A Midsummer Night's Dream, June 21-26

[carbro]

Foolish mortals mismatched in love, feuding fairies, and happy endings.

[zerbinetta]

& one zany who thinks he's a burro!

[bobbi]

I've said it before and I'll say it again: Teresa Reichlen is fabulous!! Her Hippolyta in last night's Midsummer was absolutely breath-taking. To give you an idea of how good she was, in the second act coda you couldn't take your eyes off her -- despite the fact that Alexandra Ansanelli was dancing her heart out right beside Tess.

Anyway, there were lots of other good things about this wonderful ballet that I once overheard an audience member say "makes your insides feel good." Darci still manages to pull off Titania, just on the sheer power of her stage presence rather than technique. I do wish De Luz would try more for flow in his dancing rather than the height of his jumps. For my taste, he still dances in the '"bronze idol" mode rather than using his substantial technique in the service of the choreography. And can't Peter (that all-time king of the soft landings) teach DeLuz to thump less when he lands? Special mention to James Fayette as Bottom. He brought back some favorite moments ("Bart Cook moments") while dancing with Darci. Really good job. The exquisite pas in the second act was danced by Wendy and Philip Neal, who I'm sure will be even more etherial as the run continues.

[oberon]

Wednesday 6/22

Very pleasant evening with many fine individual performances. Kyra Nichols gave a remarkable performance as Titania...such lyricism and poetry. Her pas de deux with James Fayette was beautiful, and she was subtly comic in the duet with Bottom. That role was endearingly played by Henry Seth. Tom Gold seemed rather serious as Oberon without the lighter touches some have brought to the role. Adam Hendrickson is a peerless Puck, and Carrie Lee Riggins a gorgeous Butterfly. Janie Taylor and Jennifer Tinsley were especially good as the mortal women: Janie touchingly vulnerable and moving while Tinsley brought strong technique and vibrant dramatic gestures to her solo. Andrew Veyette and Jason Fowler were the suitors; Ask LaCour was a noble Theseus. Outstanding tonight was the Hippolyta of Ellen Bar; vividly costumed and made-up, her spacious jump and glamourous fouettes were impressive. She has had many opportunities to shine this season and has come thru with flying colours. Brava! Special treat was the adagio of the luscious Miranda Weese very nicely partnered by Nilas Martins. I could watch Miranda dance for hours: she's a beauty. Many notable (and several new) faces among the corps; and Kaitlyn Gilliland's name finally appeared in the programme as a courtier...I could not tell which one was she, though they were all lovely.

[Renata]

I've always liked Ellen Bar so I was delighted to learn that oberon thought her Hippolyta was worthy of mention. (unfortunately I am away right now so will not see Midsummer at all this year)

[jimmattimore]

I am just home from Thursday's "MND," and I think it is a perfect ballet.

There isn't one dead or dull moment in two hours. I've seen it 40 times, and yes, it makes me feel good about possibilities. Talk about mise en scene--- the music, the brilliant choreography, the magnificent dancers, the minimalist, but beautiful secenery, the singing, the Sab girls. What more could I ask, and yes, I love a lot of other George Ballanchine ballets.

I just absolutely love the ballet, and my wife and I will see it on Saturday.

There was, as you all know ,a great review of the ballet in the Times this week.

Bittersweet

That's all folks until November unless you can do Saratoga which we have never been able to do for many reasons.

My latest new loves --------Lowery, Hiltin, Reichlein and a 16 year old sab-er named Kathryn Morgan who danced with the company the week after the sab recital.

I am a very happy balletomane, and I love to learn from the incisive comments of all who come on. I am just learning-and loving it.

JIM

a memorable Hippolyta--------------- Monique

[bobbi]

Jimmattimore, could you please let us know how Ann Sophia Scheller did as Hippolyta on Thursday? I'll see her on Sunday but was wondering whether she fulfilled my expectations. It's such interesting casting because she is pint-sized, but I hope she danced big enough to fill the role.

