Spring Gala on Live at Lincoln Center

[Ed Waffle]

Jan Opalach--thanks you Oberon. He has been around and really delivers the goods.

Regarding the SJP and Marsalis stuff--

Since it was a gala, someone had to come out and say something. She was as good a choice as anyone.

I doubt, though, if PBS will sell one extra DVD due to her presence or to the cutting to Maralis when he was on stage. Parker fans watch her movies and "Sex in the City". Marsalis fans listen to his CDs and go to his concerts.

The organizers could have hired almost any actor in NYC to do what Parker did with no loss of quality. Same if the first trumpet for the New York Phil had played instead of Marsalis.

But they did it that way--neither were deal breakers as far as I was concerned.

[oberon]

I'm with Juliet on every point...the dancing last night was teriffic from everyone and should put to rest complaints that things are so much worse there than they used to be. I've been going since '75 and I'm more excited about NYCB now than at any time in the past. Yes, it's different...it can't help but be different. Yes, the dancers I fell in love with retired and I miss them, but now I'm in love with a whole new set.

My partner and I were watching on TV and we let out a whoop when Wendy struck that big balance in B-S Q...like Sampras dishing up a big ace or Matsui hitting it out of the park. I felt like sending her a telegram and 12 dozen roses...and in the more lyrical moments, Kyra, Darci & Jenifer Ringer floated and swooned to perfection. And any time Peter Boal dances...

[charlieloki]

gee, folks -- i thought this was an open board

i stand by my negative opinions

i could respond with negative opinions re your negative opinions, but that is not my style

by the way, i probably should note that i was at the actual performance and also watched it via tape

the vodka distribution was interesting -- saw some folks going for seconds and thirds --

[oberon]

It is an open board...Juliet and I and several others seemed to enjoy the performance more than you did; you are as entitled to your disappointment as we are to our enthusiasm. Earlier this year I was "attacked" by some members here for not thinking Ashley Bouder's first Aurora was an earth-shattering triumph. I didn't take it personally, nor did I change my mind about her performance. And since then I have admired her in other things.

[Juliet]

It is an open board---you are welcome to your opinions, negative and positive.

The emphasis is on ballet and ballet performances, however, not personal connections between performers.

Sorry if I sounded harsher than was my intention.....

[Alexandra]

charlieloki, sorry if we sounded harsh. It's difficult, sometimes, to have a dialogue because people, understandably, think their opinions are being questioned, or refuted, when we're just trying to have a conversation. "I thought it was great, especially X" "Really? I hated the whole thing, except for Y" -- which can be interesting, rather than just a string of "I liked it" "I hated it". Please don't take offense; I'm sure none was intended.

I have to say there were a lot of ghosts for me, although I enjoyed the performance and am very glad they filmed it. (But what happened to the ending of "Duo Concertante"?) I hadn't seen a lot of the clips, and am very happy to have Mr. B, in his own voice, saying how much he liked England and wanted to work there -- instead of the too often quoted "in England if you are awake you are vulgar" comment -- AND better yet, him saying "I was a dancer, and not a bad one." Yes, a very good one, actually, before an early injury.

[GeorgeB fan]

I was disappointed with last night performance. Mainly because of the television camera. Yes this was live television, but live television has dress rehearsel and its there when the television director does his/her camera blocking so to best capture the dance performance on TV. But it seem to me the director and his/her crew had no idea what to capture, how to capture or when to capture the best moments. This was especially apparent during The Man I Love pas da deux. As much as I love Wynton Marsalis, I did not watch the program to see him play the trumpet but the ballet. Because of the camera shot there was times I felt Nilas Martins and Alexandra Ansanelli was wasting their time because their performance seem to be a after-thought to Marsalis. A dress rehearsel might have also made the programers aware of the fact they was about ten minutes short. I think that could have been easily resolve by expanding the performance of Concerto Barocco. Instead of just having the middle section perform they could have had the final section perform as well. That way we could have seen more of Rachel Rutherford then just seeing her basically walking around the stage. Speaking of Barocco, I wish Peter Martins had switch Maria Kowroski, who didn't seem to me to understood the delicate musicality of the work, with Wendy Whelan who completely understand the brilliance of the choreography. Kowroski would have been better showcase in Brahms-Schoenberg Quarter. As much as I enjoy Vienna Waltzes and as wonderful at seeing Kyra Nichols perform in the final section, that ballet has been perform and to better effect on television before. The final movement of Symphony in C would have been a better choice at ending the evening. Not only is the final a crowd-pleaser but it would have been a nod to NYCB history. Symphony in C was the final ballet perform at the very first performance of the newly founded company.

