Based upon the subscription brochure, the company roster has changed in the following manner:
Principals & Soloists - no changes
Corps - no longer listed:
Dena Abergel (who now shows up as the editor of the SAB newsletter)
Darius Barnes
Katie Bergstrom
Sophie Flack
Pauline Golbin
Courtney Muscroft
Matthew Renko
Aaron Severini
Brianna Shepherd
Max van der Sterre
Elizabeth Walker
Sarah-Rose Williams
Corps - new additions, all from the rank of apprentice:
Sara Adams
Callie Bachman
Amy Barker
Chase Finley
Sam Greenberg
Kristin Seguin
Full Version: NYCB Roster: 2009-2010
I'm surprised by Matthew Renko being out. He was very talented (not that the others aren't) and was hardly in the company. I remember him as a standout of the SAB just two years ago.
Is Elizabeth Walker still teaching at SAB? I don't see her on the school's website.
QUOTE (cinnamonswirl @ Aug 28 2009, 04:34 PM) 
Is Elizabeth Walker still teaching at SAB? I don't see her on the school's website.
You're absolutely right! Dena is now listed as a member of the permanent faculty, but Elizabeth is no longer there.
http://www.sab.org/school/boardstaff/
QUOTE (harpergroup @ Aug 28 2009, 01:16 PM)
Based upon the subscription brochure, the company roster has changed in the following manner:
Corps - no longer listed:
Dena Abergel (who now shows up as the editor of the SAB newsletter)
Darius Barnes
Katie Bergstrom
Sophie Flack
Pauline Golbin
Courtney Muscroft
Matthew Renko
Aaron Severini
Brianna Shepherd
Max van der Sterre
Elizabeth Walker
Sarah-Rose Williams
Corps - no longer listed:
Dena Abergel (who now shows up as the editor of the SAB newsletter)
Darius Barnes
Katie Bergstrom
Sophie Flack
Pauline Golbin
Courtney Muscroft
Matthew Renko
Aaron Severini
Brianna Shepherd
Max van der Sterre
Elizabeth Walker
Sarah-Rose Williams
It appears that Saskia Beskow is departing as well.
I knew all of the departing dancers “by sight”—that is, I could single them out from the corps without using my binoculars—and I will certainly miss seeing them dance next season. Some of the departures are especially poignant because we’ve had the privilege of watching these artists perform for many, many seasons.
I’m glad that I had the chance to see Dena Abergel dance so many times over the last couple of seasons, but I’m especially glad I got to see her beautiful performance of “Prayer” in “Coppelia” as well as what must have been one of her last performances of Helena. In late 2006 Abergel was the subject of a wonderful little New York Times interview in graphic form in which she talked about dancing in “The Nutcracker” while observing Hannukah. I can’t seem to dredge it up in the NYT archive, unfortunately, so I can’t post a link.
Saskia Beskow joined NYCB in 1997 and seemed to be in every ballet on every program from day one: I think can say without exaggeration that I’ve seen her dance at least 100 times, and she was never less than the embodiment of a special kind of grown-up elegance and grace that was a genuine pleasure to see on stage. I'll miss it.
For many years, two charming, unfailingly elegant older women had subscriptions in seats right next to ours. One day way back in the 90’s one of them nudged me and pointed out Pauline Golbin: “Look at how beautifully she carries herself!” It must only have been Golbin’s first or second season with the company, but she was already the kind of dancer who drew your eye, even if she was the proverbial third swan from the left. It's hard to imagine the company without her.
It’s been several seasons since I’ve seen Elizabeth Walker dance and I’m sorry I won’t get the chance to see her one last time. Walker’s radiant, committed dancing brought a spark to more than one dreary performance during the company’s 90s doldrums. I loved watching her in “Serenade” when she was one of the quartet of demi-soloists—she was like a ray of sunshine.
My thanks to all of the departing dancers for the many hours of pleasure their performances have brought me over the years and best wishes for wherever life takes them next.
