All Activity

This stream auto-updates   

  1. Past hour
  2. I also attended the matinee performance on Sunday. Tiler Peck was the star of the afternoon. Her technical ability and expression in this ballet are matched by hardly anyone currently performing the role. I'd also like to add that the piano solo in the middle was played beautifully and poignantly which I felt that Tiler matched completely. Truly a spectacular performance. The 4t's was also performed very well, highlights being the 3rd theme, and Teresa Reichlen in Choleric. She was able to occupy so much space and has such fantastic range of motion that it is so exciting to see the crisp and sharp lines of her beautiful legs attack the space. Sara Means on the other hand seemed to be having an off night and she let it show. She hardly kept her eyes off the floor and seemed defeated and not totally present. To me Symphony in C is the perfect way to end any ballet program and I never could get tired of watching it. Megan was charming and secure, and though Chase is beautiful, and benefits from having perfect proportions and great presence, he can't quite meet the technical challenges of the first movement right now. He's been plagued with injuries the past and though its nice to see him finally back on stage, their is a clear diminishment in his technical ability now, than from when he was first promoted to principal. Maria Kowroski was in perfect form, and had such a special quality to her dancing. She moved so seamlessly and was so invested in the movement that I found it near impossible to take my eyes off of her, and the connection she had with her partner Tyler was palpable. I was excited to see Alston for the first time in a Principal role and she delivered on all accounts. All she needs now is time to continue growing and I think we'll have a very special artist on our hands. Her partner Harrison was also delightful to watch and has shown a lot of growth since first joining the company. All in all it was a very special performance, and one I was very glad to have not missed.
  3. I like Millepied's Neverwhere, but I gather there aren't many members of that club.
  4. Actually it depends on how busy they are, and what you want to see. You can reserve viewing time, if you know when you'll be there, but you can also just try your luck. And while some of their holdings require advance permission, some are available on demand.
  5. I like his Three Movements, and his recent Appasionata was impressive. But it takes time for someone to learn to make dances, as well as the other resources. There are some choreographers who are wonderful out of the gate, but most of them go through a learning curve. I'm happy to watch that process, but I want to see more people in the ballet world take that on.
  6. But Bolero was first performed by a female dancer (Duska Sifnios), and Maya Plisetskaya is one of the most famous interpreters as well as Sylvie Guillem. You can see how different the work looked when you see the Duska Sifnios performance that pops up on YouTube.
  7. Both things can be true. Farrell remained steadfast in her personal loyalty to Bejart (who hired her when no one else would) and was able to find and isolate those parts of Bejart's repertory that would sit comfortably beside her larger concern, which was and is Balanchine's repertory. I don't think Farrell would have programmed bad work by Bejart just for the sake of pleasing him. I think she presented what she liked and what she thought American audiences might like. Regarding Bolero, I saw it in Chicago in 2012 with Nicolas Le Riche and Aurelie Dupont atop the table. (I missed Marie-Agnes Gillot performing it which, knowing what I know now, I could kick myself for.) All I can say is that the audience response to both performances was tremendous -- to the positive. And the POB dancers appeared to be enjoying performing it. Beyond that, I'm reminded of something Arlene Croce said back in the 90s: "Personal taste always operates. But you can't argue about this with people. Either they like it, or they don't."
  8. Just found George Jackson's thorough report of the Justin Peck program, for Danceviewtimes. Glad that I stayed home! Not mentioned in Jackson's report, but confirmed to me by a ballet-teacher friend of mine who attended Saturday night, the Abraham work's on-stage vocalist shouted-out a number of vulgar words during the performance, including the "f..." word. Classy.
  9. Yesterday
  10. Thank you, Mme H. I remember Michael Bjerknes very well as a wonderful early star of Washington Ballet. Didn't realize that he was from the Chicago area.
  11. I agree with nanushka. Maria's (and her partner, Tyler's ) 2nd movement on Sunday was so mesmerizing and beautiful, and judging the reactions of the people around me, I wasn't the only person who felt this. It was one of those live theater experiences. I was sitting quite close, so I don't know if people sitting further back had the same experience. Her 4th movement and finale were a bit rough, but the 2nd movement was so beautiful, I didn't care. And, you know, in a day and age when 12 year olds on youtube can perform 16 pirouettes, I'm definitely looking for something more than technique from the professional artists I go see perform. Just my opinion
  12. You need to request videos in advance. I learned this the hard way last Fall, when I was unexpectedly in Manhattan for the day and thought I could spend the afternoon with "Liebeslieder Walzer."
  13. Bejart's Bolero should only be danced by a man, looks wrong when a woman dances it. Have fond memories of Farrell's Bejart days.
  14. I found this short fragment among other unidentified pieces on a reel listed in Ruth Page's film catalogue and thought it would be of interest to those of you on the board who remember Michael. I think his partner is Cynthia Anderson or perhaps Charlene Gehm
  15. Personally, I'd hardly go so far as to say that seeing her in it is not a "still valuable" experience, despite the fact that she may not be ideal for the role. The 2nd movement was quite beautiful; I can forgive the 3 minutes she's onstage for the 4th.