That said, I still enjoy some moments from the evening. The students from SAB in Harlequinade was wonderful. Balanchine is a great choreographer for childern. Sarah Jessica Parker was a gracious hostess who seems generously honored to be there. The same can not be said about Kevin Kline who seem uncomfortable, not quite sure why he was there or what to do. Many moments from the film tribute was nice especially the opening night of Lincoln Center. Balanchine and Lincoln Kirsten seem thrill at the start of a new period in the company's history. Liebeslieder Walzer was danced to near-perfection. And then there was Don Concertante. Not only was Yvonne Borre and especially Peter Boal wonderful, but the camera actually capture the performance beautifully. If only the director and his/her crew had done that thoughtout the entire evening.

[Cabriole]

We don't get the telecast in Chicago until Sunday :angry:

As a point of reference, Ms. Parker has an established connection with the company; she does the intro to the NYCB Workout 2.

[Hal]

And if PBS and NYCB want to sell this (as it was done with the 1993 gala), they want Sarah Jessica Parker up front.

SJP created quite a scene. We arrived around when she did and it was like the red carpet at the Oscars. Hundreds of people jammed up against baracades and dozens of press photographers popping pictures with her twirtling around so that everyone could get a shot. She must have been out ther posing for 15 minutes. I imagine photos of her are in todays tabloids. And that was the whole point. As have been said before, she is a real fan and supporter of NYCB and former SAB student. And there is no question in my mind that her support and appearance were good for ballet and good for NYCB.

That being said this was a GALA. The beautiful people were there. It was an event. And this is good.

As for the performance, mostly very well danced.

Harlequinade: the kids were terrific as always.

Duo Concertant: Every time I see Borree I think I like her more. She and Boal were wonderful. This was one of the highlights of the evening.

Brahms-Schoenberg: Another highlight. Never saw Whelan doing this before and she just was fantastic. She seemed to have all the daring that can make this ballet so special. Usually sit in the front of the orchestra and her boniness is very evident. But in the usually more angular roles she does it is an asset not a problem. But from the front of the 4th ring, she looked fabulous. I didn't expect to like her as much in this kind of role. And Woetzel was a bit less outstanding than he can be. But in this kind of role that just makes him fantastic.

Liebeslieder: Saw it last week and it was a snooze IMHO. Last night without the first part, I disliked it a lot less and may begin to see what others love about it. But I am far from being a fan of this ballet.

Concerto Barocco: Maria Kowroski. In love with her. I start swooning whenever she is on stage. Obviously a highlight. Seeing her walk in the street would be a higlight. What more can I say. :rolleyes:

The Man I Love: This was beautifully danced by both Ansaneli and Martins. In the theater, Marsalis was far less distracting as you had the option of NOT concentrating on him. Did notice that he seemed to be emphasising the wrong sections, but one doesn't expect much from horns at NYCB does one? :shrug:

Vienna Waltzes: Well danced by Kyra, but I felt cheated because they did not have he full corps out there. I was anxious to see the swirling gowns from the 4th ring. But there seemed to be a lot fewer of them than there should have been. The program lists 20 couples but there were probably only 10! I always loved that section. It's amazingly beautiful. All those swirling gowns reflected in the backdrop mirror! I was anxious to see it from above for a change. Oh well, can't win them all.

Overall great fun. The program did seem to be more a schedule of convenience for what is already on the spring program around now rather than any real exposition of the full range of Balanchine. But maybe that is as much as can be expected in a season that doesn't have a bad program in it! Can't wait to go again tonight!

[silvy]

Oh, people I wish I had been there to at least record it from television - I am a big NYCB fan, and, of course, the last time I saw them live was when I visited the USA (back in 1998) - I guess a lot has changed since then?

