Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Royal Blue

Senior Member
  • Posts

    248
  • Joined

  • Last visited

Everything posted by Royal Blue

  1. For me, as I implied, Isabella LaFreniere and Unity Phelan were fabulous. (Incidentally, the gravity of LaFreniere's expression at one point was so extraordinarily impressive and moving as to make me wonder who I was watching.) Of course, I would have liked to see the first cast with Mira Nadon and Sara Mearns in these roles also. As you pointed out above, however, this is a ballet that should work with all these dancers anyway.
  2. There is disagreement, certainly, about the merit of the piece by Robbins in the program. Ratmansky's new work is dark and bleak, but one understands that to be the case from the comments made. For the vast majority of those who love New York City Ballet, the ballet by Balanchine hardly needs defending. From my perspective, a program consisting of Opus 19/The Dreamer, Solitude, and Symphony in Three Movements is simply brilliant! With one exception (I like to watch Alexa Maxwell dance when she is scheduled to do so, not when she replaces Tiler Peck), the casting for this program on Tuesday evening was fabulous. It is occasionally and properly observed in this forum that for anyone truly intrigued by ballet the experience of watching it live is indispensable. An essential corollary of this is that nothing can replace knowing the dancers and repertoire of a company very well, in order to decide for oneself who and what to splurge for whenever it is possible and necessary.
  3. Not going to contrast Tiler Peck's ballet with any by Peter Martins, or other recent commissions. However, after viewing the "New Combinations" program on February 8 (the second "Art Series" performance of the 2024 Winter Season), quoting the entire post above is requisite since I wholeheartedly agree with various major points expressed in it. Watching Sara Mearns dance to György Ligeti's Hopp ide tisztán in Polyphonia was a moving experience. Musically, nothing comparable occurs in Rotunda, although watching the latter when followed by a couple of terrific ballets such as the other two on the program is not an issue. (Daniel Ulbricht dancing to the music of Jacques Brel as choreographed by Twyla Tharp sounds more appealing.) Ample beauty and excitement permeate Concerto for Two Pianos throughout. The women in particular—soloists and corps—danced arrestingly in their gorgeous costumes. In the plushiest roles, both Mira Nadon and Roman Mejia acquit themselves magnificently. How Tiler Peck would respond to one particularly magical section of Poulenc's score aroused considerable anticipation. In the event, breathtakingly beautiful lighting and color, and heart-melting choreographic allure suffuses this segment danced by Mejia and members of the female corps. Ratmansky’s Odesa is simply phenomenal, every moment of its duration likewise filled with beauty and excitement, in addition to drama. My inclination to defend this ballet when it premiered in 2017, and particularly the potent moment with a woman tossed around by a group of men as one hears the culminating portion of the music, is nothing compared to my willingness to do so today. In a serious role, Indiana Woodward was, indeed, absolutely stunning, displaying simultaneously both an unerring dramatic sensibility and stirring technical aplomb. Nevertheless, Unity Phelan and Megan Fairchild were spectacular too. Nor were the three male soloists—Adrian Danchig-Waring, Anthony Huxley and Ulbricht—or, indeed, all the corps members in the cast, far behind. There is no reason to doubt that the second cast will be outstanding as well, but of the two, I preferred catching the first. It is disgraceful and disappointing, on my part, to view this work and program only once this season! Odesa and the rest of Ratmansky's output for New York City Ballet makes the prospect of watching the dancers listed in the cast for his new work set to the particular movements culled from Mahler's symphonies (especially Mearns, Nadon, Woodward and Laracey) insanely enticing.