  16. I disagree with Kowroski. Even before she went on maternity leave and had her injuries I never saw her make it through a classical tutu ballet like Symphony in C or Diamonds without a major mistake. Doesn't mean she wasn't/isn't a lovely dancer. But I saw her twice in Symphony in C and her trying to get through those pirouettes was painful to watch. There's plenty of roles where Kowroski's warm stage manner, her comic timing, and her beautiful figure are still valuable, I just don't think a role like Symph in C is one of them.
  17. Suzanne Farrell had a personal relationship with Bejart and danced in his company for several years. She's loyal. But personally whenever I see those beautiful POB etoiles contorting and twerking their way through Bolero I cringe. That's not even entertainment. It's ballet's equivalent of a striptease.
  18. As I wrote in my review of Releve elsewhere on this site, it's worthwhile for giving such an in-depth look at 'Generation Millepied', which should more appropriately be named 'Generation Platel/Lefevre/Millepied'. But it only portrays a sliver of what was going on in the great house during the Millepied era (and perhaps not even the most interesting part.) Another factor that comes into play is whether or not works that were designed for much smaller spaces -- like those by Cunningham -- "read well" when transferred to opera houses and opera house stages. I would argue that much of Antony Tudor's repertory falls into this category. The Moor's Pavane falls into this category. And certainly the Graham repertory ran into problems when the company started playing the State Theater in New York during the late 70s. Suzanne Farrell would probably disagree with you as she has two Bejart works in her company's repertory. Personally, I like Bejart's Bolero. It's not art by any means. But it is fun ballet entertainment, which I find a whole lot more tolerable than the badly costumed, dimly lit, contortionist "art" that roams ballet stages these days.
  19. You lose me at "Bejart." There are plenty of European choreographers worthy of respect but Bejart's "choreography" is of the vilest, most vulgar, disgusting, self-indulgent quality and classical ballet companies should be ashamed of even having one Bejart work in their repertory. There's no excuse for such vulgarity. I mean, this is an absolute abomination: As is this:
  20. Nanushka - If you are not a NY resident, you can get a temporary library card that will allow you to access the research collections.
  21. Wow. Just... wow. (Am seeing her as a future YY for the company.)
  22. I agree on all that you said here, Josette! Greco is now my next-best-thing-to-Davit Karapetyan dancer. I hope he enjoys a long, injury-free career with the SFB.
  23. Oh, yay, more casting just posted, and a surprise: Dores André is no longer dancing as a stepsister on opening night (replaced by Ellen Rose Hummel), but as Cinderella on Sat 2p. And with Carlo Di Lanno. Wow - I didn't see that coming. Should be fun! I'm quite fond of all the dancers in that cast. And here is more casting... Saturday, April 29, 2017 - 2 pm Cinderella: Dores André Prince Guillaume: Carlo Di Lanno*^ Stepmother: Lauren Strongin* Stepsister Edwina: Jahna Frantziskonis* Stepsister Clementine: Julia Rowe Benjamin: Angelo Greco* Saturday, April 29, 2017 - 8 pm Cinderella: Yuan Yuan Tan Prince Guillaume: Luke Ingham Stepmother: Ludmila Bizalion* Stepsister Edwina: Elizabeth Powell Stepsister Clementine: Ellen Rose Hummel Benjamin: Hansuke Yamamoto Sunday, April 30, 2017 - 2 pm Cinderella: Frances Chung Prince Guillaume: Joseph Walsh Stepmother: Jennifer Stahl Stepsister Edwina: Sasha De Sola Stepsister Clementine: Dores André Benjamin: Taras Domitro Tuesday, May 2, 2017 - 7:30 pm Cinderella: Maria Kochetkova Prince Guillaume: Joseph Walsh Stepmother: Jennifer Stahl Stepsister Edwina: Sasha De Sola Stepsister Clementine: Ellen Rose Hummel Benjamin: Taras Domitro
  24. In my opinion, Maria Kowroski performed a beautifuly yesterday afternoon in Symphony in C. I have to disagree with @CTballetfan. Felicia. In fact, she brought another level of artistry to the adagio section. Her beautiful long lines really hypnotized the audience. She also did an extra bow and pleased the wild applause of the audience. For the grand finale, not only that she kept up with the other dancers but she stood out like a true queen. This is my second time seeing her this week in Symphony in C (this time in 4th ring, first time in Orchestra). Even from the cheap seats, I can feel her dancing.
  25. perhaps your questions will be answered here:
  26. I've never visited the collection but hope to soon. Is it currently required for one to be a NY resident and/or to have a NYPL card? I live in NJ -- so I'm close, but I'm not sure if I'm eligible. Thanks!
  27. A profile of 91-year-old Maureen Leathley.
  1. Load more activity