Week 5 - May 25-30

[Alexandra]

What? No one has been this week? Report! Report!

[AmandaNYC]

This week I am at 4 of 7 performances... though I didn't stay for the whole program tonight. So, I'll chime in about 2 of them.

Tuesday night was that All-American audience favorite program of Who Cares?, Western Symphony, and Stars and Stripes. Just because these ballets "go down easy" doesn't mean they are either fluffy or minor works by Balanchine. In fact, seeing them all together helps illustrate just what a genius he is. When we tend to talk about Balanchine in just a few words or citing just a few ballets, we tend to cite neoclassism, Concerto Barocco, Four T's, etc... But, in these three works, as I mentioned in my post for last week about Union Jack, we see Mr. B fully "getting" a culture or, rather, subculture. On Tuesday, Balanchine immersed us completely in great aspects of American culture past and present-- the jazz age, the old west, and what I think of as mid-century high school spririt and patriotism. He still brings his trademarks of speed, etc. to bear on these works. He also adds great heart and wit. He has fun with these aspects of American culture, and, in turn, the audience has fun, too. Even with performances that one does not love, it's hard not to have a great time.

But, again, it's not "fluffy" fun. The corps work, esp. in the Men's Regiment in Stars & Stripes both thrills and fascinates me, as the corps in Serenade do (I could watch the Men's Regiment movement all the time. Kudos to all the corps boys). The finale of Western Symphony reflects the coming together of the geniuses of Balanchine and Karinska, with a brilliant marriage of choreography and costuming, just as one gets in Vienna Waltzes, too. And, in Who Cares?, we get one of the most soulful and moving pas de deux (the Man I Love) that Balanchine ever created. I introduced my boyfriend to ballet last season by taking him to a program with Concerto Barocco and Prodigal Son, and a new world opened to him-- he had never seen dance like that. With Tuesday's program, he fully grasped the greatness of Balanchine.

Now, as far as the actual performances go, there was the good and the bad, as usual.

The good:

Miranda Weese and Nilas Martins moved me much more than they usually do in the Man I Love. They didn't add much to what was there, as in I didn't learn or see anything new. They let the choreography speak for them, and that it did. Wonderfully. Bouder, not surprisingly, made her usual sparkling debut as the girl in burgandy, the more independent one. I already know others disagree (there were certainly plenty of us in attendance on Tuesday night), but I don't think Bouder adds much to the Stairway to Paradise. I certainly loved her performance, but I didn't find it particularly more enjoyable than others (like Janie Taylor in the role). I guess I have gotten used to Bouder making a role her own. I felt she shined more brightly in her pas de deux with Martins. She wasn't too cute nor too independent. I'd rather see in her the blue girl role.

Ringer made the most of the first movement in Western Symphony, enjoying herself thoroughly. She wins the award for most professional of the night, if not the season so far. Her skirt started to unravel to the point that a long thick string of embroidery was long enough to touch the floor. I was holding my breath in fear as the thread wound in and around her feet as she danced. When she made an exit, the audience let out their collective breath and some even applauded.

I'm still not sure how I think/feel the ballerina in Western's 2nd mov't should do the part, in theory. I'm not sure I need to decide this. I do know that I and the audience were thoroughly entertained by Evans and Ansanelli. I think Ansanelli brought the right mix of straight-faced classical ballerina and coy gal of the Old West. I am sure some will feel that the pair overdid it.

In Stars & Stripes, there was a guest conductor. Some have mentioned to me that he conducted the orchestra to play too fast. Whether this was the reason or not, Whelan uncharacteristically fell of pointe at one point and then had trouble with the next combination. I actually thought she might have injured herself (but she danced tonight). Despite this, Woetzel and Whelan were consummate performaners. When Woetzel does Stars & Stripes, you know you're in for great entertainment.

And Bouder also made a solid debut in the first movement. This is a more minor role, but her complete musicality still shines. Especially with the music going fast, it often seemed that Bouder was the only one at one with the orchestra (as with Piano Concerto No. 2 last spring). But, this is yet another role with which she can only do so much. I'd rather see an up-and-coming corps girl do this role, and save Bouder for something else.

The bad:

The corps in Who Cares? seemed lacking umph and seemed a bit sloppy. I tend not to notice corps sloppiness, so this took me aback. With the number of ballets the young corps members are learning this season, I wasn't exactly surprised to see a ballet not fully gelling (sp?) at the first performance. Disappointing all the same.

