful to professional journalism.
He proclaimed Osipova, Vishneva, and Cojocaru as “The world’s three most renowned current interpreters of Giselle” – is he joking? Is he really putting Osipova’s infantile interpretation of Giselle ahead of Aurelie Dupont, Obraztova, Kent, Dvorovenko, and any number of other dancers who have world acclaimed Giselles? When the New York Times allows “the most” anything, “the best” anything to slip by its editors without a challenge, it’s more than justification for the paper’s huge decline in readership – not to mention its pathetic stock price. We truly would be better off with no ballet coverage in the New York Times than the ignorant journalism we now see.
Let me add this about Macaulay.
Alastair Macaulay would not be able to identify the ballet steps in most any eight count combination on the diagonal in a beginners’ classroom. He wouldn’t know the names of the steps; he wouldn’t know if they were executed correctly or musically. He is yet another one of the great journalistic in-your-face frauds that The New York Times allows to babble across its pages – unedited, unvetted, unresearched, uncorrected, unrestrained, and uneducated in the art form in which he professes expertise. He continually misuses the influence and power of his employer to advance personal preferences and viewpoints misguided by ignorance and inexperience in the art form. At performances, he insists on double seating to accommodate his guest that separates them from other critics and then he openly trashes performances in full earshot of paying audience members. He is harmful to ballet. He is harmful to dance criticism. He is harmful to professional journalism.
He proclaimed Osipova, Vishneva, and Cojocaru as “The world’s three most renowned current interpreters of Giselle” – is he joking? Is he really putting Osipova’s infantile interpretation of Giselle ahead of Aurelie Dupont, Obraztova, Kent, Dvorovenko, and any number of other dancers who have world acclaimed Giselles? When the New York Times allows “the most” anything, “the best” anything to slip by its editors without a challenge, it’s more than justification for the paper’s huge decline in readership – not to mention its pathetic stock price. We truly would be better off with no ballet coverage in the New York Times than the ignorant journalism we now see.
Don’t forget Lopatkina – although her supporting cast was lacking when I saw her, she was a haunting Giselle. (I also surprisingly loved Vishneva’s Giselle this season….but I’m pretty sure that had a lot to do with Marcelo’s Albrecht that night giving her something amazing to work with). Hopefully in a few months we can add Yuriko Kajiya to the list as well…..
Don’t forget Lopatkina – although her supporting cast was lacking when I saw her, she was a haunting Giselle. (I also surprisingly loved Vishneva’s Giselle this season….but I’m pretty sure that had a lot to do with Marcelo’s Albrecht that night giving her something amazing to work with). Hopefully in a few months we can add Yuriko Kajiya to the list as well…..
Yes Lopatkina, too. I missed her performance last year. I saw Vishneva in DC, and she was much more subdued than in NYC. Marcelo is an important ingredient to her success. I believe at this point – and judging strictly from YouTube, Somova is a better Giselle than Osipova. Yuriko will be a heart breaker in her first performance, and legendary soon after – no doubt about it.
Yes Lopatkina, too. I missed her performance last year. I saw Vishneva in DC, and she was much more subdued than in NYC. Marcelo is an important ingredient to her success. I believe at this point – and judging strictly from YouTube, Somova is a better Giselle than Osipova. Yuriko will be a heart breaker in her first performance, and legendary soon after – no doubt about it.
“Who is doling out the cash for these guest artists?” The audiences, of course. If ABT had more money, they wouldn’t need to rely on box office draws. It’s happening everywhere, not only in dance (also theatre; Broadway can’t seem to mount a production without a big name now.) Unlike European companies, ABT and other American companies can’t depend on a steady stream of income (ie. the government), and are therefore more sensitive to the box office.
Haglund, this is my first time commenting; I really appreciate some of your artistic views and all of your ballet news, but as someone who is in non-profit arts, it’s sometimes difficult to swallow your comments about how these companies operate.
“Who is doling out the cash for these guest artists?” The audiences, of course. If ABT had more money, they wouldn’t need to rely on box office draws. It’s happening everywhere, not only in dance (also theatre; Broadway can’t seem to mount a production without a big name now.) Unlike European companies, ABT and other American companies can’t depend on a steady stream of income (ie. the government), and are therefore more sensitive to the box office.
