Week 4

[oberon]

I'm starting a thread for this week even though, due to a big crunch at work, I won't be able to go to the ballet. I'm hoping others will go and post their thoughts so I can keep tabs on everything. Newbies: don't be shy...give us your impressions!

[richard53dog]

Yikes, I've been having trouble keeping track of what day and week I'm on lately.

I hope I'm in the right week here.

Jan 27.

Apollo, Orpheus, Agon.

Although I had a few nitpicking things, I enjoyed this tremendously last night.

I've never seen Orpheus, except for some documentary footage. I found this piece tremendously moving. Some of the dancing wasn't exactly ideal but it wasn't enough to take away from my overall very positive impression.

Although I liked them, I didn't think that Hubbe and Sylve completely "owned" their roles. I loved Whelan though. and it was wonderful for me to see Apollo after a gap of a long time.

Agon looked good to me, almost all the dancers did a great job. I have a bone to pick with Kowroski. As good as she was, particularly in all the intricate parnering moves, I dislike a performer that looks annoyed that someone is watching them.

Now Agon is not a "cutsie" piece and a perky look wouldn't be appropriate but an elegant coolness would be. Kowroski seemed just sulky to me.

Overall though I was happy to see three such towering works

Richard

[art076]

Has Sylve been doing her super-balance in Agon? At one performance in LA, she held her balance for an exceptionally long time during the second pas de trois' intro; that, of course drew mighty applause. But she didn't do it at the second performance I attended, so I wondered if she does this regularly, or if it is part of the choreography (of course I know its something that just isn't possible to replicate every single time).

[richard53dog]

Has Sylve been doing her super-balance in Agon?  At one performance in LA, she held her balance for an exceptionally long time during the second pas de trois' intro; that, of course drew mighty applause.  But she didn't do it at the second performance I attended, so I wondered if she does this regularly, or if it is part of the choreography (of course I know its something that just isn't possible to replicate every single time).

<{POST_SNAPBACK}>

She did one really impressive balance in Apollo and then another in Agon.

I was thinking that these were nothing like the rocking horse ones she did in the Rose Adagio in Sleeping Beauty DVD , but honestly, she does better balances later on in that performance too.

I think she is much better in the NYCB rep than in more classical stuff. Here her athletic body and what appears to be almost superhuman strength and accuracy

seem to a great fit

richard

[Michael]

Some other notes about that performance.

Hubbe as Apollo continuesdthe recent tradition at NYCB of casting Apollo demi character. (Peter Boal goes in this direction also but Boal has more weight, i.e., is a weightier dancer with respect to the floor and gravity than Hubbe is). There are times, though, particularly the larger, more monumental poses, and in the first section Apollo's walk with little rondes de jambes which end in pushing an extension forward, that I at least seem to wish to see Apollo cast as a more "Heroic" type. Bigger, more extended and more sculptural. I always wonder whether Martins is not determined that he personally shall be the last really Noble Apollo to appear on that stage. Although I'm aware that Zelensky was cast in this in the 90's. But where, on the other hand, is Igor Zelensky now?

The principal casting of Orpheus was, is and will be Nilas Martins and Darci Kistler. I couldn't help but think that Orpheus had married a much older woman. A marriage for dynastic purposes no doubt. I've seen a lot of Noguchi in my day. I continue to think that the Orpheus designs are not quite first rate Noguchi. Although they are fairly representative of one of his phases. It's important to realize, though little remembere, that Noguchi was in fact an American who spent all of a few months or a year or two in Japan. Faux Nippon.

The

[Michael]

In Agon, the pas de trois, and the ensemble dancing by Ellen Bar, Rebecca Krohn and Edward Liang (and Liang's solo) was the best thing about the performance in my eyes. The series of glissades with entrechats, side by side, by Bar and Krohn were very nice indeed. I didn't know that Krohn had quite that effortless a jump, it's not something I would have thought about her. Ellen has a lovely, rich attitude, she shows beautiful big, spacious poses but also has the speed and athleticism to get there, a lot of ground to cover to get to those finishes. Nice arms too and her expression has become so very natural. I've been converted by Liang also. He's more stretched in his lines now than when he returned to the company last year, in good shape. He's a fine classical dancer.

I am less excited about La Sylve's Agon than the other two posters. Not bad but not her best role either. Of the too casts I much prefer Tess Reichlen in this part.

[Helene]

Although I'm aware that Zelensky was cast in this in the 90's.  But where, on the other hand, is Igor Zelensky now?

