tutu

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About tutu

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY
  1. The Today Show had a brief segment on the new production, with talking heads from Ratmansky, Jeffrey Cirio, and Stella Abrera. Watch it here. (Is it just me, or has ABT's PR machine gotten a lot stronger within the past year or two?)
  2. I attended last night, and have mixed feelings. The production value is certainly over the top, and the whole thing may be worth seeing for the opulence of the sets and costumes alone -- there was clearly a lot of money to burn for this one. There are strokes of brilliance in the choreography, with standout performances from Sarah Lane, Joseph Gorak, and Catherine Hurlin, a devilish second-act solo for Daniil Simkin, and mostly excellent corps work from the whipped cream ladies. It was wonderful to see David Hallberg back onstage. But there were some problems: a few bobbles in the corps (e.g., one member's accidental but quickly smoothed-over early start to a sequence; an individual's missing jump that appeared to result from "traffic" issues). More broadly, the orchestra needed a few more rehearsals — the Strauss wasn't quite "tight," especially if you know the score — and it felt as if the work would have benefited from dancers performing with a City Ballet–style musicality, which lands on the front end of the beat, instead of in the middle. The latter works for certain composers, but the complexity of the Strauss score seems to require a crispness to the musicality in order to fully see the strains of the music highlighted by the choreography — this approach was part of the strength of Ms. Lane, Ms. Hurlin, and Mr. Gorak's performances, and the lack thereof was part of what made the always-excellent Stella Abrera's feel relatively underwhelming. Overall, the production is worth the ticket price, but I'd advise going to a later performance, when some of the kinks may be worked out.
  3. Such a perfect description. Congratulations to Ms. Clark on these exciting next steps, even if it's a bittersweet goodbye.
  4. Fabulous news! Especially happy to see Sara Adams -- sometimes it seems as if she's been rather underutilized in the corps, so it'll be great to see her with more opportunities. Also really happy to see Emilie Gerrity promoted -- while there's not as much "name recognition" as with Unity Phelan, Indiana Woodward, et al., she's really developed a lovely magnetism on stage within the past few years. BalletontheRocks, I was a bit surprised as well, but there's such a depth of talent in the corps that it may take a few cycles to get all of the future soloists moved up. My guess is that Ashley Hod, Alexa Maxwell, and Claire Kretzschmar will be part of the next "batch" (perhaps with Miriam Miller as well, though perhaps she'll be moving on her own trajectory). What a great time to be in the City Ballet audience!
  5. Not sure if this is the right place, but it looks like PNB's picked up a new corps dancer: Calista Ruat, formerly of POB. Still, somehow, hoping Chelsea Adomaitis will return from Paris, but at least the exchange is two ways, now!
  6. Tempo issues tonight for Jewels as well. Rubies was sadistically breakneck (you know it's too fast when Bouder looks rushed). Tempo was the least of the music issues, though: some sour notes in Emeralds gave way to complete disorder for Rubies' Stravinsky, with every section of the orchestra apparently following a different conductor. Enormous credit owed to the dancers, who stayed clean and calm and, God knows how, musical through the madness, but the genius of Balanchine choreographing Stravinsky was mostly lost -- you can't appreciate musicality of choreography when you can't hear the music. Minus the music issues, Emeralds looked good, with Indiana Woodward a particular highlight in the pas de trois, Tiler Peck's bracelet solo looking lovely, and some fine work from the apprentice-filled corps. That Woodward promotion's got to be coming any day now. Rubies corps also looked great, as did Teresa Reichlen's tall girl and Bouder's McBride, under the musical circumstances, though Andrew Veyette didn't quite measure up to the women. Diamonds was a relief after Rubies. Demis were wonderful: I love the way Mary Elizabeth Sell's port de bras often seems to be based in her spine, giving this sense of breath for each of the balancés in the opening waltz. Sara Mearns and Tyler Angle are a favorite in the pas de deux, and they delivered, again. Mearns may have tweaked something either at the end of the pas or during the scherzo; though she finished the ballet with the strength, presence, technique, and consummate professionalism she always exhibits, it looked like she may have been in pain, especially during the curtain calls. Corps was once again excellent.