  4. I do not blame Taylor Swift for anything, in part because I do not know much about her. Nor do I blame Travis Kelce, football, or football fans. But that all these have been on the news a lot recently is, I think, undeniable. Preston Chamblee does have an unusually hefty build for a ballet dancer, and that is why I made a reference to all the above in my post. In my opinion, this type of appearance and ballet do not mix very well on the stage. Casting Preston Chamblee in any work is not an indication of the decline of ballet (for me anyway). And why should I assume that he is deserving of any fewer opportunities to perform than any other dancer? More to the point, I have absolutely nothing on other authorities of ballet who witnessed New York City Ballet from the 50s to the 80s, American Ballet Theatre, the Royal Ballet, the Paris Opera Ballet, the Bolshoi Ballet, the Mariinsky Ballet and other ballet companies in past years on the subject of the decline of the art form. In fact, I suspect that at least some other members of BA who happen to read what I write look askance at the praise I tend to heap on particular works and performances by dancers in my posts. That happens because I am only motivated to write when I see something I like. (And I would add that by no means do I always post about what I have enjoyed seeing.) In sum, however, no one who has read what I have written would have any indication about a decline of the art form. The decline of the audience as represented by me, though, yes. 🙂
  5. Ballet companies and dancers should certainly aim high, and audiences expect that they do. Virtually every program in my experience of watching New York City Ballet, nevertheless, provides a refutation of the witty dictum that "Ballet is only good when it is great." The art form would have a difficult time surviving if that were true. And who decides what is "great" anyway? Wednesday evening's program consisted of Polyphonia, Barber Violin Concerto and The Times Are Racing. Each contains features to inspire and enchant, even if none in its totality can be described as a masterpiece. Watching Polyphonia was a breeze, on account first and foremost of the comeliness and splendid dancing of Unity Phelan and Indiana Woodward. Replacing Sara Mearns, Sara Adams exhibited affecting loveliness and gravitas in the pivotal sixth segment of the work. Yearning is as natural as breathing in humans, especially for the artistically inclined. And yearning permeates the music and conceit of Barber Violin Concerto. With the right cast, the substantive first and second sections of the ballet can be dramatic and moving. Unfortunately, notwithstanding his handsome appearance, elegance and strength, Preston Chamblee's football player-type build makes him appear unsuited for ballet. (Even in a work in which he impersonates a modern dance performer.) This is singularly distracting during the Taylor Swift phase of American popular culture history we are currently living through. With her long, lithe limbs, luscious blonde hair either up or down, and gorgeous countenance, Miriam Miller looked as stunning as ever without quite yet conveying the deep yearning and inner passion her role should ideally evoke. Although a peculiar work for New York City Ballet, The Times Are Racing never fails to thrill in the theater, no matter the cast. On Wednesday, the wonderful lines made by Peter Walker's tall frame were particularly impressive. Of course, the performances by Tiler Peck, Taylor Stanley, Kristen Segin, Mary Thomas MacKinnon, and the rest of the cast were delightful also. (Emilie Gerrity's physique is more symmetrical with the other two women than is Alexa Maxwell's, but that is a minor quibble.) Premiering only seven years ago, The Times Are Racing boasts one of the most rousing finales in New York City Ballet's repertory, which brought the evening to a stirring conclusion.
  6. A few years ago, I came across an article about an interactive work of art and instantly felt (and still do) that it was something that wouldn't interest me. And yet, I am mistaken. This is at the top of the Wikipedia entry on the subject: “Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.” One of the greatest achievements of Jerome Robbins' Afternoon of a Faun is that it can make one deeply conscious of the extent to which all art is interactive. The only question is the level of this interaction. At its greatest, uncovering the layers of meaning and significance in any exceptional work of art through our intuition and knowledge, our innermost feelings and thoughts, our imagination and experience is something to truly marvel at and inspire awe. Without this critical process can an ambitious work of art “achieve its purpose"? Any great artwork, essentially, invites the observer to "walk through, over or around" it. Furthermore, artists always become "part of the artwork in some way" they have created. Through the vital act of interpretation and the meaning attributed to a work, so does the spectator. An artist is also a spectator of their own work. A spectator of a fascinating work of art—deep down—must effectively “become” or emulate the artist. And, ultimately, the artist needs the spectator as much as the spectator needs the artist. Regardless of how "abstract" Balanchine's ballets that have no plot may be considered to be, it is interesting to note how any specific work of his is perceived and analyzed by different observers. Not only did watching New York City Ballet closely have a phenomenal impact on my appreciation of this type of ballet, but it also led to reflection about the relative merits of abstract and narrative art in general. Moreover, it made me more cognizant of an essential abstract quality in the greatest narrative works of art of our culture, without which they would not have survived. During the year 2023, for example, ballet audiences in New York City had the opportunity to view performances of The Sleeping Beauty in the winter, Romeo and Juliet during the summer, and Prodigal Son last fall. All three narrative ballets are adaptations of esteemed literary works that have been around for centuries or even millennia. To add to the point vipa made in the quote above (in the course of a discussion about Aria II of Stravinsky Violin Concerto), those who created the incalculably significant Awakening Scene, the denouement in the Capulet crypt, and the P/prodigal's return to his F/father gifted us veritably by never explaining what they meant, either. Through the magic of "interactive" art, these monumental stories and scenes conceived ages ago retain the profundity, sense of mystery, and eternally modern relevance inherent in them.