[jimmattimore]

Jimmattimore, could you please let us know how Ann Sophia Scheller did as Hippolyta on Thursday?  I'll see her on Sunday but was wondering whether she fulfilled my expectations.  It's such interesting casting because she is pint-sized, but I hope she danced big enough to fill the role.

<{POST_SNAPBACK}>

Rest easily- a dynamo. Beautiful. Very fast in her turns. You would have loved her as did I; she will continue to soar. Tiny from my fourth ring, but large in execution. She made me very pleased.

[oberon]

Friday June 24

Grand night for dancing with new faces in the leading roles of MIDSUMMER NIGHT's DREAM. Andrea Quinn made the orchestra sound sumptuous; this is a beautiful score and she brought out many details. Several dancers in the corps to admire, with special notice to Sean Suozzi who danced superbly in the Divertissement (dancing with Pauline Golbin may have been an inspiration). Megan LeCrone was impressive among Titania's maidens. Henry Seth repeated his touching, endearing Bottom. Amanda Edge was a radiant Butterfly; I do not understand the recent panning of this beautiful dancer by some of the "professional" critics. Amanda Edge, joyless? You cannot be serious. Jared Angle, Arch Higgins, Alexandra Ansanelli & Rachel Rutherford were by turns lively and romantic as the confused lovers, and Jenifer Ringer & Charles Askegard (slightly mismatched in height) made the pas de deux a wonderfully lyrical interlude. Teresa Reichlin's superb jump and grandiose fouettes made her Hippolyta an audience favorite; a slip in the finale - from which she easily recovered - hardly mattered. The wonderful Albert Evans was thoroughly delightful as Puck; Albert's a big, muscular guy but he lands like a cat and dances with an airy sense of bravado. Mischief seems to come naturally to him. Sofiane Sylve's dancing as Titania (her first time in the role) was spacious and a sheer joy to behold; her womanly, pliant body and Vogue-covergirl face hold the viewer entranced. Antonio Carmena had a grand success in his first Oberon, grabbing the audience with his opening solo passage and sweeping through the footwork with clarity; jumps and turns all nicely phrased, he seemed like a magical golden bird. And he cleverly managed to wisk away the open book left behind by Bottom's companions. In the finale, his jumping backbends (does this step have a name?) were astounding. Eschewing his usual broad smile, Carmena was a serious young monarch and reminded me at times of Edward Villella. An auspicious role debut for this fine dancer.

[BW]

I can tell you how Teresa Reichlen danced as Hippolyta - beautifully with flash! She was very impressive and even though she slipped in Act II while Jason Fowler as Thesus was partnering her it didn't stop her for more than a split second. What a striking dancer - such long legs, arms - a great neck and that red hair. Really impressed by her.

Albert Evans was nimble as ever as a very humorous Puck - great to see him again and hope to see a great deal more in the next season, since I won't be up in Saratoga as far as I know.

Alexandra Ansanelli and Rachel Rutherford were, of course, very good as the love torn young women... And this was my first time to see Titania played by someone other than Darci Kistler. I thought Sofiane Sylve was a really refreshing change. I can't comment on the technical aspects the way many of you do - but she was The Queen of the Fairies as far as I was concerned - an excellent actress. Loved seeing Jennifer Ringer in the second Act - what a beauty she is. Personally, I wish she could have been partnered by someone other than Charles Askegard - but that's just my personal bias. :rolleyes:

The whole performance was really well done from the little fairies to the hounds of Hippolyta, but Antonio Carmena's Oberon was, for me, one of the absolute highlights amidst other excellent performances. I have seen him dance before, but never in a role like this which is one I think he richly deserves and I'll bet he will be playing it many more times in the future. He is a superb dancer - fast, powerful, exact and very "kingly" - a danseur noble - not without a sense of humor.

I probably could have saved the bandwidth here and just posted that I was extremely glad I'd broken my hiatus with NYCB by choosing this particular performance with this cast.