Haglund, this is my first time commenting; I really appreciate some of your artistic views and all of your ballet news, but as someone who is in non-profit arts, it’s sometimes difficult to swallow your comments about how these companies operate.
i agree with julie that cruelly insulting the guest artists is unnecessary. i saw semoinova’s swan lake last year (by default- i changed my plans to follow marcelo’s last minute substitution) and thought she was lovely and gracious & adorable when she gave marcelo her entire bouquet. the house was a sell out so it seems the guests do bring in the dollars. i also love alina & enjoy ivan’s puppy like enthusiasm & daring energy. the dancers are all hard working artists & people with feelings, there’s no need to be so nasty.
i do wish ABT would promote their dancers more via youtube & dvd as i imagine many of the guests are so attractive because the audiences see so much of them via the media. ABT doesn’t even have a youtube channel & hasn’t released a dvd since 2005.
silk- i found your comment informative & interesting, thank you 🙂
i agree with julie that cruelly insulting the guest artists is unnecessary. i saw semoinova’s swan lake last year (by default- i changed my plans to follow marcelo’s last minute substitution) and thought she was lovely and gracious & adorable when she gave marcelo her entire bouquet. the house was a sell out so it seems the guests do bring in the dollars. i also love alina & enjoy ivan’s puppy like enthusiasm & daring energy. the dancers are all hard working artists & people with feelings, there’s no need to be so nasty.
i do wish ABT would promote their dancers more via youtube & dvd as i imagine many of the guests are so attractive because the audiences see so much of them via the media. ABT doesn’t even have a youtube channel & hasn’t released a dvd since 2005.
silk- i found your comment informative & interesting, thank you 🙂
It is cruel and insulting to the artists of American Ballet Theatre when its directorship denies them earned opportunities to dance leading roles in favor of guest artists whose only trump card is an Ardani-steered media following.
It is cruel and insulting to the artists of American Ballet Theatre to have to watch the directorship spend lavishly on training and coaching guest artists in roles for which the guests’ own companies have judged them unsuited.
It is cruel and insulting to the artists of American Ballet Theatre for its directorship to make them stand down to guest artists who are inferior dancers.
It is cruel and insulting to the artists of American Ballet Theatre when its directorship fawns over guest artists who are the antithesis of what ABT has groomed its company dancers to be.
It is insulting to the CORE AUDIENCE of American Ballet Theatre, which heavily invests in and appreciates and expects to be able to enjoy witnessing the fulfillment of the company’s own dancers’ potential, to have to watch unappealing junk shuffled into the casting for little reason other than to appease the ignorant critic at The New York Times.
ABT’s problem of over-reliance on guest artists is a problem of its OWN making, of its OWN artistic management failings, and of its OWN marketing failings.
It is cruel and insulting to the artists of American Ballet Theatre when its directorship denies them earned opportunities to dance leading roles in favor of guest artists whose only trump card is an Ardani-steered media following.
It is cruel and insulting to the artists of American Ballet Theatre to have to watch the directorship spend lavishly on training and coaching guest artists in roles for which the guests’ own companies have judged them unsuited.
It is cruel and insulting to the artists of American Ballet Theatre for its directorship to make them stand down to guest artists who are inferior dancers.
It is cruel and insulting to the artists of American Ballet Theatre when its directorship fawns over guest artists who are the antithesis of what ABT has groomed its company dancers to be.
It is insulting to the CORE AUDIENCE of American Ballet Theatre, which heavily invests in and appreciates and expects to be able to enjoy witnessing the fulfillment of the company’s own dancers’ potential, to have to watch unappealing junk shuffled into the casting for little reason other than to appease the ignorant critic at The New York Times.
ABT’s problem of over-reliance on guest artists is a problem of its OWN making, of its OWN artistic management failings, and of its OWN marketing failings.
I don’t disagree with much of what you say & don’t plan to go out of my way to see any of the guests ( but will see some because of who theyre dancing with)- i just don’t see where publicly trashing these dancers does anyone any good.