  7. Ballet in its absolute, pristine form takes place on a stage in front of an audience; its essence requires that it be performed live. Filmed ballet—even if the camera is positioned in the back of the theater and the image of the entire stage remains steady throughout the performance—relates as much to film as it does to ballet. There is simply no equivalent to watching and becoming acquainted with a particular ballet in person. Furthermore, the vantage point from which one views a dance performance matters greatly. No single seat or area of a theater—and by inference, sole viewing—can possibly provide the all-encompassing perspective necessary to fully appreciate the multifarious beauty of a great ballet. For these reasons, the shifting frame aspect one can encounter in a video recording of a specific ballet should theoretically be neither disorienting nor objectionable to anyone familiar with it. Even though it is considered a nuisance by some, a balanced blend of long, medium, and close-up shots is logical and beneficial. Different choices with comparable validity during the filming of the company’s Serenade in Madrid were possible. Those made by the director, however, resulted in a superlative taping of this sublime work. The sheer variety of perspectives on view and the evident advantages afforded by playback made possible the observation of an abundance of exquisite details in the choreography for both the soloists and the corps. Additionally, the gorgeous mix of blue-white, blue, and light green hues reflected in the costumes, backdrop, and flooring, and the contrasting shades of light and dark attained through the lighting, accentuated the pleasure of watching this video. Those with greater knowledge and experience of Balanchine and the New York City Ballet of past years may lament any erosion in style they perceive in today's performances by the company. And they can pinpoint what went awry or could have been done better in the Madrid performance of Serenade. To me, however, the video recording is intensely beautiful and merits plentiful rewatching. This speaks, naturally, of the greatness of the music and the choreography. Moreover, it is indicative of the quality of the performances by the dancers, including the splendid women of the corps and the outstanding Russell Janzen and Aarón Sanz. Above all, the recording brilliantly captures the art and incandescent beauty of Unity Phelan, Indiana Woodward, and Miriam Miller in a pivotal ballet. There is, emphatically, nothing wrong with watching a ballet or a dancer for the first time at the theater or otherwise. Nonetheless, my appreciation of the video is doubtless immeasurably enhanced by my previous live viewings of Serenade (including this past fall) and my familiarity with the work of all the dancers besides the newest in the corps. There was no weakness either in the casting of the two other works in the program, Square Dance and The Times Are Racing. Together, they amount to a handsome bonus. In particular, the execution and clarity of the steps by Megan Fairchild demonstrated what a magnificent role the female lead dances in the enchanting Balanchine. While grateful for the opportunity to savor the many excellent performances in the controversial The Times Are Racing (especially the one by Tiler Peck), the video recording confirmed how critical it is to view this “sneaker ballet” at the theater. Strange to observe, considering that a portion of the audience strongly dislikes it. Nevertheless, Dan Deacon's contentious music is essential to the appeal of The Times Are Racing and is decidedly more impactful when heard in the auditorium.
  8. Created by Paul Taylor in the midst of the stock market's dot-com bubble woes and a few months before the terrorist attacks, Black Tuesday premiered in April 2001. A dance work set during the Great Depression to popular songs from the 1930s somehow did not appear inviting when glancing at the programs of upcoming performances a few years ago. Nevertheless, my concerns were immediately allayed when I finally saw the work in 2019. Most significantly, the music is catchy and, at times, quite moving. Six of the eight songs are surprisingly upbeat, while two are intensely poignant. Just as vitally, however, the twilit lighting, the redolent backdrops, and the period costumes combine with the music and Taylor's engaging choreography to impart authenticity and an autumnal beauty to the work. With its masterful combination of light and dark elements, Black Tuesday has the capacity to stir deep emotions and bring forth the paradoxes and ironies intrinsic to this great nation, to history, to civilization, to art, and to life to the forefront of consciousness. Those substantial moments of Black Tuesday in which robust gaiety is displayed in the dancing are not merely superficially attractive, but indicative of the resilience of the American people and the human capability to experience pleasure in the midst of difficult circumstances. Still, the choreography set to the haunting "Boulevard of Broken Dreams", and "Brother, Can You Spare a Dime?" is what gives the work its requisite verisimilitude and depth. The latter is heard during the last segment of Black Tuesday, which ends on a note of a powerful solemnity appropriate to the subject. In this season's performances, the superb Alex Clayton danced the main role with distinctive explosiveness. Notably, the backdrop changes as the song plays, starkly reminding us of the ultimate background to all earthly endeavors. All the music was unfamiliar and pleasantly surprised me back in 2019, none more so than the riveting song for the work's sixth segment. To the heartrending music and lyrics of "Boulevard of Broken Dreams", a woman of the night dances passionately before being approached by five men emerging from the wing. In one of the most harrowing and impactful yet truthful moments in the field of dance, they proceed to briefly toss her around, dump her like a rug on the ground, and exit the stage. This episode instantly reminded me of the discussion sparked by a similar occurrence in Ratmansky's Odesa, which coincidentally will be revived by New York City Ballet this winter. Unfortunately, not only is this entire segment of Black Tuesday disturbingly effective in mirroring reality, but it also works on a symbolic level. All human beings at some point encounter disappointment in their aspirations, and are forced to re-examine their dreams. Beyond that, however, our modern world is fast-paced, highly technological, crowded, super eventful. A vast array of economic, political, social, scientific, and cultural forces at play affect all our lives in ways we are dimly aware of, let alone fully understand. Not to mention those forces that are unknowable. Every human being on the planet is one way or another "tossed around" like that hapless woman. This year, Maria Ambrose added "gigolette" to the list of major roles she has performed commendably since joining the company four and a half years ago. Clearly, I was unaware that Christina Lynch Markham is also retiring from the company. Despite her unconventional body type, she had her moments (including in Fibers at the Joyce) and matched the athleticism and enthusiasm of her colleagues in performing the Taylor repertoire. Both Lynch Markham and Eran Bugge took their Lincoln Center farewell bows on Sunday afternoon, after another joyous performance of Esplanade.
