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It's hard to pay attention to the current Met run of Le Comte Ory when your uncontrollable inner mind keeps emitting:   WE'RE SO PRETTY OH SO PRETTY YENDE   (I should say that this star-is-born do

Dynamite-plus, even.

This reminds me of my rant about SF Ballet's Cinderella without fairy godmother or mice.

My related takeaways from the Wheeldon Here/Now program were, based on the premise (confirmed, as far as I'm concerned, by this program) that Polyphonia kind of towers over the rest of his output: (1) the more abstract, the better, as far as Wheeldon is concerned; (2) Wheeldon is better at group choreography, and -- importantly for ballet -- he is especially bad at pas de deux; at least partly because (3) among the "Big 3" Young Male Ballet Choreographers, Wheeldon seems to have the most retrograde attitudes toward gender (wait for the revival of After the Rain later in the Festival -- I find it actually hard to watch, it's so implicitly sexist).


Ratmansky tonight!

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The only unappealing photo on her Instagram.




ETA: Research suggests that I am more likely to have arthritis in that joint than a bunion; the symptoms are similar. So maybe I am in no way like her after all.

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I was briefly very confused at the program tonight opening with the West Side Story overture. Then I thought about it a little more. Dammit!


Given that my sole gala experience before this was seeing the City Ballet's abbreviated 90-minute program earlier this week, I was not entirely pleasantly surprised that the Met's was a shade over 5 hours.


I'm not qualified to say anything substantive about the program, but I will say that:

  1. I found Vittorio Grigolo's scenery-chewing in E lucevan le stelle hilarious (in a good way).
  2. I really liked the selection from I Lombardi (but I sort of would, even setting the music and the singing aside)... I guess maybe they're reviving it?
  3. It's sort of funny to read about how badly Antony and Cleopatra went over, and telling that they didn't do an aria form that opera. I wonder if things would have played out differently if Antony and Cleopatra had instead been a critical hit. Interesting, too, that the City Ballet didn't do a big premiere when New York State Theater opened.
  4. Apparently the woman wearing the garish sequined green-and-purple dress my friend and I were making fun of before curtain was actually Elīna Garanča. Umm, oops.
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