The really bad for me was Sylve in the blue girl role in Who Cares? I honestly felt her dreadful in it. I don't know what she was dancing, but it didn't seem to be Balanchine and the jazzy Gershwin. Sure, Sylve is not American and jazziness might not come naturally to her. But, in her solo, in the wonderful My One and Only piece, she danced too big and too "look how high I can jump" and "how great my fouettes are". There was no jazziness in the hips or upper body that I could see. It seemed like she was dancing a classical showpiece that just so happened to be with Gershwin music. The audience loved it, clapping at all her feats. I was just looking for some glimpse of Balanchine and Gershwin, for the soul and spirit. The only other time I have felt like this, whereby I lost sight of what I believed to be the spirit of the choreography, was when I saw Dvorvenko (sp?) perform the first movement of Symphony in C as a "look at me perform" piece. With My One and Only, the feats, I feel, should be performed almost as throw away/after thoughts, meaning the dance is not all about them. The non-feat aspects of the choreography are just as important, if not more, to shading the role-- it should not be all about getting from one big sequence to the next. Two days later, I still get upset when I think about the performance.

To happier things... tonight... Millepied and Fairchild performed Tarantella. Millepied does not make your jaw drop like Ulbricht does in this role. Millepied was more the principal dancer, sure of himself and able to play with the music-- and I liked his interpretation. Fairchild just becomes more at home with this role every time I see her perform it. I have begun to notice things in the solos I hadn't in performances by others. She's so sharp in a "dainty" (appropriate for the role and costume) way. When she does the plies en pointe with the quick foot movements, you wonder how someone can do that so well and so fast. And her great eyes work well for her here. She can flirt with the audience while knocking off some crazy fast footwork.

The "kids" in Interplay turned in the usual energetic and playful performance. During the pas de deux, Korbes fell down (she was doing a turn that Hanna then was supposed to come in to stop-- not sure whose fault it was, if that matters), but those things tend not to color my feelings about the rest of the performance. I fear I may have seen this ballet too many times for it to thrill me and move me (the pas de deux) as it used to. It's become a bit "same-old, same-old" for me. I think I might be sitting out the performances of it for the next few years (unless there's some cast I need to see, of course).

Alexandra, will that suffice?

[Ari]

I'm surprised by the casting of Who Cares. When I saw Bouder's and Sylve's names down for the ballet, I assumed Bouder, with her big jump, would be doing the Marnee Morris role (My One and Only/Embraceable You) and Sylve, who is often cast in the Balanchine Amazon parts (Hippolyta, etc.), the von Aroldingen part (Stairway to Paradise/Who Cares). I think that would be more appropriate casting.

[Alexandra]

Oh, Amanda, you've outdone yourself Yes, it will certainly suffice. Thank you!!!!

[charlieloki]

i was at thursday evening's performance

i have never liked interplay - it is formulaic robbins, and not very interesting

crayola-colored costumes, etc.

stephen hanna should not have been cast: he looks so much more mature (not necessarily older) than the other dancers

i was really there to see the barber, which i have been watching faithfully since its premiere in may, 1988 (really, that much time has passed) -- the music is gorgeous

wendy is totally miscast in the merrill ashley role: her general look and her dance style, while totally wonderful elsewhere, is just wrong here -- the costume brings out her angularity and her unromantic persona, very unflattering

darci was better, but it was and is merrill's piece: she was injured during one performance of it (very scary), but recovered and eventually appeared in it for her farewell -- very mature and glamorous and totally in control: the consummate nycb ballerina

albert achieved about 70% of the david parsons role: he is so masterful, and adds such dignity to everything he performs -- but parsons has a real lock on the piece -- his arms were sensational, as was his feral approach to the part

the surprise here was elizabeth walker in the kate johnson role

she was just wonderful -- buzzing around like a mad mosquito, etc.

i suspect she will retire this year -- what a shame she hasn't been given more substantial parts over the many years she has been in the corps

thank you, elizabeth, for the pleasure of watching your dancing

Edited May 28, 2004 by charlieloki

[Helene]

In what season was the Ashley role split in two? The last time I saw Barber Violin Concerto in Feb '94, Ashley was still dancing her entire role, and it was broadcast that way on PBS.