A lovely tribute Kathleen, I hope the dancers see it. It is a huge accomplishment to dance with a company of the caliber of NYCB. The corps is full of talented artists. They should know they are seen, and appreciated.
I share LiLing's appreciation of another of your especially lovely posts, Kathleen.
While I was searching for that item, I tripped over this one, which while not specifically about NYCB, is also pertinent to this thread.
QUOTE (Kathleen O'Connell @ Aug 28 2009, 05:58 PM)
In late 2006 Abergel was the subject of a wonderful little New York Times interview in graphic form in which she talked about dancing in "The Nutcracker" while observing Hannukah. I can't seem to dredge it up in the NYT archive, unfortunately, so I can't post a link.
I think this is what you mean. It would be nice if we could all agree on the spelling of the holiday. While I was searching for that item, I tripped over this one, which while not specifically about NYCB, is also pertinent to this thread.
QUOTE
SHE (more rarely, he) is the most talented student in the local dance school. Her legs are long, her feet arched; her neck looks suitable for a potential swan. Her teacher encourages her parents to have her audition for the School of American Ballet, or the Royal Ballet School, or the Paris Opera Ballet School. There are hundreds of children at the audition, but she gets in.
...
"When you first get into the company, you don't think you're going to spend your life in the corps," said Dena Abergel, who has danced with City Ballet for 17 years. "Your dream is to be the lead, and at one level that never goes away. But I really enjoy dancing in a group. In pieces like "Serenade" the corps is the ballet, and that's an amazing feeling. Sometimes I look at the principals and think, 'It's so hard to be out there alone.'"
...
"When you first get into the company, you don't think you're going to spend your life in the corps," said Dena Abergel, who has danced with City Ballet for 17 years. "Your dream is to be the lead, and at one level that never goes away. But I really enjoy dancing in a group. In pieces like "Serenade" the corps is the ballet, and that's an amazing feeling. Sometimes I look at the principals and think, 'It's so hard to be out there alone.'"
QUOTE (carbro @ Aug 30 2009, 05:00 AM)
I think this is what you mean. It would be nice if we could all agree on the spelling of the holiday.
Yes, that's it! Thanks for posting a link ...
C or no C? Two Ns? Two Ks? I can never decide. Chez nous we're extra-special festive and celebrate Channukwanzmas ... If we could get Diwali and Chinese New Year in there, too, we would.
Just a note that some of these beloved senior corps ladies are voluntarily retiring - I was informed that four of these women who are being mourned were not "cut" but left to pursue other things in life. I had an e-mail from a good reliable source with all the details but it would still fall under this board's definition of unsubstantiated gossip.
It is always the case that when the number of people leaving > announced cut number, the difference is the number of voluntary resignations. The artistic loss to the public is the same.
Just to clarify, which we do from time-to-time when the subject is raised, we don't have a gossip policy. We have a news policy. When news is available from an official source, it is welcome on Ballet Talk. There are exceptions for Editorial Advisors, Foreign Correspondents, and Alexandra (which do not apply to Moderators, Board Moderators, or other Administrators, BTW) whose sources are official, but unpublished. The details are in our policy threads in the "About This Site" forum.
We are neutral on the veracity of unofficial sources, since they have no place here. If a party wants his or her information published or announced in public, he or she will arrange it; anyone can self-publish on the web.
Just to clarify, which we do from time-to-time when the subject is raised, we don't have a gossip policy. We have a news policy. When news is available from an official source, it is welcome on Ballet Talk. There are exceptions for Editorial Advisors, Foreign Correspondents, and Alexandra (which do not apply to Moderators, Board Moderators, or other Administrators, BTW) whose sources are official, but unpublished. The details are in our policy threads in the "About This Site" forum.
We are neutral on the veracity of unofficial sources, since they have no place here. If a party wants his or her information published or announced in public, he or she will arrange it; anyone can self-publish on the web.