[bobbi]

Let me add my praise for Antonio Carmena's debut as Oberon. What I have always enjoyed about his dancing was his musicality and phrasing, but -- although I thought his technique was very good -- I was delighted that he was able to meet the demands of probably the most difficult male role in all the Balanchine rep. And the special surprise was his acting ability and his characterization. Terrific debut. The other debut -- Sofiane -- I found surpisingly disappointing. Although I can't put my finger on why, her Titania seemed heavy and leaden and earth-bound for a fairy. But then again it was great to see a Titania danced by someone under 40 years old!!! Tess Reichlin continues to dazzle at Hippolyta. Jeny Ringer did not seem at the top of her game last night in the divertisement; maybe she tired from all those West Side Story outings.

By the way, thank you, Jimmattamore, for the report on Ana Sophia, as I'm really looking forward to seeing her tomorrow.

[BW]

You know bobbi, I think you hit on what I was feeling about Ms. Sylve. It's true I did find her a refreshing change and she did grow on me through the performance all in all, but there was "something" that nagged at me a bit.

Although I didn't think she was leaden at all, I did feel that she seemed a bit "earth bound" - I'm wondering if she and Antonio Carmena were not the best partners due to their statures?

[oberon]

I didn't think Sylve was lacking in any way, nor do I think the height differential between her & Tonio was a problem: Titanias are almost always taller than Oberons...I think Balanchine planned it that way.

Sylve's dancing was more spacious and somewhat bolder than Kyra or Darci at this point in their careers...not that I would want to choose between them: I want them ALL!! I am sorry to miss Maria K this year and also sorry Wendy wasn't cast in the role again...I guess we cannot have anything.

Potential future Titanias: Reichlin & Krohn. Potential Oberons: Hendrickson & Ulbricht.

Has anyone noticed how dewy fresh Sarah Mearns' face is? She just looked so pretty among Titania's ladies-in-waiting.

But where's Amanda Hankes?

[zerbinetta]

I'm with you, oberon. I thought Sylve was rapturously beautiful. Her impulse is always the music & what she did with it last night was pure magic.

A rather astonishing debut in the role, I thought. I don't see what she could improve.

Her cavalier was tall enough for her & that's the only partner that matters to Titania, isn't it?

Carmena did very well, indeed.

Albert is so wonderful as Puck; so witty, so humane; so air-blown. But I would love to see him do Oberon as well.

[BW]

Many of you are obviously very knowledgeable about ballet technique as well as the art in general. In my last post about Miss Sylve, I didn't mean that I thought she was bad - far from it! She is lovely, her dancing was as well.

I wish I could roll back my mind's eye and watch it all over again - I loved the whole ballet and was really glad to have gotten in for it. My first impression of Miss Sylve was that she was regal - a Queen of the Fairies - especially in her refusals to give Oberon her little "boy".

Perhaps it was in reading bobbi's post that I remembered a certain something that wasn't so much an imperfection but rather a difference from my Titanias of the past? As I stated at the outset, I found her a refreshing change and frankly I chose Friday night's performance because of the specific dancers who were and were not performing that night. For me, it was a true Midsummer Night's Dream.

[Mel Johnson]

An historical note about Titanias: The originator of the part was Melissa Hayden, and of course Edward Villella created Oberon. Hayden wasn't such a mismatch in height for Villella, but then of course, they never really dance much together. By the time the production transferred to the NYS Theater, Suzanne Farrell had taken over the role, and that was a big height mismatch. The thing that Farrell could never quite pull off as well as Hayden was the awakening with Bottom (in the ass's head). Farrell was amusing in that moment, but the queenly Hayden was hilarious! Another note, her cavalier in the "Athalie" overture sequence was the partner extraordinaire Conrad Ludlow. The end of that pas de deux, taking place in the middle of a scene change was a true coup de theatre, and my favorite part of the ballet.