[oberon]

The Tuesday programme was unrelentingly Broadway in orientation...each of these ballets normally closes a programme and it was odd to see the climaxes build up on top of one another. But there was sensational dancing from Sylve & Miranda Weese in WHO CARES, though Miranda miscalculated the end of her solo and simply ran offstage. Nilas was affable and partnered the 3 contrasting ballerinas very well. Bouder's hair, make-up and costume all had a purplish cast which made her look monochrome but she danced very well. The quintet of demi-soloist girls (Golbin, Beskow, Edge, Arthurs and Hankes) were especially enjoyable. Ringer's costume lace came unravalled during WESTERN SYMPH and was distracting as it seemed she might get tangled...but she got thru. Ansanelli gets just the right tongue-in-cheek quality as the muse in the adagio and Albert fills the stage with personality as the rhinestone cowboy. Kowroski made a cook's tour of the stage in her fouettes (which seemed especially loose after Sylve's) and Hubbe was off-form. Riggins & Adam H as the "missing couple" made me wish their section were restored. Wendy seemed a little below her best in STARS & STRIPES, at one point I thought she might have hurt her foot but she went on gamely; Damian was exciting and Bouder, Bar & Gold led the regiments with panache. In his review in the Times, Jack Anderson comments on Bouder's facial expressions which are to me a detriment to thoroughly enjoying her performances.

Thursday: INTERPLAY is a juvenile ballet; it was well-danced in general but doesn't really hold my interest. Millepied seemed almost back to his old form in TARANTELLA...Fairchild danced well but her eternal cuteness is not very interesting...a touch of tartness would be welcome. BARBER was the centerpiece and I thought Wendy was excellent here, her pristine dancing and radiating mystique entranced me. In the duet with the charismatic Albert Evans, where she tries to "soothe the savage beast" only to be subjugated by him, these two massive personalities held the audience in their thrall...a long applause followed but they wisely did not come out for a bow. Ask LaCour looked quite noble and danced lyrically with Wendy in the opening bit. He did not quite convey the imperturbable quality that Luders and Askegard have shown in the finale, where the annoying (but darling) Elizabeth Walker does everything in her powers to attract his attention. A repeat of WESTERN closed the show and was more fun because it contrasted so sharply to the BARBER. Ringer & Fayette were at their best here, Hubbe much improved, Tewsley a handsome new ten-gallon-hat guy, Ansanelli hilariously attuned to her improbable role as a Vision, and Sylve (replacing Maria K) danced on the grand-scale and tossed off the fouettes, hops, and all manner of frills with great ease & polish. And she flipped up her skirts with the flair of a naughty can-can girl. Oooooh-la-la...

[Leigh Witchel]

I went to Barber on Wednesday Helene; I don't think the part Kistler dances has been changed appreciably from when Ashley did it. I don't think there's been a split.

[oberon]

I think Helene's confusion stems from charlieloki's mentioning both Darci and Wendy in the same "review"...I believe they each danced it on succeeding nights.

[Helene]

I think Helene's confusion stems from charlieloki's mentioning both Darci and Wendy in the same "review"...I believe they each danced it on succeeding nights.

That's exactly it. I thought both had danced on Thursday in the same performance of the Barber. I wish I had seen both performances.

[charlieloki]

sorry if i caused confusion, gang

what i meant was -- i very much prefer darci to wendy in the "merrill" part of the barber

i have seen darci do the part many times, but not this season

i just got home from abt's blockbuster balanchine program, and am still a little dizzy from it all

theme and variations, tsch. pas, mozartiana, ballet imperial: i need a break, but will be back at nycb on sunday, if i recover

will try to catch monique in ballet imperial: she is much missed by many nycb folks

[Michael]

Ivesiana, Saturday 5/29

After a week away from the theater, I caught 2/3ds of the Saturday Matinee -- Western Symphony and Ivesiana. As always, the longer I go between performances, the more vivid my impressions, the more things seem to register, a good frame of mind to revisit Ivesiana, which I found moving, abstracted and strangely refreshing today, like dropping into cold, quiet and still water. This Ballet today seemed a small masterpiece, built around a series of three mysterious and one vivid emotional encounters, very dependent upon, and revealing of, the characters and perfumes of the dancers who perform in it. This is the first time I’ve seen this Ballet since the 50th anniversary season.

Among the dancers, this was, first, of all the days since she joined the company two years ago with two glorious Nutcrackers –- the day to see Sofiane Sylve for me. There was, to begin with, a scintillating Third Movement in Western Symphony for her and Nikolai Hubbe, showing to just what a degree she moves large and physically, what an athletic, strong legged girl she is, with what a magnificent pliee. This was then followed by a vividly flavored and presented Section III, of Ivesiana, “In the Inn”, where she was paired with Albert Evans.