Dena Abergal will be assiting Garielle Whittle, the Children's Ballet Mistress at NYCB-announced in a letter from SAB to parents of dancers at the school
A
QUOTE (Dee49 @ Sep 27 2009, 07:36 PM)
As the mother of one of the dancers who was cut from NYCB, Matthew Renko, I can vouch that for him at least, it was shock, as well as to his friends, and even a couple of the ballet masters/mistresses. But one has to be pragmatic, these are tough times, and in tough times the arts are always going to take a hit. Let's face it, it's cheaper to use apprentices and first year corp than second, or third, or whatever. And Matthew has also been pragmatic. As one of the shortest male dancers, no matter how talented, he knows he doesn't have the versitility that a taller male would have. He understands that, although the point was driven home when he was recommended for an audition for the Twyla Tharp "Sinatra" production. He went, was told after the audition they liked his dancing but they were hiring a swing and he wasn't tall enough.
He's hanging in there, though. He's got a gig dancing in "Aida" and some film thing after that.
Over the past few years posters have left an occasional favorable comment of Matthew's performance(s). For all you that did, thank you.
He's hanging in there, though. He's got a gig dancing in "Aida" and some film thing after that.
Over the past few years posters have left an occasional favorable comment of Matthew's performance(s). For all you that did, thank you.
Matthew was a definite stand out in the corps of NYCB, and to be seriously considered by Twyla is a testament to his talent and abilities.
I wish him the best of luck. Please keep us BTers up to date on his progress and whereabouts.
Matt has always been so talented and wonderful with a good head on his shoulders and an amazing, caring mother behind him. I wish nothing but the best for him. 
QUOTE (vipa @ Sep 28 2009, 02:03 AM)
QUOTE (Dee49 @ Sep 27 2009, 07:36 PM)
As the mother of one of the dancers who was cut from NYCB, Matthew Renko, I can vouch that for him at least, it was shock, as well as to his friends, and even a couple of the ballet masters/mistresses. But one has to be pragmatic, these are tough times, and in tough times the arts are always going to take a hit. Let's face it, it's cheaper to use apprentices and first year corp than second, or third, or whatever. And Matthew has also been pragmatic. As one of the shortest male dancers, no matter how talented, he knows he doesn't have the versitility that a taller male would have. He understands that, although the point was driven home when he was recommended for an audition for the Twyla Tharp "Sinatra" production. He went, was told after the audition they liked his dancing but they were hiring a swing and he wasn't tall enough.
He's hanging in there, though. He's got a gig dancing in "Aida" and some film thing after that.
Over the past few years posters have left an occasional favorable comment of Matthew's performance(s). For all you that did, thank you.
He's hanging in there, though. He's got a gig dancing in "Aida" and some film thing after that.
Over the past few years posters have left an occasional favorable comment of Matthew's performance(s). For all you that did, thank you.
Matthew was a definite stand out in the corps of NYCB, and to be seriously considered by Twyla is a testament to his talent and abilities.
I wish him the best of luck. Please keep us BTers up to date on his progress and whereabouts.
He is listed in the MetOpera playbill .I'm not sure if it is just for the Ratmansky-choreographed Aida
As the mother of one of the dancers Matt cast in his piece for Institute last year, I had the privilege of seeing his sensitive choreography. As well as being an amazing dancer, Matt has a voice as a choreographer. He's a sweet guy too (spoke with him afterward) and I hope he sees this as a door opening to another important career path. Best to him!
QUOTE (Brice @ Sep 1 2009, 08:52 PM)
Dena Abergal will be assiting Garielle Whittle, the Children's Ballet Mistress at NYCB-announced in a letter from SAB to parents of dancers at the school
QUOTE (bingham @ Sep 30 2009, 10:38 AM)
He is listed in the MetOpera playbill .I'm not sure if it is just for the Ratmansky-choreographed Aida
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