I don’t disagree with much of what you say & don’t plan to go out of my way to see any of the guests ( but will see some because of who theyre dancing with)- i just don’t see where publicly trashing these dancers does anyone any good.
Thanks, Robin. I understand and respect what you are saying. I’ve experienced outrage when Macaulay trashes dancers, but his editors seem to think that it’s all appropriate journalistically. My point – albeit made severely – is that these guests should not be here taking the opportunities away from the company’s dancers who are so much better and more deserving. One doesn’t see the Royal Ballet, the Mariinsky, the Bolshoi, or NYCB employing guest artists anywhere near to the detrimental extent that ABT does. Why is ABT in such a deeper hole than these other companies? I think the answer is clear; it’s just that the ABT Board can’t bring itself to do what needs to be done.
Thanks, Robin. I understand and respect what you are saying. I’ve experienced outrage when Macaulay trashes dancers, but his editors seem to think that it’s all appropriate journalistically. My point – albeit made severely – is that these guests should not be here taking the opportunities away from the company’s dancers who are so much better and more deserving. One doesn’t see the Royal Ballet, the Mariinsky, the Bolshoi, or NYCB employing guest artists anywhere near to the detrimental extent that ABT does. Why is ABT in such a deeper hole than these other companies? I think the answer is clear; it’s just that the ABT Board can’t bring itself to do what needs to be done.
well, i can’t claim to know anything about the inner workings of the finances but certainly their marketing & PR could use some updating. it would sure be nice if they’d join the rest of the world with live broadcasts and the like so people outside of new york could see how fabulous their own dancers are!
and i agree about macauly- he can be horrid.
have a happy new year, haglund 🙂
well, i can’t claim to know anything about the inner workings of the finances but certainly their marketing & PR could use some updating. it would sure be nice if they’d join the rest of the world with live broadcasts and the like so people outside of new york could see how fabulous their own dancers are!
and i agree about macauly- he can be horrid.
have a happy new year, haglund 🙂
What confuses me, Haglund, is that you seem to have this policy of boycotting all performances which feature guest artists. Yet you saw Cojocaru in Don Q last year. I’m confused as to why you would break that policy for Cojocaru in Don Q when there were better guest artist performances later in the season, i.e. Cojocaru in Beauty or Semionova in Swan Lake. Perhaps you just wanted to see that performance to prove your point?
And back in 2009 when ABT gave Hee Seo and Cory Stearns debuts in R&J you didn’t attend.
What confuses me, Haglund, is that you seem to have this policy of boycotting all performances which feature guest artists. Yet you saw Cojocaru in Don Q last year. I’m confused as to why you would break that policy for Cojocaru in Don Q when there were better guest artist performances later in the season, i.e. Cojocaru in Beauty or Semionova in Swan Lake. Perhaps you just wanted to see that performance to prove your point?
And back in 2009 when ABT gave Hee Seo and Cory Stearns debuts in R&J you didn’t attend.
Haglund, it is true that it is cruel and insulting to the ABT dancers, but still the ABT management is the one hiring the guest stars–so why take it out and insult the guest stars when it is completely the ABT management’s fault?
Haglund, it is true that it is cruel and insulting to the ABT dancers, but still the ABT management is the one hiring the guest stars–so why take it out and insult the guest stars when it is completely the ABT management’s fault?
Haglund,
I’d be interested in YOUR dream “menu” for the next ABT season. Taking into account that they have a heavy touring obligation both domestic and overseas, and that some programming that “works” in certain cities will fail in others.
I’m sure you will want to include a light, judicious sprinkling of guest artists… very curious to know who you would pick and what they would dance.
And also: if you were given the budget, which 3 choreographers and composers would you pick to create completely new works for ABT, and which dancers would you want them to work with?
Haglund,
I’d be interested in YOUR dream “menu” for the next ABT season. Taking into account that they have a heavy touring obligation both domestic and overseas, and that some programming that “works” in certain cities will fail in others.
I’m sure you will want to include a light, judicious sprinkling of guest artists… very curious to know who you would pick and what they would dance.