The Third Movement of Ivesiana is an odd one, a suddenly well lit and boldy nuanced pas de deux for two dancers, male and female, to a fairly complex and relatively melodic Ives piano concerto score, inserted in the midst of three other movements which are more or less minimal, moody, atonally droning, obscure, haunted and dimly lit.

In the First Section of Ivesiana, “Central Park in the Dark”, a large female corps de ballets floats in a half light, while a principal couple mysteriously encounter each other, couple and part, the woman seeming vulnerable and wounded, and then continue to look for something (perhaps each other) amongst the impersonal human detritus of the corps de ballet.

The Second Section, “The Unanswered Question,” is the famous Allegra Kent role in which the woman principal is carried and manipulated by four men, for the most part just out of the reach of her yearning acolyte on the ground below, into whose coupling, folded grasp, however, she is placed at least once time. Taylor and Gold had this today. The mood continues allusive, haunted, somehow Kandinsky-esque and the lighting continues utterly dim.

Then, with no warning, the Third Movement’s concerto erupts and what do we have here: Albert Evans and Sofiane Sylve -- he in a sort of late 1950’s preppy outfit (soft black shoes, dark polo shirt, dark hat and dark khaki-fabric pants), she in chiffon skirt and one piece bodice, very loose, revealing of what is beneath. Instead of half light, the stage is fully lit and, instead of the mysterious gestures of the principals towards each other which have marked the first two movements, we have a fully characterized pas de deux with ensemble dancing and at least two solo variations for each dancer, in which the dancers encounter each other vividly and fully, not with mysterious gestures. Evans’ and Sylve’s realizations of these characters were superb. Of the two, she was the more aggressive, first teasing him, then dismissing him, finally jumping his bones and fully enveloping him in a pliee from behind, while he was the more passive and almost the more feminine character, but oddly self sufficient and as it were taking refuge and retreat, when allowed to do so, into the Fred Astaire like gestures of 1940’s Art Deco jazz dance.

Sylve is a ballerina with a great deal of perfume, although perhaps an analogy from the culinary realm is better employed. Today’s performance was strongly scented, tasted strongly, of Saffron and of Tarragon, and of the pines and salt air of her native Midi. One had no idea of what La Sylve and Mssr. Evans literally mean in any of this. It was, however, perfectly wonderful and perfectly set off the other three movements in this haunting and beautiful Ballet.

Also in Ivesiana, I must mention that I thought, Jennifer Tinsley gave what I thought was one of the finest performances of her career as the Seeker in the “Central Park in the Dark” Section. Tinsley – in some former seasons underused or almost disappearing, it seemed -- has been quietly dancing up a storm this season, truly filling her soloist’s role in the company in performance after performance. That she has a strong, although not overwhelming, technical facility, we know. But this was surely the most strongly realized performance I have seen her give as a dramatic persona. On the physical side, the lighting accenting her hard and trained physicality, picking up the angles on her. Barefoot, she has beautiful, long feet. And having her hair down suits her. But what was even better was her ability to convey the emotional state of her character, whatever it may have been -- “After all, I can not really tell you who I am and you would not know by merely watching – but I am, and I am different, I am not you, and look at me, I bend, I couple, I pick my way through this foggy world,” her presence seemed to say, and I watched, that’s all. As I say, a serious performance by a serious dancer.

Janie Taylor also danced (if you can call it that) an otherworldly, reckless, and almost a violently passive and sexually vulnerable “Unanswered Question,” which was a powerful sequel to her “Afternoon of a Faun” of a few weeks back. (Her character, as Tinsley’s, is barefoot and revealingly costumed in this, while La Sylve is in toe shoes in the Third Section). Taylor also is a dramatically vivid Ballerina, and this was, again, a hauntingly sensual and fully characterized performance. We haven’t seen much of Taylor this season but, in what we have seen, this sudden gain in dramatic weight, in the depth of personal presence that draws the eye and holds it, seems to be a very marked development in her talents. (I regret so much we did not see her get to dance the Stroman role last winter that was made on her. I bet she would have been remarkable in it. But we have many years to look forward to of great dancing from this girl. If an injury leads to the development of this kind of depth, perhaps there is a silver lining or at least some compensation in it after all).

In Western Symphony, James Fayette danced a very fine First Movement, as full out as I’ve seen him move all season. I must say that the company as a whole was very well rehearsed in Western and it is remarkable that, when this is true, the Ballet looks good whether or not all the principal performances are perfect. Western Symphony looked very good indeed today. Alexandra Ansanelli and Robert Tewsley seem to be making strong gains in their confidence in each other as partners.