Natalia saw Zelensky perform in the Kirov gala in January and reports about him in this post:

http://ballettalk.invisionzone.com/index.p...ndpost&p=148687

I saw him perform Apollo on 2 July 92 in version with the birth of Apollo, but I don't think it was with guest stars at NYCB: Makhalina danced Terpsichore, Zhelonkina was Polyhymnia, and with Polikarpova (sp?) as Calliope. Perhaps as part of a Kirov tour?

[Dale]

Zelensky performed Apollo with the Kirov on tour in the U.S. in 1992 and 1999. Of course, he performed it while a member of the New York City Ballet, with Kistler or Kowroski as Terpsichore. I really loved the cast of Zelensky, Kowroski, Meunier and White. Those were the days

[GeorgeB fan]

To anyone in particular, is there a current dancer at NYCB who have yet perform APOLLO you would like to see perform? For me it would be Albert Evans. I think he has the innate noble and regal quailities to restore the premier danseur noble status that Michael spoke about.

[perky]

GeorgeB fan I agree with you completely! I would love to see Albert Evans dance Apollo. And perhaps in few years Ask LaCour.

[Kathleen O'Connell]

is there a current dancer at NYCB who have yet perform APOLLO you would like to see perform

I've always thought that Apollo was one of those roles that lent itself to being danced by all different kinds of dancers -- it certainly shouldn't be limited to the tall blond god types or even the short blond god types. (I'm much fussier about who dances Terpsichore.) Frankly, I'd be happy to see just about any dancer I respect dance it so long as he genuinely had the capacity to engage fully with his Muses. My fantasy program is three performances of Apollo danced by three entirely different casts (or at least three entirely different Apollos).

For whatever reason, I've started to think of certain dancers as being either "black tights" and "white tights" Apollos. Evans = white tights / Millepied = black tights. I'd like to see them both get a crack at the role. Hanna might be an engaging Apollo as well, but right now I really want to see him in "In G Major" ...

[cargill]

I have heard Peter Martins say several times that he didn't think that Balanchine really liked his Apollo, that Balanchine felt that it was a demi role. In the wonderul Guggenheim Works and Process evening when Martins coached Stiefel in Apollo, Martins stressed over and over the non classical elements--no turn out, lots of sports metaphors, a very off-balance quality. I think it is a much more interesting role that way, than a purely classical approach.

[Michael]

No one asked for a "Purely" classical approach. I'd like to see a bigger, more sculptural and stretched dancer. At least occasionally. I cannot imagine anyone I'd less like to see than Ethan. When Ethan does "heroic" he acts like Mighty Mouse.

Apollo cuts across the types a little bit I think. You want Apollo to start raw, wet and new a little bit and then grow. But at times you definitely want something "BIG", noble, God-like. That's why Boal is so good in the role, he has the physical and psychological "Mass" to go through these types. I'm aware that Martins likes it demi. That's what I question. Not for him, pursuing this path, ever personally to have the experience of, say, a Merrill Ashley watching Ashley Bouder do one of her signature roles. Has not Martins even cast Nilas in this?

I'm also sure Balanchine cast it every which way depending on who he had available.

Good to see you back Mary. Good also to see a good discussion on line. Don't mind me. MP

[kfw]

I'm also sure Balanchine cast it every which way depending on who he had available. 

<{POST_SNAPBACK}>

I don't have a copy of Repertory in Review around, but I could swear I've read that Balanchine kept it out of the repertory for awhile pre-Amboise because he thought he lacked a suitable dancer in the title role.

[Ari]

He also kept it out of rep for quite a while during the '70s, despite having Martins there to do it. When I first started going to the ballet, it was one of the works I most missed seeing. Balanchine didn't revive it until 1978, when Baryshnikov joined the company. He definitely did it "demi-caractere." Perhaps Balanchine was waiting for a dancer like him who could do it the way he wanted.

[flipsy]

I have resisted joining the Ashley Bouder fan club for two years, but last night (Saturday 1/29) she won me over, with irresistible performances in La Source and Octet. During her rise through the corps and soloist ranks, I often felt she danced like she was bucking for a promotion -- trying to knock your eyes out by doing every little move bigger and brighter than the competition. But now she has her promotions, and as a principal she is simply a knockout. Everyone talks about her "amplitude", and it's remarkable, but I'm just as impressed with her clarity of gesture. Last night she did some pas de chats that seemed to define this step, so dear to Balanchine's heart, clearer than anyone I can recall since Violette Verdy. La Source is all about delightful details, and here's a dancer who can make them delightful from any distance. OK, Ashley, you win, and I'm happy to give up.