[carbro]

Yes, Silvy. Not only has there been the usual turnover in personnel, but the level at which the company as a whole is dancing has improved 500%.

Again I'll note -- for the benefit of those who felt cheated that their PBS station did not air it live -- that it was not live in NYC. Half-hour tape-delay.

This being "Lincoln Center Celebrates Balanchine," Kevin Kline was there representing Juilliard School (acting div.) and Lincoln Center Theater. Tenuous, yes, but a connection.

Morning (okay, afternoon) after reflections: I am amazed that Duo remains the memorable highlight. Once she got going, Yvonne outdid herself. And more remarkably (because my expectations from him are so high), so did Peter.

[E Johnson]

This being "Lincoln Center Celebrates Balanchine," Kevin Kline was there representing Juilliard School (acting div.) and Lincoln Center Theater.  Tenuous, yes, but a connection.

Kline is also the narrator in the Balanchine's Nutcracker movie, the one starrting Macaulay Culkin. I also believe his children attend or have attended SAB and he and his wife are big contributors to the School [feel free to cut this if it is considered gossip; however, without going back to check my old SAB newsletters, I am pretty sure that is where I got the information.]

[Alexandra]

Thanks, EJ -- you've given us a source, and this certainly is HELPFUL gossip

[AmandaNYC]

And how embarrassing for Klein, who actually said Bernstein when he meant Balanchine.

Dale, Kline actually did not embarrass himself that way, but another way. He pronounced Balanchine with the last syllable like the chin in "china" is pronounced. He then tried to recover and poke fun at himself by saying the correct pronounciation and then saying Bernstein with the "stein" pronounced two different ways, as if to show it's easy to mispronounce...

As Juliet said, I think SJP a good choice in balancing star attraction with someone with some sort of connection. The dress changes were a bit much. Kline just seem off and ill-prepared to me.

I, like most others, was upset with the camera staying on Marsalis and missing BALANCHINE'S CHOREOGRAPHY. While this pas de deux was already televised, I would have liked to have had an "uncut" version again. I really would have been cursing were Kistler or Ringer to have done it. I think Ansanelli should still be doing the girl in blue. The Man I Love requires more dark passion than young girl.

Liebeslieder would definitely have been at the bottom of my list for inclusion on a telecast, and so I am glad to read that it didn't "bomb" and others who have not seen it before loved it.

Borree is at her best (still relative term for me) in Duo Concertant.

Barocco and BSQ were the highlights for me, although I wish the former included the third movement. Most of the dances were more adagio and so I would have liked more pieced that show off the speed for which Balanchine was known.

I think my last comment really captures what was off for me about the programming-- it didn't reflect many of Balanchine's choreogpraphy's main attributes. Couldn't there have been at least one leotard ballet?

-amanda

[Alexandra]

Amanda, I had the same question that you raised -- that it wasn't really reflective of Balanchine's choreography. I think this is an accident of scheduling -- they had to do the things that were in repertory and currently being rehearsed, and since this is European week, that dictated the rep. They'd done Concerto Barocco recently, and Duo and a pas de deux ("Who Cares?") would be easily put on.

[Dale]

And how embarrassing for Klein, who actually said Bernstein when he meant Balanchine.

Dale, Kline actually did not embarrass himself that way, but another way. He pronounced Balanchine with the last syllable like the chin in "china" is pronounced. He then tried to recover and poke fun at himself by saying the correct pronounciation and then saying Bernstein with the "stein" pronounced two different ways, as if to show it's easy to mispronounce...

Thanks. It was hard to hear in the fourth ring. During the film sections, if the audience laughed, I couldn't hear the next 1-2 lines. Either way, to screw up the name of the man being honored, it's a big gaffe.