[Leigh Witchel]

Thanks for the report Michael. I hope I'll see Ivesiana again soon. Up until this point it's felt to me like one of those works that has had too many bricks pulled out of it, like Episodes and the structure's been damaged. I guess it's not surprising that they're both assemblages, the easiest sort of work to alter and the hardest to create a structural integrity to the choreography. I'm glad you found one!

[Michael]

I'm not sure I did find any structural integrity besides the performance. It's perhaps the very adventitiousness of it that I admire. The third section is totally inconsistent and out of place from a certain point of view. Random, as my kids would say. But that's fine, no other integrity is necessary, it just is now, it's the fact that it's put together that way historically that gives it that structure and that's all. If I had stayed to see "Who Cares," the Third Section of "Ivesiana" would have fit in just fine with one of the Jazzy sections there. But they call it one ballet and then another, because they put a pause in between .... Also I forgot to say just how fearless Janie Taylor's dive to the floor at the end of the "Unanswered Question" was. She goes over backwards head first, straight down from the shoulders of those men, and by Gosh plunges so fast I think they caught her about eighteen inches off the stage. What a moment, the girl holds absolutely nothing back. Not sure it was totally forseen how fast she'd go down. Both she and her partners seemed a little shaken up in the moments that followed it.

[perky]

Michael or anyone who attended that performance,

Who were were the men that made up Janie's carriers in Unanswered Question?

Imagine having the responsibility of keeping her safe!

[GeorgeB fan]

Michael or anyone who attended that performance,

Who were were the men that made up Janie's carriers in Unanswered Question?

Imagine having the responsibility of keeping her safe!

The names listed in the Saturday matinee program was Jared Angle, Stephen Hanna, Seth Orza and Henry Seth.

[GeorgeB fan]

I always loved Miranda Weese, she one of my favorite ballerinas at NYCB but she out did herself in Who Cares? Saturday afternoon. She's a beautiful and technically strong dancer, but she sometimes dances with her emotions close to the vest. But not at this performance. I don't know what happen, but she dance with a freedom and a happy abandonment that I don't think I've never seen in her. She seem to give herself totally to the music and choreography. It was a wonderful performance.

[Balanchinomane]

I loved Miranda's performance too. She had the perfect balance between

balletic elegance and Broadway pizzazz that make Who Cares so

enjoyable. She was a sub for Borree but I think scheduled for Sat

night as well. And how about Carrie Lee Riggins subbing for

Sylve? Wasn't she great? Nilas was so protective of her - like a big

teddy bear. And she polished off those turns in My One and Only

like the best of them.

Did anyone see Korowski Saturday night ? Sofiane had subbed for

her in Western and Ives - hope she's OK.

[Colleen Boresta]

I went to the Sunday matinee. I haven't seen "Interplay" in a long time, and though it's a pretty slight ballet I enjoyed the jazzy Morton Gould music and the extroverted young cast. Michael has written a great review of "Ivesiana" and I can never compete with his reviews (nor would I want to). I'll just add that I found it a very interesting ballet, a ballet I'll get more out of it the more I see it.

(I think I've only see it once before.)

"Tarantella" was a lot of fun. This is a perfect part for Joaquin de Luz's exuberance and bravura technique. Amy Aldridge, a guest artist from the Pennsylvania Ballet, gave a very impressive performance. She's a little tall for De Luz, but most ballerinas probably are taller than De Luz especially once they get on pointe (I'm not being nasty, it's just a fact.) Whenever De Luz dances at the State Theater, he always gets a round of applause. I'm used to this when ABT performs, but not when NYCB dances. He must bring his fans from ABT with him to the State Theater, which also seems a little strange to me. Don't get me wrong. I usually enjoy his dancing a lot, but I think there are far better male dancers both at NYCB and ABT.

"Stars and Stripes" was a big disappointment. I had really been looking forward to this ballet which I hadn't seen since February of 2001. (I think NYCB should have performed it the season after 9/11, but no one asks me my opinion of these things.) The choreography and the music for "Stars and Stripes" is still as great as ever, and the NYCB dancers were just perfect. The ladies' campaigns led by Jennifer Tinsley and Ellen Barr could not have been any better, and the men's campaign led by the fantastic Tom Gold - all I can say is WOW!!!!! I could have watched them all night too (as one of the posters - I forget who - has already said).