  9. The Paul Taylor Dance Company, of course, experienced a remarkable turnover between 2018 and 2022. Those five dancers who retired after (or soon after?) the company's 2019 Lincoln Center Season, including Robert Kleinendorst whom I failed to mention in a post on another thread because he remained in the background, had fortuitously singular timing. With the impending retirement of Eran Bugge, the five newest members back in 2018 will suddenly become the veterans of the company. Thanks to nysusan for the important information provided. I would have attended anyway because of my ever-growing fondness for this company's repertoire and dancers, but I definitely appreciated knowing about Bugge since her sprightly dancing delighted me and her evocative mien led at times to profound reflection. Fortunately, she hung in there during the darkest days of the pandemic, which provided the opportunity to see her dance some splendid roles during The Paul Taylor Dance Company's appearance at The Joyce Theater in June 2022 and its Lincoln Center 2022 and 2023 seasons. Among those roles were humorous ones in Diggity and Black Tuesday and serious ones in Sunset, Last Look, and Eventide.
  10. An interpretation of the Parable of the Prodigal Son may have a religious slant or not. Either way, my conviction is that nothing ever happens or can happen in the world that does not lend greater resonance to this invaluable tale. One can certainly make similar claims on behalf of other great stories and the tremendous scenes found in them. Despite its minuscule length, however, I believe that this parable miraculously subsumes every other story ever told. According to my humanistic interpretation, the prodigal must return home with nothing except the ragged clothes on his back, but also with a pure heart and a clear mind. He must evince as much humility as possible, without being ashamed to face his father. Both the son and the father are great personages, who at the end of the tale recognize and understand each other's genuine worth. New York City Ballet's performances of Balanchine's Prodigal Son are what led this viewer to reflect on the parable. The ballet and the choreographer's treatment of the story (as well as his decision not to substantively alter the work during future revivals) fascinate me. Admirably, he chose to tackle such a formidable subject at such a young age and, together with Serge Diaghilev, Boris Kochno, Sergei Prokofiev, and Georges Rouault, created this ballet in 1929. Yes, we should rejoice that after 75 years since George Balanchine and Lincoln Kirstein founded New York City Ballet, performances of such brilliant works as Apollo, Tschaikovsky Piano Concerto No. 2, Concerto Barocco, Symphony in C, Serenade, and Theme and Variations occur in our city. Although less visually appealing than these and other Balanchine ballets, the significance nonetheless of Prodigal Son cannot be overestimated. Reviving it during the company's commemorative season was essential. Enlivened by Prokofiev's powerful score, and Balanchine's imaginative and spirited choreography, City Ballet's dusky production never before looked as effective and riveting as it did on Sunday afternoon. Virtually every cast I have seen in the past perform the ballet was enjoyable to watch, and this was likewise the case with the two this season. At all three performances, Preston Chamblee enacted the Father as a stern and inscrutable Divinity, consistent with Balanchine's vision. Anthony Huxley's youthful appearance in the second cast was an asset early in his depiction of the prodigal, but became more problematic later opposite the voluptuous and supple Siren of Sara Mearns, and during the final scene. (The benchmark for evoking carnality and sensuality in this ballet was set for me in a pre-pandemic performance with Mearns and Gonzalo Garcia.) There were explosive turns and jumps from Daniel Ulbricht as the prodigal in the other cast, alongside marked acting zeal and laudable partnering of a much taller woman. This latter was none other than Miriam Miller, whose confidence in portraying the Siren has grown in spades since her debut in the role years ago. Long, gorgeous limbs which made breathtaking extensions and poses inexorable, a beautiful visage and torso gaining prominence by Rouault's audacious, unforgettable costume, the manner she kept her alluring shoulders back and walked seductively across the stage, all proved any attempt to turn away the eyes from her any moment she was on the stage impossible. Obviously, there were other performances I loved during the afternoon, but Miriam Miller's was my favorite. There is no music or choreography or dramatic representation which can clarify to the mind the incredible subtleties inherent in the Parable of the Prodigal Son. And that is precisely how it should be. Dancers assigned the three main roles in Balanchine's ballet must simply focus, with the assistance of their coaches, on executing the steps skillfully and portraying vividly the characters as they conceive them. That is enough and plenty.
