{"id":495,"date":"2008-02-11T17:09:18","date_gmt":"2008-02-12T01:09:18","guid":{"rendered":"http:\/\/www.artsjournal.com\/foot\/wp\/2008\/02\/the_second_coming_of_plusadded\/"},"modified":"2008-02-11T17:09:18","modified_gmt":"2008-02-12T01:09:18","slug":"the_second_coming_of_plusadded","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/foot\/2008\/02\/the_second_coming_of_plusadded.html","title":{"rendered":"The second coming of&#8230; (plus&#8211;added Wednesday&#8211;the farewells of&#8230;)"},"content":{"rendered":"<p>She&#8217;s a version of Nureyev. Or something like. Or would be in another era.<br \/>\nAnyway, my <a href=\"http:\/\/nymag.com\/arts\/classicaldance\/dance\/features\/43858\/#\">essayette<\/a> for New York magazine on peripatetic Kirov\/ABT star Diana Vishneva, who&#8217;s having a real season here in New York this year.<br \/>\nAnd, <a href=\"http:\/\/www.newsday.com\/entertainment\/arts\/ny-secfirst5573570feb13,0,1862810.story\">here,<\/a> my review for Newsday of Christopher Wheeldon&#8217;s final dance as resident choreographer for New York City Ballet, &#8220;Rococo Variaitions,&#8221; and Nikolaj Hubbe&#8217;s moving farewell. (An oddly muted review: I must have been trying [too] hard not to sound soppy and weepy, plus stuff two endings into 450 words. Will miss Wheeldon&#8217;s opportunity to make ballets with a sizable corps,  like &#8220;Evenfall&#8221; or &#8220;Carousel.&#8221; And will miss Hubbe. A lot. Who will fill his shoes as the Poet in &#8220;La Somnambula,&#8221; for example? Who, who?)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>She&#8217;s a version of Nureyev. Or something like. Or would be in another era. Anyway, my essayette for New York magazine on peripatetic Kirov\/ABT star Diana Vishneva, who&#8217;s having a real season here in New York this year. And, here, my review for Newsday of Christopher Wheeldon&#8217;s final dance as resident choreographer for New York [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-495","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/comments?post=495"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/495\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/media?parent=495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/categories?post=495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/tags?post=495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}