Octet was interesting to watch, despite the excessive symmetry typical of Martins' machine-age choreography. Darci Kistler, the other ballerina, kept up with Bouder and showed her a thing or two about the expressiveness of the upper back and arms. This was the sort of pairing you could turn into a soap opera plot, but let's not. It was just excellent dancing.

Also on the program: Tarantella, a last-minute swap for Eros Piano, no explanation offered. Megan Fairchild was bouncy, piquant, and gorgeous in her crimson bodice. Her partner, Joaquin de Luz, had energy but acted more like a pirate than a lover boy.

The program ended with West Side Story Suite, which to me is a cynical mess. This is great musical theatre, and lip-synching ballet dancers just can't make it live, though many of them tried valiantly. It also gave the whole program an imbalance of many more male dancers than female (Octet has a male corps). What happened to "ballet is woman?"

Edited January 30, 2005 by flipsy

[Dale]

Flipsy, you decribed the pleasure of Bouder's dancing perfectly.

Regarding West Side Story, others also questioned the wisdom of putting on just the dancing portions of the show, but the dancers don't lip-synching -- either an off-stage vocalist sings while a dancer dances or the dancer is really singing, such as the songs "America" and "Cool." Those are the dancers singing with a microphone overhead to amplify.

[Helene]

Has not Martins even cast Nilas in this? 

Not only cast but captured for the ages-Nilas Martins performed the role in the "Balanchine Celebration" performance of Apollo, which was televised and released on VHS and DVD.

[Michael]

The week closed this afternoon with Chris Wheeldon's new Ballet, "After the Rain" as the first piece. My Gosh is it beautiful -- the first really "beautiful" thing I've seen that he's made. Some things he's done have been lovely to watch, but nothing like this. Just a few minutes of complete lyrical reverie in the theater, that pas de deux for Soto and Whelan to Arvo Part's duet for piano and violin "Spiegel in Spiegel." It made one think that nothing else should have come after it this afternoon. One should have left the theater.

I was thinking before the performance that Wheeldon could make something emotional for Jock Soto's retirement, their careers have been so linked. But this isn't just about Soto. It's about both Jock and Wendy, and the music, and something like human vulnerability and frailty or what you will. Whatever you imagine and nothing at all. Indeed, I've never seen Whelan so exposed and vulnerable. It's unexpected, unballet-like even, very quiet, hardly danse d'ecole. But, Oh My, is it ever moving.

[bobbi]

I was at yesterday's matinee and got a second viewing of After the Rain. While I see how well-executed it is, I just don't "get" it yet; in fact, I found it a little plodding on the second time around. But I'm very, very pleased for NYCB that it's such a hit. Orpheus, for me, is a ballet that needs deluxe casting to pull off, i.e., but that wasn't the case yesterday.

The highlight of the afternoon was for me the Who Cares. Although Alexandra was out (due to illness the insert said -- and I wish her well soon), we got Sofiane in her place. What a joy it is to have a real ballerina in the company. She just sparkled!! Baby blue is definitely Sofiane's color!! The other two principals were Ashley Bouder and Jenifer Ringer. I would have preferred that Ashley take on Patty McBride's role rather than Jenny. Although I much admire and enjoy much of Jenny's work, she is basically a lyrical dancer. The Fascinatin' Rhythm was really "bent out of shape" (for lack of a better description). I'd really like to see Ashley in that role, as I see her as the Patricia McBride of the early 21st Century. She has all of McBride's qualities (the sheer joy of dancing and the ability to convey that joy to the audience) and then some (an innate musicality and sense of phrasing).

One last comment on Who Cares: Kudos to Kyle Froman, Henty Seth, Jonathan Stafford, Sean Suozzi and Andrew Veyette. I've been watching this ballet since its premiere. The male corps has just come into its own in this ballet without it being a white-knuckle experience for ther audience.

[charlieloki]

I was at yesterday's matinee and got a second viewing of After the Rain.  While I see how well-executed it is, I just don't "get" it yet; in fact, I found it a little plodding on the second time around.  But I'm very, very pleased for NYCB that it's such a hit.  Orpheus, for me, is a ballet that needs deluxe casting to pull off, i.e., but that wasn't the case yesterday. 