  11. I only know what is posted here by others, and I am similarly grateful for her performance last evening. She was brilliant in Symphony in C, as she was last Sunday in Tschaikovsky Piano Concerto No. 2. All the ballets performed by New York City Ballet this week are made more affecting and meaningful by the awareness of the difficult moments she and her family are currently going through. Theme and Variations is a work I strongly associate with Tiler Peck.
  12. No matter how far down any Balanchine ballet list —in terms of quality and substance— Western Symphony, Tarantella, Stars and Stripes, Bourrée Fantasque, Slaughter on Tenth Avenue and La Sonnambula may be considered, they all offered me great enjoyment this past week. Olivia MacKinnon, Indiana Woodward and Unity Phelan were glorious in Western Symphony. The dancing by Mira Nadon and Daniel Ulbricht in Stars and Stripes, and Emily Kikta in Bourrée Fantesque was similarly spectacular. With her stunningly gorgeous looks when her lush blonde hair is down and her high-flying kicking in Slaughter on Tenth Avenue, Miriam Miller stupefied me in the way she will soon proceed to do (as the Siren) the Prodigal Son. Practically any impersonation of a woman from the past (especially the nineteenth century) by Ashley Laracey moves this viewer deeply. Although I was miffed not to see her in "The Unanswered Question", she has happily returned to the stage rapidly. The exquisiteness of her artistry was evident in her dancing and portrayal of the Coquette in La Sonnambula too. (Incidentally, as well as ironically, my first real notice of Laracey was in Ivesiana.) No one questions the great worth of Allegra Kent, Suki Schorer, Janie Taylor and others. However, in its staging, unique choreography and music, "The Unanswered Question" is brimming with spirituality and mystery! Despite the distraction of her hair covering her face at times, Sara Adams was indeed splendid in this phenomenal fragment. Viewing it only once this season was unfortunate. Tomorrow and the next few days, I expect torrential praise for this fall's second cast of Apollo in this subforum. My expectations for all the debuts are also high. This will not detract one iota, however, from the beauty of the performances by Unity Phelan, Emilie Gerrity, Sara Adams and Adrian Danchig-Waring in the first cast. In my opinion, Apollo is an extraordinarily beautiful ballet. During the past decade, how many times has New York City Ballet consummately performed Tschaikovsky Piano Concerto No. 2? Nevertheless, on Wednesday evening, with Sara Mearns and Tyler Angle as the leads, it registered as a more sublime work than ever. The expansiveness and refinement of the dancing by Mearns and Angle, combined with the resplendence of the music and the luminance of Emily Kikta and the rest of the troupe, transported one into a different, ethereal realm altogether.
  13. A few years ago at City Center, an audience watched Carla Körbes on stage work out for a bit at the barre. This was part of a special program associated with the Vail Dance Festival, and Damian Woetzel was the host. In his comments, he glowingly mentioned the church-like atmosphere that permeated his beloved teacher's ballet classes. With the lighting and stage setup, and the piano music playing, seeing Körbes was a notable experience. One hears all the time about dancers going to "class". Why would a lover of that art form who is not a ballet professional necessarily be incurious and uninterested in how a company class functions? As SingerWhoMoves notes, we should always be conscious of the hard work, training, and commitment required to present a wide variety of works on stage. It would be completely unreal and bizarre for the dancers not to have been aware of the audience observing them on Saturday. Nevertheless, people simply did not barge in on that class, but arrived by invitation. By definition, this is not intrusive. It would be simply appalling and disgraceful, however, to have forced any dancer to participate in that class on Saturday. Jonathan Stafford and Wendy Whelan, I trust, are individuals who would not countenance anything of the kind. Going further, no person should ever be compelled to dance publicly on a stage. And, for that matter, one should not involuntarily drag anyone to view a ballet performance. With all of the above said, ballet is a beautiful art form to take seriously. Ballet dancers, in my eyes, are among the elite troops on the front lines of civilization's unceasing struggle against philistinism.
  14. Just because I believe (like others) that this season's All Balanchine III, IV and V programs are much stronger does not quite mean that I look down on the ballets of I and II. "The Unanswered Question" is a fragment of a ballet. It is brief, dark, unusual, powerful, haunting. It is also one of those plotless works that paradoxically most beckons the viewer to visualize and explain its backstory. To wit, it goes perfectly in a season with Orpheus, and I am glad it was fit somewhere, on any program! It would be ideal to have Ashley Laracey perform both (lead) female roles in these works this fall. However, I am convinced Sara Adams will be splendid this upcoming week in "The Unanswered Question". Additionally, in light of the concerns that are often expressed, it is interesting to note how the body of a woman is lifted and maneuvered by a group of men in "The Unanswered Question".