But the guest artists from the Dance Theater of Harlem, Tai Jimenez and Duncan Cooper - just were not up to their parts. During the pas de deux Cooper ducked away from Jimenez's foot a couple of times. I remember thinking - why is he doing that - this isn't "Western Symphony". Didn't they practice together enough?

And when it came to his solos - Cooper was really off. During his turns a la seconde, Cooper kind of slipped after a couple of turns and moved and started them again. I don't want to unfairly compare dancers with each other, but I have a very clear image in my mind of Damian Woetzl dancing this part, and Cooper did not live up to this image at all!!!! Jimenez was a little better - but she was off too. Her scissor leaps were very small and she also seemed like she couldn't keep up with the fast pace of the music. Again I have an image in my mind of how the ballerina should dance this part. I've seen Patricia McBride, Margaret Tracey, Nichol Hlinka, and Monique Meunier dance this part - and Jimenez didn't come close to their dancing. I like the idea of having guest artists - but shouldn't NYCB pick guest artists who can dance the part. Why didn't Peter Martins ask dancers from ABT to dance the lead roles in "Stars and Stripes"? I saw Ethan Stiefel dance this role with Margaret Tracey eight or nine years ago, and he was just great. I would have loved to see him and Gillian Murphy do the leads in "Stars and Stripes"

on Sunday afternoon.

[Leigh Witchel]

Just a quick question - Colleen, which part in the Stars pas when Cooper got out of the way? If it's in the promenades where he steps back away from her leg extended to the back as she turns, that's the actual choreography.

[nysusan]

Did anyone see Korowski Saturday night ? Sofiane had subbed for

her in Western and Ives - hope she's OK.

Carla Korbes subbed for Korowski in "I'm Old Fashioned" on Saturday night. She was lovely, but I don't go to see NYCB that often & was really looking forward to seeing Korowski. I,too, hope she's ok.

Re: Miranda Weese in Who Cares. I've seen her a few times this year & though I liked her, I was never overly impressed with her. Then I saw her in Shambards & loved the intensity & abandon in her performance. In Who Cares on Sat night she was wonderful - poignant in "The man I love", carefree & charming in Fascinating Rhythm. And that’s high praise considering that after 30 years I still remember Patty McBride in that role!

[Colleen Boresta]

Leigh - maybe the movement I described from the pas de deux was part of the choreography, but something didn't look right about it. I've seen "Stars and Stripes" at least fifteen times before, and I've never reacted negatively to the pas de deux before yesterday. And as I've already explained, I have an image in my mind of how the ballet should look, and Jimenez's and Cooper's dancing didn't fit with that image at all.

[carbro]

Sunday was clearly Jennifer Tinsley Day at NYCB, taking featured roles in Interplay, Ivesiana, and Stars, i.e., everything except Tarantella.

Can't help but echo the praise for Ivesiana. I'd never seen the company present as well rehearsed a performance as Sunday's, and images of the first two sections haunt me still.

I agree, too, that Jiminez and Cooper lacked the impact (and technique) we're used to in Stars. I don't know if these dancers have performed this pas before, but they didn't look free in the choreography. More confidence and brashness would have made a world of difference.

Aldridge, on the other hand, gave Tarantella a somewhat softer approach than the NYCB audience is accustomed to, but no lack of sauce. I enjoyed DeLuz more than I expected. No pushy salesmanship here, just a hot-blooded fellow in high spirits.

Still, it is the Ivesiana that stays with me.

[bobbi]

The Ivesiana at the Sunday matinee was definitely the highlight for me. The two middle sections -- with Janie Taylor and then the duo of Albert Evans and Sofiane Sylve -- were just mesmerizing. The audience had a fit of the coughs throughout the first section, but gave their quiet and full attention to these two sections.

I too enjoyed De Luz's Tarantella and would describe Amy Aldridge's performance as "careful." The highlight of yesterday's Stars & Stripes was -- of all things -- the Thunder & Gladiator section, in which the NYCB male corps has really caught up to the demands of the choreography. However, as good as Tom Gold is as the leader, I still miss Deni Lemont's charm as the leader of this section. And the Interplay was most notable for featuring the lovely Carla Korbes with Steve Hanna in the adagio. More Carla please!!!

[oberon]

I was out of town for most of last week and was very glad to read about the successes of Tinsley and Riggins, two of NYCB's most interesting dancers. Special thanks to Michael for the report on Tinsley.