In the mix

BORIS EIFMAN

Russian choreographer and artistic director, the Eifman Ballet of St. Petersburg

The company was very busy and successful in 2005, dancing for the first time in Argentina, Mexico and Canada, so I was not able to see that much. Unfortunately, most of it was so boring that I didn’t sit through the end of it.

Maybe I’m jealous, but I feel that the Kirov Ballet and Bolshoi Ballet are doing nothing important when it comes to new works. Instead of inviting great choreographers, they spend so much money on nobodies: doing experiments that don’t give that much to the dancers.

At the Kirov, it’s just a wrong direction, but what’s going on at the Bolshoi is ridiculous.

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JOSE MANUEL CARRENO

Cuban-born principal dancer, American Ballet Theatre

For me, the highlight of the year came early in a gala New Year’s performance at La Scala, Milan, in honor of Rudolf Nureyev. It was so exciting to meet premier dancers from all over the world and dance on the same program.

Also, I love Billy Joel’s music, so I really enjoyed Twyla Tharp’s “Movin’ Out.” I don’t think it’s the right moment for me to do it, but I’d like to do a Broadway show of this kind sometime in the future.

Disappointments? I don’t think I had any during the year. Maybe I’m lucky.

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GARTH FAGAN

Choreographer and director, Garth Fagan Dance, and choreographer, “The Lion King”

What I saw that really excited me was Rennie Harris’ group -- the freshness of the street vernacular and the highly sophisticated look that his choreography gave it.

I also saw a wonderful performance by Elizabeth Streb’s company in an outdoor space in Oregon. In that environment, it seemed much more vital than if it had been performed in a regular theater.

One of the things that I despise is all the stuff of modern concert dance that we’re losing -- the edge and vigor and barefootedness that Ailey, Graham, Limon and so many others busted their guts for. Instead, all we’re getting is a contemporary ballet mishmash.

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EDWARD VILLELLA

Founder and artistic director, Miami City Ballet

I rarely have free time to see performances, but this year I found Twyla Tharp’s “In the Upper Room” absolutely thrilling, maybe because of the superstar dancers that ABT has. Also Paul Taylor’s “Syzygy” had the same kind of impact: the speed and unrelenting energy of it. Our field needs this kind of thing.

The worst thing? How can I say it delicately without naming names? To watch two old colleagues lose their company. And to lose a male dancer -- one of the best I’ve ever seen -- because of his becoming so unreliable that he was letting his colleagues down.

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NICK LAZZARINI

Top winner on the Fox TV “So You Think You Can Dance” competition

This year, dance became huge in the entertainment industry again -- not just hip-hop, but jazz, modern and ballroom too. It’s nice to see it out there again, in the mainstream.

I don’t think there were any downers for dance this year, but music seems all played out. Everything on the radio sounds the same. It’s hit a wall where nobody can figure out what else to do, and that’s not inspiring for dancers: We have to go out and really search for interesting stuff.

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JULIO BOCCA

Argentine-born principal dancer, American Ballet Theatre, and artistic

director, Ballet Argentino

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I was fascinated with Boris Eifman’s “Anna Karenina.” I believe he is one of the few contemporary choreographers who is able to express an interesting and understandable drama through the ballet language. Let’s also remember his “Russian Hamlet.” The same stands for Ana Maria Stekelman and her choreography “Cruz y Ficcion,” which is currently in my repertoire.

I am very disappointed with the fact that choreographers and dancers in general do not show much interest in the artistic aspect of dance because they want to shine technically.