  15. Enchanted to have witnessed how appropriately dazzling Balanchine's Jewels is once again in the theater, and stand in agreement with all the positive sentiments expressed above about the dancers in each of the three casts of Rubies and Diamonds this season. The thrilling performances by Ashley Laracey and Mira Nadon in Emeralds —in their separate roles and different casts, on successive evenings— served to intensify my deep-seated sensitivity to the exceptional beauty of this work. My expectations of Laracey in the Mimi Paul part were sky-high to begin with, and she fulfilled them summarily. On the other hand, while anticipating that she would shine in the Violette Verdy role, Nadon gave two astonishingly beautiful performances that exceeded even my expectations. Although they are at different stages of their careers, the balletic acumen of both these women appears similarly ingrained and inscrutable —they are undoubtedly masterful at communicating to the mind and heart, through their carriage and movement, all the poetry, elegance and mystery that make Emeralds and the art form in general so entrancing. Indiana Woodward, Emilie Gerrity, Sara Adams and Brittany Pollack are a marvelous quartet of women. The extraordinary beauty of the ballet's final tableau on Saturday afternoon reinforces my regret at having caught the first cast only once. Then again, the company performs Emeralds every so often. Consequently, I appreciate viewing Robert Schumann's "Davidsbündlertänze" in its solitary season run years ago with Russell Janzen. [I was deeply unhappy that I would miss Ashley Laracey's performances in "The Unanswered Question". On the other hand, I am eager to see her in Orpheus (my presumption is that she will be cast in that ballet). All this is obviously of secondary importance to her well-being.]
  16. Considering the precariousness of a career in ballet, it is noteworthy for a dancer to perform over time such a diverse series of roles as Lesley Rausch apparently did, based on the montage of past video clips inserted towards the end of the streamed farewell performance honoring her (as well as the comments by the members above). Similarly notable is for anyone in the audience to witness a dancer whose work they value achieve such a feat. During New York City Ballet's recent run of Afternoon of a Faun, the epic nature of a particular moment in this work became evident to me. That is the instant the two dancers first notice each other in the "mirror." Imagine locking eyes with either dancer at that extraordinary moment. A dancer's eyes, in that split second, become metaphorically a giant canvas of the mind and soul, on which a person visualizes imprinted with a mark commensurate with its relative value and importance every work of art they have experienced. How can an individual truly measure, one muses, the impact of all these works of art on the way we perceive ourselves and the world? For instance, how has its portrayal in countless novels, plays, poems, short stories, paintings, movies (or films), and ballets affected our understanding of the subject of "love"? How ironic and suggestive is it, moreover, that the two dancers view each other for the first time through the "mirror" of our eyes? Obviously, it was gratifying and quite touching on such an occasion to observe that this was the precise moment from Afternoon of a Faun selected for inclusion among the video clips from Lesley Rausch's evidently lengthy and successful dancing career.
  17. A ten-minute work for six dancers performed on demi-pointe, the intriguingly titled A Squiggle Is a Dot That Went for a Dance was the ninth and last piece of the Vail Dance Festival NOW: PREMIERES 2023 edition. Choreographed by Justin Peck, and featuring music by Caroline Shaw, it enraptured me on first viewing. Isabella Boylston, Patricia Delgado, Robbie Fairchild, Lauren Lovette, Caili Quan and James Whiteside were the dancers. All were dressed in practice clothes, with Quan looking particularly lovely in a short black unitard. In slightly loose-fitting white shorts and a pink tank top, Lovette also looked fantastic, appearing in clothing one might observe a woman wearing on a warm summer day in the street. Everyone danced skillfully, and the work's disarming beauty attenuated any reservations one had beforehand regarding those chosen to perform the ballet. Several lighting changes during its duration enhanced its effectiveness by bathing at times the enchanting sylvan background of this singular venue, as well as its flooring, in dazzling, seductive colors which included green, purplish blue and red. Behind the dancers, Shaw played the violin and vocalized. Her newly commissioned evocative composition enriched Peck's attractive choreography. A Squiggle Is a Dot That Went for a Dance provides a perfect example, in fact, of the power of music and the massive impact it can have on a dance work. Although there are different opinions about how to film dance, the taping was from my perspective magnificent. One especially gorgeous moment captured marvelously by the camera occurred early in a section of the work featuring Boylston partnered by Whiteside. From the wing, the viewer perceived the two dancers standing a bit apart —one behind the other from the vantage point of the live audience— in arabesque position. Moving forward, Whiteside proceeded to lift his partner marginally as she maintained the same position. During this time, and as the lift materialized, Boylston slowly raised her originally downcast eyes in an ethereal, consummate manner towards the "firmament." The celestial serenity marking her expression —lips slightly parted at the end— touched the soul. Both Quan and (especially) Delgado, to be sure, had their prominent moments too, including solos also noticeably danced with downcast eyes. Nevertheless, from early in the ballet when all the dancers stood with arms raised high in fifth position —the others forming a circle around Boylston— the work's most sublime instants during its first half-dozen minutes unquestionably belonged to Lauren Lovette. (Some unfolded while partnered gracefully by Fairchild.) Although credit is due to everyone involved in the production of A Squiggle Is a Dot That Went for a Dance, Lovette for her part seized the opportunity it provided to recapture the ballet lover's imagination, securely turning her performance —deftly documented on video— into one of the high points of her dancing career.
