Short shrifting continues

American Ballet Theatre continues promoting it's inferior guest dancers while giving its own talented women soloists the short shrift.  The company cannot bring itself to acknowledge the extraordinary achievements of its soloists at other major companies by updating their biographies.  Why hasn't Sarah Lane's biography been updated to include her major role as Odette/Odile with Barcelona Ballet?  Why hasn't Stella Abrera been credited with her string of appearances starring as Aurora in Sleeping Beauty for the Royal New Zealand Ballet?  Why hasn't Maria Riccetto been acknowledged for performing Medora in Le Corsaire for Julio Bocca's Sodre Ballet in Uruguay? 

So while ABT is ignoring its soloists' international achievements, it is promoting its inferior guest dancers by referring its internet traffic to a gross spread in Vogue Magazine that trumpets that the guest dancers "are bringing their passion and poise to the New York stage."  Isn't it a damn shame that they're not bringing balletic line, aesthetic, and classicism with them, too. 

Want to see some balletic line, aesthetic, and classicism of real homegrown dancers who ABT has ignored in addition to the above examples?  Here's a little example that in 3 1/2 minutes in an extremely small space manages to tell a whole story with class, integrity, and without gross gymnastic tricks. 

These are the artists who ABT should be promoting.

Maria Riccetto and Blaine Hoven 2010 Avery Fisher Hall.