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  1. The casting for the Bolshoi’s summer season at the ROH is now posted on the ROH website. Some unexpected pleasures, and a few (not unexpected) disappointments.
  2. In this case, ignorance may be bliss. PAMTGG was a ballet choreographed by Balanchine in the early 1970’s. Its title was an acronym for a commercial jingle then in use by an airline then in business: “PanAm makes the going great.” Here’s a link to a review: https://www.nytimes.com/1971/06/18/archives/dance-balanchine-offers-pamtgg-work-based-on-jingle-given-by-city.html
  3. I don’t think that because someone loves 2 Pigeons, it necessarily means he/she is uncritical about the entire Ashton oeuvre. I love 2 Pigeons and many other Ashton works, and I consider Ashton one of the great choreographers of all time, but I disliked Varii Capricci ( even though I loved its original cast), and while Jazz Calendar is a lot of fun in spots, I find some of it uninspired. (For that matter, I love Balanchine, too, but PAMTGG was one of the worst ballets I’ve ever seen, and I really dislike Variations for a Door and a Sigh.)
  4. Birthday Offering needs careful casting, which I don’t think it received in the RB’s last run— when it’s better danced (as I thought it was) by ABT than by the Royal Ballet, something’s seriously wrong. I think Daphnis is a beautiful ballet.
  5. I also think those are Reid and Egon. The danseur in the center photo in 1 is clearly Ricky Cragun, and Egon is in many of the surrounding ones (e.g., the jete).
  6. He seems to be back on, according to a Tweet from Ariane Bavalier (a French dance critic). And he has reappeared in recent posts on dansomanie.
  7. The Coliseum website seems to go both ways--I just found a few seats for a performance listed as "sold out," so for people who, like me, are looking for last-minute tickets, I would suggest checking each desired performance individually, rather than relying on the summary page.
  8. I'm one of those people who saves programs and cast lists forever, goes back to them on occasion and so wants them to be accurate. I'm also finding the current situation cumbersome--I've been going to the programme selling desk in the Bow St foyer, seeing no notice, asking the programme sellers if there are any changes, sometimes getting misinformed, sometimes getting the sole printout jammed in my face so that I can hurriedly try to annotate my cast sheet properly, being told sometimes rather officiously (and IMO incorrectly) that the changes are insignificant. It seems to me that if the ROH really wants to save paper, it would save far more paper and accommodate old school viewers like myself if it were to install recycle bins (with narrow slots to accommodate only the cast sheets) near the exits.
  9. Smirnova’s debut in the Mariinsky production of Giselle, perhaps, but certainly not in the role! She’s danced it in Moscow a few times and, if memory serves, in Vienna once or twice.
  10. That would be a logical reaction, but I've seen wonderful Olgas who were also great Tatianas: Birgit Keil, for example (though, to be honest, I loved Birgit in almost everything she did, so that may not be the most objective assessment). Sometimes younger dancers make great Olgas and as they mature and their artistry grows, become great Tatianas--Nunez for me falls into this category. Osipova years ago did a terrific Olga one time at ABT, and although she is not what I would summon as my ideal Tatiana, she is such a compelling dance actress that I think her Tatiana is great.
  11. I'd hope that she would in any case, but I can think of instances where (company premieres, where most if not all candidates would not have danced Olga previously, aside) new Tatianas had never danced Olga.
  12. First and foremost, more Ashton (and I DON'T mean Marguerite & Armand!): Daphnis, Enigma (I can just imagine Hayward's Dorabella and Muntagirov's Troyte...), Symphonic, Scenes de Ballet and a new and more tasteful production of Cinderella. I, too, would like more Balanchine. With the current wealth of female talent, I'd love to see the RB do Divertimento No 15, but would also be thrilled to see them do the sublime Concerto Barocco. And I'd like to see Les Biches return.
  13. 1. The Mariinsky's two March performances (Tereshkina/Shklyarov and Novikova/Askerov) of Sergei Vikharev's masterful Sleeping Beauty reconstruction, which I thought I'd never see again--a gorgeous production that captures the glory and grandeur of Petipa in this, his 200th anniversary. 2. In a lesser production, the by-no-means lesser, and definitely exquisite, Aurora of Alina Cojocaru. 3. Hugo Marchand's and Vladimir Shklyarov's Onegins: very different but each masterful, and oh so moving, in his own way. 4. Bits and pieces culled from various galas: Guillaume Cote & Friedemann Vogel in Songs of a Wayfarer(Houston); Leonid Sarafanov in Tarantella (Tokyo); Elisa Badenes & Daniel Camargo in the Taming of the Shrew pas (Tokyo); Maria Alexandrova and Vladislav Lantratov in the Margot pas de deux from Nureyev (Tokyo). 5. Tiler Peck and Joaquin De Luz in Tschai pas (which, alas, we'll probably never see again). 6. (I hope I'm not REALLY limited to 5) Mathieu Ganio's Armand in La Dame aux Camellias. 7. The Awakening of Flora with Olessya Novikova and Philipp Stepin--Petipa's fabulous Faberge jewel box, in this, his 200th anniversary.
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