[Helene]

I was out late last night, and I was pretty tired when I watched the TiVo'd version, but did I doze during the part where Sarah Jessica Parker talked about her SAB experience? Did she play a bug or a scaramouche or a candy cane, and, if so, what was it like? Did she ever meet Balanchine while at the school? Did the experience form her in any way? Because otherwise, in my eyes, she's a ballet-loving celebrity hosting what was touted as an important celebration, and given her fame, a marketing coup. She seemed pretty excited and rather privileged to be hosting it, and it was annoying when Martins pushed her to center stage when she was clearly trying to stay on the sidelines, just as he pushed vodka-toting Baryshnikov to center stage during the 1993 Celebration. It would have been nice if more of her narrative pointed out the collaboration between Balanchine/NYCB and the other Lincoln Center resident companies and/or disciplines during his career. The lack of tie-in reminded me a bit of hearing Yehudi Menuhin introduce his selection during a tribute to Szigeti, in which he said, in essence, "I don't know why I've been asked to take part in this, but I'm going to play..." But this was really a gala, not a celebration/tribute, and I don't think the attempt to make a hybrid of it worked very well.

I also don't think the connection between Parker, Bushnell, and Askegaard is gossip or irrelevant. Parker would not have been asked to host but for her fame in Sex and the City, which was based on Bushnell's book. Askegaard is Bushnell's husband, and they all know each other. My question is whether it was Askegaard who "minded" her during the curtain call (in which she seemed a bit uncomfortable at center stage among the dancers, as many non-dancers are, regardless of their stage experience). I think it was very kind of whoever did.

I may have misheard, but I thought that Kline was rattled because he first pronounced the last syllable of Balanchine's name as "shine" instead of "sheen," and then tried to make a joke of it by saying "Bern-stine"/"Bern-steen" (Potato, Potahto). Kline looked pretty uncomfortable on the whole.

I agree with those who said that the camera work was awful. It was so frustrating to cut from the dancers in "The Man I Love" to Marsalis, especially when his riffs had nothing to do with the dance phrases. Luckily, dancers count, or they could have been very thrown. I thought Ansanelli gave a lovely performance, and let the dancing show the passion, instead of a lot of acting and emoting. Martins was a fine partner. The cut ins and outs during Brahms-Schoenberg were also disconcerting; I found it difficult to follow the soloists. I think the director violated the KISS principle.

The first role that Yvonne Bourree impressed me in at the beginning of her career was Duo Concertante, and I really liked seeing her in it again. I'd never seen Boal in the ballet before, and it was great to have another of his performances recorded. I also agree with those who pointed out that the gala was ten minutes short, so would it have really ruined anyone's dinner to see the ballet in its entirety? But I'm still glad to have even that piece and the excerpts of Liebeslieder on home media at last. I found Kowrowski's phrasing in Concerto Barocco a bit odd, as if there was a slight disconnect between the audio and video tracks, and that might have been the difference between live and recorded performance. I thought Shaham's and Anthony's playing was wonderful and miked very well; I don't think the singers were as well miked from downstage right. I prefer Saland's version of the "Rosenkavalier" waltzes to Nichols', and I'm still trying to figure out why Nichols' performance didn't really grab me.

[AmandaNYC]

Amanda, I had the same question that you raised -- that it wasn't really reflective of Balanchine's choreography.  I think this is an accident of scheduling -- they had to do the things that were in repertory and currently being rehearsed, and since this is European week, that dictated the rep.  They'd done Concerto Barocco recently, and Duo and a pas de deux ("Who Cares?") would be easily put on.

But, there was Symphony in C...

Given, with all that white, it might have looked like one white mass, but had they done the final movement of Symphony in C, it would have made me day. Last week I saw it for umpteenth times and both performances still gave me chills when the entire company of women assembles together and dances (similar to but still different from the Vienna Waltzes part).

-amanda

[kfw]

The organizers could have hired almost any actor in NYC to do what Parker did with no loss of quality. Same if the first trumpet for the New York Phil had played instead of Marsalis.

But couldn't they have hired a decent writer?

I loved hearing Marsalis, not seeing him.

[Alexandra]

I prefer Saland's version of the "Rosenkavalier" waltzes to Nichols', and I'm still trying to figure out why Nichols' performance didn't really grab me.

Because Nichols is concrete, and this is a porous role? She was so THERE. Farrell wasn't a dream or a sylph, but there was something unwordly about her, as though this were her dream.