And also: if you were given the budget, which 3 choreographers and composers would you pick to create completely new works for ABT, and which dancers would you want them to work with?
Hi LKR. I didn’t attend the Cojocaru Don Q. I attended the CARRENO Don Q in order to see Carreno in his final performances in that role. Cojocaru was unfortunately cast with him and made it crystal clear that evening that her Don Q wasn’t up to par with ABT’s house ballerinas. Also, I don’t necessarily blog about or review every performance I attend.
Hi LKR. I didn’t attend the Cojocaru Don Q. I attended the CARRENO Don Q in order to see Carreno in his final performances in that role. Cojocaru was unfortunately cast with him and made it crystal clear that evening that her Don Q wasn’t up to par with ABT’s house ballerinas. Also, I don’t necessarily blog about or review every performance I attend.
Julie, I think that junk food is an appropriate metaphor for their artistic product. With regard to Kobborg and Matvienko, they were never good enough to dance here when they were in their primes. Now, they’re way past (i.e., last week’s take-out), and here they are being invited to step in and all over the rising talent that doesn’t have sufficient performances to develop in the first place.
To fully appreciate ABT’s predicament, it’s necessary to attend their performances regularly.
Julie, I think that junk food is an appropriate metaphor for their artistic product. With regard to Kobborg and Matvienko, they were never good enough to dance here when they were in their primes. Now, they’re way past (i.e., last week’s take-out), and here they are being invited to step in and all over the rising talent that doesn’t have sufficient performances to develop in the first place.
To fully appreciate ABT’s predicament, it’s necessary to attend their performances regularly.
Hi Jane!
I would start with a moratorium on guest artists, and that includes dumping Osipova. If Vishneva and Bolle wanted to remain as so-called principals, they would tour with the company and work the fall season. Also, Vishneva would not be permitted to monopolize Gomes for a partner to the extent that she has, and Bolle would dance more with Part.
Next I would spend the money now being thrown at guest artists on artistic coaches such as Carreno, Ferri, Dowell, Bocca, Harvey, Gregory, Makarova, even Villella who is or will soon have a residence in New York to use following his retirement from MCB. How did ABT lose an artistic connection with someone like Ivan Nagy? And while it would be inconceivable (even for my imagination) to see Baryshnikov coaching at ABT, would it be inconceivable for the dancers to go to him – with funding and without fearing repercussions?
My Met Season:
Ashton’s Cinderella
MacMillan’s Mayerling
MacMillan’s Concerto
New Firebird
Loring’s Billy the Kid
DeMille’s Rodeo
Balanchine’s Ballet Imperial
Fokine’s Petruschka
Giselle
Swan Lake
Raymonda
Some day I hope to see Tharp’s In the Upper Room on the Met stage again.
I’m not wedded to the idea that ABT needs to present new choreography every season. Nor is it necessary for the company to take risks on unknown choreographers.
Hi Jane!
I would start with a moratorium on guest artists, and that includes dumping Osipova. If Vishneva and Bolle wanted to remain as so-called principals, they would tour with the company and work the fall season. Also, Vishneva would not be permitted to monopolize Gomes for a partner to the extent that she has, and Bolle would dance more with Part.
Next I would spend the money now being thrown at guest artists on artistic coaches such as Carreno, Ferri, Dowell, Bocca, Harvey, Gregory, Makarova, even Villella who is or will soon have a residence in New York to use following his retirement from MCB. How did ABT lose an artistic connection with someone like Ivan Nagy? And while it would be inconceivable (even for my imagination) to see Baryshnikov coaching at ABT, would it be inconceivable for the dancers to go to him – with funding and without fearing repercussions?
My Met Season:
Ashton’s Cinderella
MacMillan’s Mayerling
MacMillan’s Concerto
New Firebird
Loring’s Billy the Kid
DeMille’s Rodeo
Balanchine’s Ballet Imperial
Fokine’s Petruschka
Giselle
Swan Lake
Raymonda
Some day I hope to see Tharp’s In the Upper Room on the Met stage again.
