Thanks much to the Southern California early-rising Haglund'eeler who brought to our attention this article about Stella Abrera that appears on the front page of the arts section in today's LA Times.
Above the fold, even:
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"The book also looks at the ideas of community and kindness. While Ada’s ballet teacher tries hard to encourage her, her fellow students aren’t as kind. But when she joins the karate class, Ada finds a place where she really fits in, and people who support her and cheer her on."
We know exactly who to thank for this. Its beginnings are in the first chapter of her fictional memoir when she casts aspersions on all of her fellow soloists for not supporting her.
22 responses to “observations 7-5”
I am happy to see Stella getting some much deserved press. I’d change the title in the article to “After 20 years with ABT, Stella Abrera is getting the roles she deserves.” (I think she hit her stride years ago and has only been improving. Poor Cranky Ballerina, she should have hired a PR team.
I am happy to see Stella getting some much deserved press. I’d change the title in the article to “After 20 years with ABT, Stella Abrera is getting the roles she deserves.” (I think she hit her stride years ago and has only been improving. Poor Cranky Ballerina, she should have hired a PR team.
Totally agree, SM.
Totally agree, SM.
Haglund, I may have already asked this before, but have you ever considered writing an op-ed for the NYT about what’s happening at ABT? I think the viewing public is divided into those who have no clue what they’re looking at (like the Board) and those who used to love ABT and are horrified by what they see, but have no power to do anything. The wholesale disintegration of a once-exceptional company is worthy of a mega opinion piece. You would be the perfect person to write such a piece.
In ongoing bad to worse news from ABT, KM just named Carlos Lopez as ballet master. Apparently his classes are terrible.
Haglund, I may have already asked this before, but have you ever considered writing an op-ed for the NYT about what’s happening at ABT? I think the viewing public is divided into those who have no clue what they’re looking at (like the Board) and those who used to love ABT and are horrified by what they see, but have no power to do anything. The wholesale disintegration of a once-exceptional company is worthy of a mega opinion piece. You would be the perfect person to write such a piece.
In ongoing bad to worse news from ABT, KM just named Carlos Lopez as ballet master. Apparently his classes are terrible.
Thank you, Liza.
I’ve wondered aloud on the blog why the NYT has not done an exposé on ABT’s dismal management. The paper certainly was all over New York City Opera management when it descended into its troubles. In the case of ABT, I firmly believe that the reason NYT didn’t criticize it for the gross overuse of guest artists (and the resulting loss of important company artists) is that the writers enjoyed writing about the guest artists more than ABT’s own dancers. The writers didn’t have to travel to the other part of the world, incurring expense and inconvenience; they could just sit on their asses and wait for ABT to bring the guest artists here.
It has always been a useless exercise to write to either ABT or NYT about either of the company’s failings. The only thing that speaks to ABT is the withholding of monetary support, refusal to buy tickets, and widespread public embarrassment. We saw a small change in direction this year which was magnified somewhat by the withdrawal of guest artists/imports Semionova and Lendorf. Hopefully they will completely disappear from the roster in the coming weeks with no additional imports added. But don’t hold your breath.
The addition of Carlos Lopez, whose own very emotional departure a few years back due to continually being overlooked for opportunities can’t be forgotten, is simply another bandaid on an oozing sore. ABT is in need of major principal coaches to replace McKenzie and augment Kolpakova. Nothing less will cure its ills.
Thank you, Liza.
I’ve wondered aloud on the blog why the NYT has not done an exposé on ABT’s dismal management. The paper certainly was all over New York City Opera management when it descended into its troubles. In the case of ABT, I firmly believe that the reason NYT didn’t criticize it for the gross overuse of guest artists (and the resulting loss of important company artists) is that the writers enjoyed writing about the guest artists more than ABT’s own dancers. The writers didn’t have to travel to the other part of the world, incurring expense and inconvenience; they could just sit on their asses and wait for ABT to bring the guest artists here.
It has always been a useless exercise to write to either ABT or NYT about either of the company’s failings. The only thing that speaks to ABT is the withholding of monetary support, refusal to buy tickets, and widespread public embarrassment. We saw a small change in direction this year which was magnified somewhat by the withdrawal of guest artists/imports Semionova and Lendorf. Hopefully they will completely disappear from the roster in the coming weeks with no additional imports added. But don’t hold your breath.
The addition of Carlos Lopez, whose own very emotional departure a few years back due to continually being overlooked for opportunities can’t be forgotten, is simply another bandaid on an oozing sore. ABT is in need of major principal coaches to replace McKenzie and augment Kolpakova. Nothing less will cure its ills.
I don’t even read AM critiques any longer, as I have mentioned, they are sounding more and more like a press release from the board/company, so why bother! I miss the days of Baryshnikov, and all the great artists during his reign! Gone are the days of art for art sake, and not for “board favorites” sake 🙁 IMO and I maybe wrong but I feel as if KM is in fear of loss of funding from these people … but has sacrificed the artistic portion of it all in recent years!
I don’t even read AM critiques any longer, as I have mentioned, they are sounding more and more like a press release from the board/company, so why bother! I miss the days of Baryshnikov, and all the great artists during his reign! Gone are the days of art for art sake, and not for “board favorites” sake 🙁 IMO and I maybe wrong but I feel as if KM is in fear of loss of funding from these people … but has sacrificed the artistic portion of it all in recent years!
KM had some good years in there with Ferri, Jaffe, McKerrow, etc., but he lost the plot at least 10 years ago and has been coasting on mediocrity ever since. The true “oh screw it all” moment was the promotion of Misty Copeland, a dancer who is technical inferior to most of the current soloist (and many corps) women. Yes, money talks. As fun at it is to attend out of morbid curiosity, we should avoid buying tickets until things are set right.
As much flack as Peter Martins gets for his choreography, he is an excellent AD. I truly think any other person would have ran NYCB into the ground after Balanchine’s death.
KM had some good years in there with Ferri, Jaffe, McKerrow, etc., but he lost the plot at least 10 years ago and has been coasting on mediocrity ever since. The true “oh screw it all” moment was the promotion of Misty Copeland, a dancer who is technical inferior to most of the current soloist (and many corps) women. Yes, money talks. As fun at it is to attend out of morbid curiosity, we should avoid buying tickets until things are set right.
As much flack as Peter Martins gets for his choreography, he is an excellent AD. I truly think any other person would have ran NYCB into the ground after Balanchine’s death.
Agree, JH. However, Martins’ choreography is looking pretty good these days compared to what some of the flavor-of-the-day choreographers are offering as ballets.
I believe McKenzie “lost the plot” as you nicely put it, when Julio Bocca retired. McKenzie, Rachel Moore, and the Board put together what would eventually be called their Star Strategy — import everything that is needed and use ABT dancers as wallpaper, like the Met Opera does. Talk about a company not in touch with its audience! It was McKenzie’s admission that he could not make stars out of the company’s talent. At that point, he should have been replaced – no question about it.
Agree, JH. However, Martins’ choreography is looking pretty good these days compared to what some of the flavor-of-the-day choreographers are offering as ballets.
I believe McKenzie “lost the plot” as you nicely put it, when Julio Bocca retired. McKenzie, Rachel Moore, and the Board put together what would eventually be called their Star Strategy — import everything that is needed and use ABT dancers as wallpaper, like the Met Opera does. Talk about a company not in touch with its audience! It was McKenzie’s admission that he could not make stars out of the company’s talent. At that point, he should have been replaced – no question about it.
I think it is important to also note in regards to Martins directorship is that he is aggressively expanding NYCB repertory into the true classical domain. I don’t think he is going to make them classical but he definitely proved that they can dance classically (something Balanchine always claimed his dancers were capable of the classics).
The absolute success of NYCB’s La Slyphide was a shot across the bow of ABT. How long before NYC dance audiences would rather watch neoclassical dancers portray the classics admirably than ABT “stars” whose only claim to success is that someone on the Board favors them. ABT could very well go under just as New York City Opera did.
I think it is important to also note in regards to Martins directorship is that he is aggressively expanding NYCB repertory into the true classical domain. I don’t think he is going to make them classical but he definitely proved that they can dance classically (something Balanchine always claimed his dancers were capable of the classics).
The absolute success of NYCB’s La Slyphide was a shot across the bow of ABT. How long before NYC dance audiences would rather watch neoclassical dancers portray the classics admirably than ABT “stars” whose only claim to success is that someone on the Board favors them. ABT could very well go under just as New York City Opera did.
If I’m not mistaken didn’t KM inherit Ferri, Jaffe and McKerrow? I recall Baryshnikov hiring Jaffe and I believe McKerrow?! Agree about Martins and the great job he has done to continue with the Balanchine legacy and his strong directorship!
If I’m not mistaken didn’t KM inherit Ferri, Jaffe and McKerrow? I recall Baryshnikov hiring Jaffe and I believe McKerrow?! Agree about Martins and the great job he has done to continue with the Balanchine legacy and his strong directorship!
Yes, you are correct. He also inherited Bocca who brought the Cornejos to him. Makarova brought Corella to him.
Yes, you are correct. He also inherited Bocca who brought the Cornejos to him. Makarova brought Corella to him.
Thanks for the reminder Haglund! 🙂 so who has actually come out of the KM reign so far compared to these greats, without having to force KM or the board to get promoted, even Stella had to wait all these years?!
This also leads me to wonder that maybe it was the reason why the 75th anniversary celebration had minimal mention of Baryshnikov, whom I consider the heart of it all, and yet we saw a documentary that seemed to have more about the last 20 years too!? I was actually sad that he didn’t get a chance to even speak on stage at the gala! ;(
Thanks for the reminder Haglund! 🙂 so who has actually come out of the KM reign so far compared to these greats, without having to force KM or the board to get promoted, even Stella had to wait all these years?!
This also leads me to wonder that maybe it was the reason why the 75th anniversary celebration had minimal mention of Baryshnikov, whom I consider the heart of it all, and yet we saw a documentary that seemed to have more about the last 20 years too!? I was actually sad that he didn’t get a chance to even speak on stage at the gala! ;(