[leibling]

It was good to see more ballet on PBS, especially following the broadcast of "The Dream" so closely, but I agree with everyone's complaints. In particular, I found Susan Stroman's TAPED commentary unnecessary and distracting- especially when I heard her say something about Contact. I had also wondered about the social connection between Sarah Jessica Parker and Charles Askegard- it seems like a logical conclusion to draw. She was fine, really, but this seemed to be an evening that wanted to resemble the Kennedy Center Honors, and that made me wish for a more distinctive and authoritative speaker (yes- I wish I could have listened to Walter Cronkite.) I enjoyed the video clips, but I just wish there had been more dancing. Seeing Vienna Waltzes again was a disappointment- it was used already in the Balanchine Celebration eleven years ago. I would rather have seen the finale of Symphony in C. And wouldn't it have been terrific to open the evening with something like Symphony in 3 Movements, first movement? Then could we have had the series of variations from Divertimento # 15?

Anyway- it was good to see the company, as it has been a long time for me. I enjoyed Yvonne in Duo- she seemed to bring her many years of experience in this ballet to her performance. I did not particularly enjoy the Barrocco segmant. I thought the music was too fast, and maybe this is why I did not enjoy watching Korowski. I would have liked to have seen Wendy in this, though. I really enjoyed Liebislieder, and I did not notice whatever happened to Darci. "Man I Love," I thought, was just about ruined with Marsalis playing the trumpet onstage. Yes, he is wonderful, but the dancers and Marsalis were in two diffrent worlds, and this did not show either one to an advantage. That being said, though, I did enjoy the freedom in Ansanelli's dancing, however, I felt that her girlish persona was not right for this pas de deux. With Nilas Martins coming across as an older, more "experienced" character, I felt a little uncomfortable watching this pas de deux... she was just SO youthful and pure, and he a little more, well, OLDER- you get my idea. It is interesting, though, that this came across on the television screen, and for that, whether it was right or not, igive them credit for being able to project. I think my favorite part of the evening was actually the Harliquinade excerpt- those kids were terrifc. I wonder if they even realized they were all being seen on TV by (hopefully) millions of people!!

[Alexandra]

I'd like to put in a bravo for Martin Bookspan (hope I have his name right), who's been doing these for eons, and always sounds both blase and excited -- I've never heard anyone like him. He always focuses on the music -- and in this case, that was so appropriate. And he pronounced the names correctly

[justafan]

As everyone noted, the program was not as satisfying as one would hope for an homage to Balanchine. Personally, I'm not a huge fan of a number of the ballets on display and certainly don't think they represent the complete Balanchine oeuvre.

It would seem that the program was designed to satisfy a number of agendas. (I disagree that it was simply because this is what they are dancing this season.) One, as has been noted, has been to have some cross-discipline star power in the form of SJP, Kevin Kline, Placido Domingo, etc. for the TV audience. But it also seems that the key idea was to have other Lincoln Center constituents participate in the celebration of Mr. B. Thus, Who Cares was selected specifically for Marsalis (a Martins collaborator and fellow board member). Liebisleder for the choral society. Duo Concertant for chamber music, etc.

The really odd note for me was Vienna Waltzes. And the only explanation seems to be that this was a showcase for Nichols. Certainly, in the twilight of her career in which she is dancing spectacularly, she deserves to be showcased front and center on TV. Certainly, Symphony in C would have been a better choice (although was it featured at the fall gala?) or even Tchaikovsky Suite #3. Could it be that the powers at be at NYCB are more sensitive to the dancers than have previously been given credit for? (I really don't know. Just asking.)

[Helene]

I prefer Saland's version of the "Rosenkavalier" waltzes to Nichols', and I'm still trying to figure out why Nichols' performance didn't really grab me.

Because Nichols is concrete, and this is a porous role? She was so THERE. Farrell wasn't a dream or a sylph, but there was something unwordly about her, as though this were her dream.

I think that's exactly it. Nichols was an up-front participant in this world, not in her own, self-absorbed world.

[perky]

My feeling on why they ended with Vienna Waltzes since they have done it twice now in televised performances is because the ladies look so beautiful and elegant in their Karinska gowns, the men look handsome in their tuxes, it get's most of the company on and when they do the final speeches at the end they have a nice looking backdrop of dancers dressed to the nines.

But I agree, I would have ended with 3rd and 4th movements of Symphony in C or done excerpts from Tschaikovsky Piano Concerto No. 2 or the finale of Diamonds.