I’m not wedded to the idea that ABT needs to present new choreography every season. Nor is it necessary for the company to take risks on unknown choreographers.
Wonderful choices for your fantasy season, Haglund. However, you could never tour with a season like that – the cost of shipping sets alone would be prohibitive – and you wouldn’t have rehearsal time to prepare an alternative touring program, not for a company that travels as much as this one.
And did you mean to omit Tudor altogether? This is ABT after all.
Wonderful choices for your fantasy season, Haglund. However, you could never tour with a season like that – the cost of shipping sets alone would be prohibitive – and you wouldn’t have rehearsal time to prepare an alternative touring program, not for a company that travels as much as this one.
And did you mean to omit Tudor altogether? This is ABT after all.
Hi Jane. I think Tudor looks much better on smaller stages such as City Center, where ABT tends to dance in the Fall.
To my knowledge,the company doesn’t take the entire Met season on tour, just usually one or on rare occasion two full lengths and a rep program. Nice tours could be carved out of that listing, I think.
Hi Jane. I think Tudor looks much better on smaller stages such as City Center, where ABT tends to dance in the Fall.
To my knowledge,the company doesn’t take the entire Met season on tour, just usually one or on rare occasion two full lengths and a rep program. Nice tours could be carved out of that listing, I think.
Oh I meant to comment on one of your earlier posts, too – the “tombstone” for ABT, allegedly done in by the Fat Wallets (rather clever of you.)
Did you read the NY Times Ethicist column by Ariel Kaminer dated 12/31 and titled ‘Politics en Pointe’? This thoughtfully addresses the issue you raise about philanthropists who try to “buy” major arts organizations.
The sad fact is that without the kind of government subsidy for the arts that you have in Europe, Canada, etc., our arts organizations would die without the Fat Wallets.
I’ve already come up with a detailed plan for what to do with MY billions when I kick the golden bucket (this is fantasy, you understand). It will rain down on dance companies around the world like the white paper flakes in the Nutcracker Snow scene, with only TWO conditions: 1) that my donation be treated anonymously (NO buildings named after me), and 2) that strict term limits are imposed on artistic directorships. I don’t care if Petipa himself rises from the dead and wanders into the Met – he would only get a maximum of 2 consecutive 5-year terms.
Oh I meant to comment on one of your earlier posts, too – the “tombstone” for ABT, allegedly done in by the Fat Wallets (rather clever of you.)
Did you read the NY Times Ethicist column by Ariel Kaminer dated 12/31 and titled ‘Politics en Pointe’? This thoughtfully addresses the issue you raise about philanthropists who try to “buy” major arts organizations.
The sad fact is that without the kind of government subsidy for the arts that you have in Europe, Canada, etc., our arts organizations would die without the Fat Wallets.
I’ve already come up with a detailed plan for what to do with MY billions when I kick the golden bucket (this is fantasy, you understand). It will rain down on dance companies around the world like the white paper flakes in the Nutcracker Snow scene, with only TWO conditions: 1) that my donation be treated anonymously (NO buildings named after me), and 2) that strict term limits are imposed on artistic directorships. I don’t care if Petipa himself rises from the dead and wanders into the Met – he would only get a maximum of 2 consecutive 5-year terms.
Thanks for the heads up on Kaminer’s column. Interesting reading. Most of the people I know who are passionate about art are also passionate about politics. Art and politics must be companion genes in many people’s makeup.
Your legacy plans are admirable. While watching TV coverage of the holiday secret Santas who were paying off people’s lay-away bills and handing out money to the most unfortunate, I heard a major Santa say, “The only true charity is anonymous charity.” I think so. People like Koch and many others who desire to have buildings named after them do so under the false argument that it inspires others to be charitable. Not so. It inspires others who have egos that desire something like having a building named after them to accomplish that goal by using charities. Clearly, Koch has received something of significant benefit/value to his businesses by having his name on various buildings. But how do you tax that?
Maybe we need an IRS regulation that says only anonymous charity donations are tax deductible.
Thanks for the heads up on Kaminer’s column. Interesting reading. Most of the people I know who are passionate about art are also passionate about politics. Art and politics must be companion genes in many people’s makeup.