The highlight of the afternoon was for me the Who Cares.  Although Alexandra was out (due to illness the insert said -- and I wish her well soon), we got Sofiane in her place.  What a joy it is to have a real ballerina in the company.  She just sparkled!!  Baby blue is definitely Sofiane's color!!  The other two principals were Ashley Bouder and Jenifer Ringer.  I would have preferred that Ashley take on Patty McBride's role rather than Jenny.  Although I much admire and enjoy much of Jenny's work, she is basically a lyrical dancer.  The Fascinatin' Rhythm was really "bent out of shape" (for lack of a better description).  I'd really like to see Ashley in that role, as I see her as the Patricia McBride of the early 21st Century.  She has all of McBride's qualities (the sheer joy of dancing and the ability to convey that joy to the audience) and then some (an innate musicality and sense of phrasing). 

One last comment on Who Cares:  Kudos to Kyle Froman, Henty Seth, Jonathan Stafford, Sean Suozzi and Andrew Veyette.  I've been watching this ballet since its premiere.  The male corps has just come into its own in this ballet without it being a white-knuckle experience for ther audience.

<{POST_SNAPBACK}>

charlieloki begs to differ

i've been watching this ballet since its premiere and have never had a "white knuckle experience" during this part of it, although i have seen it done better than in yesterday's performance, which was quite "snappy" and nicely danced

[harpergroup]

FYI: Sean Suozzi was not in "Who Cares" yesterday. He was replaced by Darius Crenshaw, just as Sarah Ricard was replaced by Dana Hanson (both without the insert noting the change). And I'd like to single out Jonathan Stafford in particular for his work during "Who Cares".

[oberon]

Cast changes within the corps are not listed on programme inserts. Almost every night in the bigger ballets, somebody replaces somebody. It's fun to try to spot the missing persons and figure out who is replacing whom.

I didn't see WHO CARES? this week but have seen Ringer in that part a couple of times and I think it suits her very well...and both times, the audience seemed to agree: she was one of the very few dancers in recent years at NYCB to be called out twice after her solo and twice after her pas de deux.

Coming out for a bow used to be routine after a solo (provided it was "musically appropriate") and a few times in the past dancers were called out more than once. But over the years, the practice has pretty much stopped. In general, I find enthusiasm both at the opera and the ballet has dropped off considerably in the past decade...show-stopping ovations and multiple curtain calls are not frequent. At the end of the evening, it seems everyone wants to rush out to check their cell-phone messages or grab a cab.

[Colleen Boresta]

I also went to the January 30th matinee. I agree completely with Michael's views on"After the Rain", the new Wheeldon ballet. And as always, Michael states his views so much better than I ever could. I really loved it. It was just a gorgeous ballet, especially the pas de duex for Wendy Whelan and Jock Soto.

I know "Orpheus" is supposed to be a classic, but I found it very boring. I don't know if it was the choreography or the performances, or maybe a combination of both. I certainly did not like the Stravinsky music. (Maybe it's me, but I find much of Stravinsky's ballet music to be very atonal.) I saw this ballet years ago, but I really didn't remember it. I was surprised at how little dancing there was for a Balanchine ballet.

The highlight of the afternoon for me as well was "Who Cares". Back in either January or February of 1980, I saw my first NYCB performance. The afternoon then, as well as on last Sunday, ended with "Who Cares." I instantly fell in love with the ballet, and have seen it many times since (at least 15-20 times). But I have never seen any one equal Patricia McBride's performance in "Fascinatin'

Rhythm" - especially the quicksliver foot work and those dizzingly fast series of turns. Both Nicole Hlinka and Janine Tuner came close, but they just couldn't equal my mind's eye image of McBride's "Fascinatin' Rhythm". I totally agree with Bobbi that Jennifer Ringer does not have the allegro technique needed for this solo.

Ringer was absolutely wonderful in "The Man I Love" with Philip Neal. Her radiant sensuality was just breath taking. I too would love to see Ashley Bouder as the girl in pink (though she was excellent as the girl in red). I think Bouder is the dancer to take on Patty McBride's role in "Who Cares". I totally agree with Bobbi views on Sofianne Slyvie. I too missed seeing Alexandra Ansanelli, but Sofianne was just perfect in "Who Cares", especially when she danced her solo to "My One and Only." Is there any part Slyvie can't dance and dance beautifully? I also was very impressed with Philip Neal in "Who Cares". His timing, his rhythm was just so Gershwinesque (if that's a word). Neal's performance in "Who Cares" was the best I've seen since Jacques D'Ambroise back in 1980.

[oberon]

Colleen, I have to agree with you that I found ORPHEUS very dull on my first experience and have avoided it ever since.

How would James Fayette be as Apollo? Had Robert Tewsley stayed with the company, I think he would have been pretty good.