  18. If I had gone into the theater Tuesday evening expecting to see something even better than a certain other ballet, I would have left disappointed. Never mind that it puts some other people to sleep, The Goldberg Variations will always be special to me. I simply wanted to moderate any unduly high expectations about Brandenburg formed by you or any other person reading my previous comment. Your opinion about Union Jack is indeed more favorable than mine. However, my feelings about that work are by no means negative. My exact words to you were: "Even though I do not feel as keenly about Union Jack as you do, cobweb, I admire your enthusiasm."
  19. Interesting thoughts to keep in mind next time they offer Union Jack!
  20. We shall see tomorrow what you think about Brandenburg, cobweb. My comments were based on a single viewing from the Third Ring and are, of course, highly subjective. Moreover, my opinions about specific ballets, and performances/performers tend to be more favorable than yours. An excellent example of this is illustrated by tonight's program —Pictures at an Exhibition, and Balanchine's Swan Lake. I love both, in part because the music is magnificent. (In Pictures, the Bydlo section is always for my taste supremely exciting, and I am eager to witness how effective Mary Thomas MacKinnon, Rommie Tomasini and Ruby Lister will prove in it during this weekend's performances.)
  21. Thrilled to have seen Sunday's performance of Balanchine's Swan Lake from the Fourth Ring, and Agon and Brandenburg from the Third last evening. All three ballets looked breathtaking from those perspectives. Highly unlikely, in my view, that those who consider her uninteresting would have observed anything in last night's performance by Miriam Miller in Agon to alter their minds. Nevertheless, she danced splendidly with striking extensions, arabesques, balances, and (partnered beautifully by Russell Janzen) received extended applause after the iconic pas de deux. For her part, Isabella LaFreniere was magnificent. Although Indiana Woodward is a delight in that role, there was no compelling reason for me to see Fancy Free again so soon after its winter performances. By contrast, the placement of Brandenburg here makes this program irresistible, since —as I suspected— Jerome Robbins' final ballet for the company is gorgeous. The perky, piquant and at the same time elegant choreography offers ample opportunity to admire everyone from the corps assigned a part in the work. (The dancing by Dominika Afanasenkov, for example, notably impressed me also.) In the spotlighted roles, Emma Von Enck, Roman Mejia and Adrian Danchig-Waring were all excellent. Ever since listening to the selections from the Brandenburg Concertos that Robbins chose to choreograph, I was curious as to who would be chosen to dance during the surpassing andante movement of the 2nd Concerto. In my opinion, Unity Phelan's lofty performance in this sublime pas de deux Tuesday evening belongs firmly among the most enthralling moments of her young career as a principal. To be sure, I am also eager to see Brandenburg with Anthony Huxley, Mira Nadon, Aarón Sanz and (especially) Indiana Woodward.
  22. Thank you for pointing that out, nanushka. My clumsy wording may have given the impression to someone reading what I posted that Brandenburg would not be performed at all this season, which is obviously not true. And thanks for the link to the article.