Your legacy plans are admirable. While watching TV coverage of the holiday secret Santas who were paying off people’s lay-away bills and handing out money to the most unfortunate, I heard a major Santa say, “The only true charity is anonymous charity.” I think so. People like Koch and many others who desire to have buildings named after them do so under the false argument that it inspires others to be charitable. Not so. It inspires others who have egos that desire something like having a building named after them to accomplish that goal by using charities. Clearly, Koch has received something of significant benefit/value to his businesses by having his name on various buildings. But how do you tax that?
Maybe we need an IRS regulation that says only anonymous charity donations are tax deductible.
Get ready for your head to explode.
I just went on the Koch theater website and the Mikhailovsky Ballet is coming to Lincoln Center for TWO weeks SMACK in the middle of ABT season, and are doing, among other things, Giselle.
Is Ardani secretly trying to bankrupt ABT?
Get ready for your head to explode.
I just went on the Koch theater website and the Mikhailovsky Ballet is coming to Lincoln Center for TWO weeks SMACK in the middle of ABT season, and are doing, among other things, Giselle.
Is Ardani secretly trying to bankrupt ABT?
Count me as “unsurprised” if Mikhailovsky/Ardani rethink the offerings for the summer visit. The new Sleeping Beauty is a big dose of Ambien. Their Giselle, pre-Duato, was okay, but who knows what it will look like with his fiddling. If, as expected, he casts O&V multiple times in order to get the NY Times to write about it, I’ll take a pass. BESIDES, THE PARIS OPERA BALLET IS BRINGING GISELLE TO LINCOLN CENTER IN JULY. NOT TO BE MISSED – They are a real company with a real style.
Count me as “unsurprised” if Mikhailovsky/Ardani rethink the offerings for the summer visit. The new Sleeping Beauty is a big dose of Ambien. Their Giselle, pre-Duato, was okay, but who knows what it will look like with his fiddling. If, as expected, he casts O&V multiple times in order to get the NY Times to write about it, I’ll take a pass. BESIDES, THE PARIS OPERA BALLET IS BRINGING GISELLE TO LINCOLN CENTER IN JULY. NOT TO BE MISSED – They are a real company with a real style.
Yes, I’ve been looking forward to the Paris Opera Ballet offering – already in my calendar. Though I hope it doesn’t disappoint as the Mariinsky’s Anna Karenina did – what a snooze fest that was. And it wasn’t really the dancers’ faults at the performance I saw. Also interested to see the Australian Ballet’s program in June, as well as Cedar Lake at the Joyce, even though both overlap ABT season.
Yes, I’ve been looking forward to the Paris Opera Ballet offering – already in my calendar. Though I hope it doesn’t disappoint as the Mariinsky’s Anna Karenina did – what a snooze fest that was. And it wasn’t really the dancers’ faults at the performance I saw. Also interested to see the Australian Ballet’s program in June, as well as Cedar Lake at the Joyce, even though both overlap ABT season.
Haglund, I’ve been wondering if you’ve seen Dupont’s Giselle live. From what I’ve seen on Youtube her Giselle (act 1 & 2) is truly breathtaking in technique, phrasing & musicality. I love it so much I looked for her other ballet and she’s truly wonderful .
Haglund, I’ve been wondering if you’ve seen Dupont’s Giselle live. From what I’ve seen on Youtube her Giselle (act 1 & 2) is truly breathtaking in technique, phrasing & musicality. I love it so much I looked for her other ballet and she’s truly wonderful .
Hi Al. Thanks for stopping by H.H.
I haven’t seen a live performance of her Giselle yet, and I think that the tickets to those performances on POB’s tour will be the hottest tickets in town. Taste, style, understatement as opposed to in-your-face exaggeration – all still count for a lot with many of us.
Hi Al. Thanks for stopping by H.H.
I haven’t seen a live performance of her Giselle yet, and I think that the tickets to those performances on POB’s tour will be the hottest tickets in town. Taste, style, understatement as opposed to in-your-face exaggeration – all still count for a lot with many of us.