  7. Attended today's matinee. Indiana Woodward shining in Divert, as was Unity Phelan in Episodes, aided in no small part by an impressive Preston Chamblee. Between Chamblee in Episodes and Harrison Ball and Joseph Gordon in Divert, a lot to celebrate from the men of the corps. Throughout this week, I've been marveling at the growth in the women's port de bras and use of épaulement -- is there a new ballet master or mistress working with them this season? Taylor Stanley was subbed out, but I didn't catch the name of his replacement and left before Vienna Waltzes (I share many of cobweb's reservations and prefer to skip it these days). (EDIT: looks like it was Troy Schumacher. Thank you vipa!) Here's hoping that it's nothing serious and that he'll be back soon.
  8. I also think she hasn't been in too many (if any) corps roles so far this season, which may be a sign of plans afoot (or so I hope!) Company looked great in today's matinee -- lots of energy and everyone just felt more joyful. Maybe still feeding off the energy of last night's many debuts? It was particularly evident in Stravinsky Violin Concerto, where each and every dancer looked like they were having a ball. Teresa Reichlen was MAGNIFICENT in Monumentum/Movements. I've never quite "gotten" the appeal of either piece, but with Reichlen at her full power (and partnered by Adrian Danchig-Waring, who seems to bring out the best in her), it finally clicked for me. Megan Fairchild was really, really present in Duo Concertant, with a depth that I haven't always felt from her in previous performances of the role. She and Anthony Huxley have an intriguing dynamic, and they each are breathing new life into the work. Symphony in Three was probably the messiest on the program, but in more of an "everyone's dancing like a soloist" way than an "everyone's tired" way. If the company continues to look as good as it has this week, it's going to be a really strong season.
  9. Saw the first two ballets on Thursday (ducked out before Vienna Waltzes). Great to see the company looking so energetic. Divertimento No. 15 was strong, clean, musical, and the whole cast seemed to have a real sense of camaraderie throughout. Tiler Peck's debut was absolutely fantastic, and her performance of the principal solo was among the best I've ever seen. Episodes is always a treat, and yet another chance to appreciate the depth of talent in the corps right now -- so much presence and charisma from so many of its most junior members! Looking forward to attending many more performances this fall season.
  10. WOW! Those are some incredible videos.
  11. Also at the matinee yesterday, and wholeheartedly agree with others' comments above, especially re: Everywhere We Go. Taylor Stanley saved Everywhere We Go for me, though -- he fills out the movement in the most lovely way. Also really loved seeing Kretzschmar in Pictures at an Exhibition and was thinking how much I'd love to see those long limbs and that musical attack deployed in The Cage or Agon. She's just a compelling dancer. re: claws: they were toned down, at least in this rep. I think it might be a point in the season thing -- when you've got a raft of new apprentices fresh out of SAB, they're more likely than not to have the full claw (and you see it in, say, fourth movement symphony in c, in chaconne corps), but it fades with experience. On a tangentially related note, really appreciating the raft of talent that was the class of 2012-2013; it's been wonderful to watch Unity Phelan, Indiana Woodward, and others come into their own.
  12. Lovette performed an excerpt from Rubies with Jeffrey Cirio at the Kennedy Center Honors a couple years ago. Lots of recordings of it on YouTube, including this one:
  13. Yep, and I thought Benjamin Griffiths was a Russell and Stowell hire, too? (You'll note that I specified female soloists and corps members above.) There's probably something interesting to say here about how this reflects on differences between men's and women's careers in ballet, but heck if I know what it is.
  14. Correct me if I'm wrong, but I think that means that the last female corps de ballet members or soloists who had been hired by Kent and Francia have no retired -- that is, that the women of the corps de ballet and soloist ranks are all Peter Boal hires.
  15. A recent blog post announces that Kylee Kitchens will be retiring as well: