Spring 2004: Week 4

[Juliet]

"when you finally do attend a performance you feel like, I dunno this sounds kind of silly, but you feel like you've finally come home"

I think this, as a heartfelt sentiment, is lovely. I agree with you completely.

[Alexandra]

It doesn't sound silly at all! Thank you for that, perky -- and for everyone who's written about this program. We say this often, but it's true It's wonderful to be able to read so many different points of view -- thank you! We're only half-way through the season. Don't run out of steam

[AmandaNYC]

Wasn't there, but this business of  Bouder triumphing in every role, every performance is getting a little boring. 

Check out the updated casting for Tuesday, May 25th... Bouder debuting in TWO roles now. Should be quite the tiresome evening.

-amanda

[AmandaNYC]

I agree with Flipsy about much of Chaconne.

Most of you know that I have an undying adoration for Kistler. I have hated watching her in many of the pieces she has danced in these, probably, last years of her career. I want to remember her glorious days. I do get used to not seeing her dance. But, then I see her in Symphony in C.... or on Sunday in Chaconne. I was in tears by the end... Her joy was so palpable. She seemed to exist on a different plane. This piece still works for her, as she is able to play with the choreography as Farrell did, while being both a celestial being and a regal one. I was reminded why I fell in love with her dancing in the first place. She exists as the dance. A true muse. I fell from that great high to pondering how awful it will be at some point in the next few years to know I shall never see her dance again.

As much as I love Bouder, Ringer, and Somogyi... and you all know I do... Kistler transports me with her to a heavenly place. Ok, I am now sounding like I should either be founding the Church of Kistler or going into rehab...

While this thread is about the current week, I am going to take this opportunity to post my thoughts about all the performances I have seen thus far (I have a bad habit of procrastinating).

Looking back over the last month, I think my greatest disappointment is... my lack of excitement over the season. There are so many All Balanchine programs and guest stars, but I am strangely unexcited. And most performances, so far, have left me happy, but not particularly moved or excited.

Walpurgisnacht Ballet with Nichols was actually painful for me. While I have never been enamored of Nichols like a great number of you, I still don't like to see her having difficulties doing pieces that she used to fly through with ease. I don't think some sort of artistry makes up for it, especially as I have always found Nichols too grounded a dancer). In the plays with balances that some of the solos require I just saw Nichols having trouble holding steady. I don't want to see that.

To mix in some positivity. I was very happy to see Mandradjieff and Riggins get big last minute debuts, the former in Walpurgisnacht and the latter in a last minute learning of and dancing in the 4th movement in Symphony in C. Neither dancer ever moves me in an emotional way, and I think both not soft enough in their movements (they're more spry)-- I have come to accept that certain dancers just won't have that affect on me. But, I found their performances passionate and exciting, if even because they were so happy to be dancing (and unfortunuately, it often seems many other dancers seem like their they would rather be elsewhere).

I still think Ringer miscast in Symphony in C 1st mov't. It's a role less about the beauty of the dancer herself and more about showing us the movements and a beautiful upper body. I adore Ringer, but not in this one. I don't see the genius in the arm movements choreography with dancing in that piece.

I did, however, adore her in Spring. I am SOOO glad Liang is back. He is one of those male dancers who can be utterly graceful and masculine at the same time. I know he's still working himself back in, but I want to see MORE of him! Stat.

On the negative side, I guess I can be traditional at times. I was disappointed to see Reichlen and Lowery as the demis in the first movement in Symphony in C. In the 14 years I have been attending (a short time compared to many of you), those roles have take on a sort of hallowed stature for me-- they are danced by longtime corps members who are often on the verge of becoming soloists. So, I guess, I wanted some senior corps members in those roles.. or at least not so young one. Those roles feel like ones the dancers should earn Ah, well.

I still don't connect with Reichlen on any level, but did think she acquitted herself quite well in Episodes and in 4 T's-- though in the latter she needs more frenetic force. I understand the appeal of her, and the company has a definite need for stronger taller girls (whereas there seem to be too many very talented smaller girls vying for the same roles).

Dances at a Gathering-- This ballet used to tire me so, but I have finally come to see it as the great work it is. I love just being able to enjoy the dancers and enjoy them enjoying each other. I'm not sure how I feel about Ringer in the mauve role now, as I still see her as the girl in yellow. On the male front, Millepied has really developed into an artist. He reminded me of Boal in his ability to make great form so achingly beautiful.

I didn't remember loving Union Jack as I seem to now. It is always great to see a work like this to be reminded of one of the many aspects of Mr. B's genius-- his ability to get to the heart and soul of a culture or "genre" and possibly wink at you at the same time. Nilas Martins seemed to relish the Pearly King role, and I delighted in seeing him have some fun on stage.

Ah... now to La Source. What a great performance all around on Friday night (Ringer, Millepied, Bouder). I went into the performance with trepidation as I have savored my memories of Bouder in this role for the last few years-- could anything match such expectations? And then she goes and does it. For me, Bouder owns this role (though there is no need for her foot to touch her ear). And I can watch her perform it over and over again-- I'd pick the first *solo* over any other role she does. She is the quintessence of musicality here. Just breathtaking. She creates an electricity as she seems to ignite with the music.

She needs to do Square Dance... especially as I was disappointed with Weese. I thought this role would be perfect for her, but I found her quite uninteresting (which was my sister's comment to me, as well). I didn't see anything anew in the choreography. She didn't even seem as musical as usual (one NYCB fan with whom I chat often usually argues with me that Weese is not musical, while I say she is). While I still find A. Stafford's presence as a dancer lacking in some ways, I have always been pulled in by her Square Dances. How I miss Somogyi. This ballet has her name written all over it.

Ok. I think I have said enough. I, who am usually so delighted by most of what I see, have been decidely dissatisfied so far (but still with many rays of light).

-amanda