  23. One hundred years ago, of course, Concerto Barocco did not even exist. Nevertheless, while admiring the beauty of every minute of this work from a premium seat in the orchestra a few years ago, I startlingly felt a tinge of sadness at the thought of a prospective time in the future when this ballet will no longer be performed anywhere in the world. Not long afterward, the arrival of a pandemic caused the suspension of live art performances and even the disruption of regular activities worldwide, offering an unsettling preview of just such a time. A tiny, tiny virus that no one can see suddenly appears and causes havoc, reminding us all of our perpetual vulnerability —both as individuals and as a species— in this strange and dangerous world. This thought process merely enhanced my appreciation for the revival of Concerto Barocco this season. My bias in favor of this ballet is staunch to the point where —barring questionable casting— I am unable to perceive (or be distracted by) any flaws in specific performances of it. All three principal casts this season —Unity Phelan, Ashley Laracey, Tyler Angle; Sara Mearns, Isabella LaFreniere, Russell Janzen; Ashley Laracey, Emilie Gerrity, Andrew Veyette— looked splendid in my eyes. (So did the eight women in the corps.) Phelan, Mearns and Laracey were spectacular in their respective renditions of the divine middle segment of the ballet. All five women assigned the main roles, in fact, evinced a transparent, apt sense of joy at performing this magnificent work on stage this spring. Balanchine's choreography in Kammermusik No. 2, the next ballet in this program, has proven exceptionally intriguing to me over time due to its striking eccentricity, wildness, and distinctive abandon. Even a slightly lackadaisical performance of this peculiar work by the two women in the cast undermines it. Happily, this season's second cast of Miriam Miller and Emily Kikta dazzlingly matched the thrills and excellence in this ballet provided by Emilie Gerrity and Mira Nadon earlier in the run. Originally, Jerome Robbins' Brandenburg was scheduled to be performed in this program. Set to selections from one of Johann Sebastian Bach's most popular compositions, it was the renowned choreographer's final ballet, and premiered on January 22, 1997 —relatively recently, depending on one's perception of time. Apparently, NYCB last presented it fifteen years ago. Considering that there seemed no intention of performing it again during the upcoming season, replacing it in the program was unfortunate. Notwithstanding this, the program change offered the opportunity to further familiarize oneself with the enchanting Raymonda Variations. Isabella LaFreniere, in her second performance of the work this season, showed how effective and captivating she can be in the leading female role. Tiler Peck's masterly debut in the same role rekindled my curiosity as to why she has yet to perform the lead in Square Dance.
  24. Afternoon of a Faun, in my view, is about everyone in the auditorium. Nevertheless, it is definitely to such an extent about ballet dancers and the art form also that —with the important stipulation that one naturally wishes to see individuals they find appealing on stage— the company should be afforded plenty of leeway in how to cast this work. Given the ample opportunities for different interpretations of the ballet, plus the vital significance of the concept of "suspension of disbelief" in the arts, I relished watching Sterling Hyltin and Adrian Danchig-Waring weave a spell with all their expertise and charisma a year ago in Afternoon of a Faun. At the same time, I believe that casting a young dancer like Dominika Afanasenkov, who has just joined the company, in the ballet was a fantastic idea. The exquisite way she handled being initially lifted by Christopher Grant during that sublime swell of Debussy's music was especially entrancing and moving. With wonderful dancers like Unity Phelan and Joseph Gordon in the other cast, there is nothing to cavil about the way Afternoon of a Faun is presented by the company this season. A debut in this particular ballet at a farewell performance? Particularly since Harrison Ball looks simply great for the part, Sunday promises to be a special afternoon at the ballet.
  25. Obviously, one can reflect on the connections between Stéphane Mallarmé's poem, Claude Debussy's symphonic poem and Vaslav Nijinsky's ballet —all famous works— with Jerome Robbins' Afternoon of a Faun, and how they correspond to the workings of the ballet world in general. However, the concept of the "mirror" makes it possible and extremely rewarding to ruminate about the ballet by Robbins on its own. A person looks in a mirror not only as a consequence of narcissism, but to discover what they look like and who they are. What does it mean to be a ballet dancer, or an artist, or simply a human being? Are dancers objectified by being identified or conceived in the mind primarily as such? Why dance: what is the purpose of ballet, or art in general? Do ballet dancers practice their art professionally because they need work, or out of a genuine conviction of the value and sublimity of the art form? What do they think about, and how do they relate to, other dancers —including those from the past? As colleagues, friends, competitors, even lovers, sometimes a perplexing combination of these? And, how do they view their audiences? In fact, what is their connection to all other people, whether they be fans, or (more likely) either indifferent or even hostile to ballet? From the other side of the coin, what makes certain individuals devotees of the art form, and induces them to spend precious time and money watching the same works over and over? Viewing an absorbing performance of Afternoon of a Faun can lead a person to contemplate these and similar questions. At whatever stage of their career they may be in, dancers may also naturally wonder about these issues. A particularly obvious and sensitive time for them, however, to do so is when they first join a ballet company —when they are just entering adulthood, and are beginning to consciously and lucidly think about themselves, and the world around them. The monumental juxtaposition between the callowness and innocence of two young dancers assuming the roles in Afternoon of a Faun, and the tremendous cumulative knowledge and sophistication of all those seated in the auditorium facing them who embody a "mirror" can make viewing and reflecting subsequently about the ballet a searing experience. Just as the audience witnesses a glimpse of their past youth on the stage, embedded in the "mirror" is a reflection in its entirety of the voyage of discovery the two young dancers are on the brink of initiating.
×
×
  • Create New...