[bobbi]

For a sense of what I meant by Sofiane's seeming to me "heavy" in the role, may I suggest during the long summer dry spell you catch the scraps of video at the New York Public Libary of Suzsanne as Titania. I did not mean by my comments that Sofiane danced the role badly, just that she may have either been miscast or that she hadn't quite yet gotten the role's essence. Do any of you remember Carla Korbes three or four years ago as Titania? Even on her first outing, Carla had the quality I'm looking for in a Titania. It was just in Sofiane's solos as Titania that I found her -- to my taste -- not quite the real thing. But I'm glad for those of you who enjoyed Sofiane as Titania. Again, it's chocolate and vanilla time. . . .

[nysusan]

Midsummer’s was.. effervescent,a beautiful bauble, delightful from beginning to end - I loved it. Went Friday night & Sunday matinee. Thought all of the principles were great but especially Carmena, Reichlin & Evans on Friday & Kowroski & Scheller on Sunday. Hytlin was also lovely in her debut. Albert Evans as Puck may have been my favorite performance of all. He brought a wonderful sense of impishness along with complete command of the stage and, of course that wonderful dancing.

Regarding Sylve - having seen no other Titania’s before her (at least not Balanchine Titanias) I thought her dancing was very expansive and regal, a true queen. But I also understand what Bobbi & BW said about her being “earthbound”. That’s a quality I find often in her dancing. It’s something that I usually like a lot about her. In many of the killer Balanchine roles - say Sanguinic in 4Ts or T&V. With some other ballerinas you might be nervous about whether they’re going to make it through their variations but she steps onto point & it’s like she’s planted there, like her toe is glued to the floor. It’s usually a very good thing, but here it did make her seem very earthbound. Not a bad performance by any means - she was wonderful - but to me her Titania was 95% queen and 5% fairy.

[zerbinetta]

Personally, I have no need to go view old film of Suzanne's Titania as it is forever emblazoned in memory from a couple of dozen, at least. performances. And, yes, Carla K was wonderful.

But I guess we didn't see the same things. For me, Sofiane's musicality is creative in a different way than Suzanne's and no less effective. Her cooing over Bottom was matchless & something I always look for but never before found as moving. Her response upon being awakened by Oberon was "Oook,there's a bug in my champagne!" rather than shoving him away, which I always find a bit mean. There was a fundamental sweetness to her portrayal that I don't think I've ever seen.

As for an earthbound quality, I don't see this at all. Any dancer with a jump like that can't be earthbound. I see a weighted quality which works wonderfully in the leotard ballets but I don't see it in MSD; didn't see it in Emeralds or any other of the tutu ballets she has danced.

My husband, who rarely tears up since the retirements of Gelsey K & Suzanne, was moved to tears by her performance & proclaimed "She has ruined it for me; she is the new benchmark."

Ah, well, it's good we see different things at different times. What a bore it would be if we all agreed on everything.

[FauxPas]

I am sure this has been discussed elsewhere before but I thought that the Suzanne Farrell "Midsummers Night" film was complete and a commercial release - there was an entry for it in an old Leonard Maltin "Movies on TV" review book.

IMDB entry

Of course who knows who has the rights to these films (the Don Quixote was filmed too) and why they aren't being reissued on DVD with the great need for new material to be released on this very popular medium. VAI puts out a lot of this archival ballet stuff and if the rights were cleared and the source negative found it would be a great addition to any dance lover's library.

I saw the Saturday night performance "Mdsummers Night Dream". I hadn't seen it since I saw Valentina Kozlova's last NYCB performance as Titania more than seven or eight years ago. Darci Kistler had a delicately sweet and gracious presence as Titania though I could see she was placing steps carefully (but with success). She bobbled slightly trying to hold a balance after a supported turn in arabesque (Charles Askegard was her Cavalier) but otherwise she looked lovely and had lyrical charm.

Antonio Carmena was a revelation to me. Incredible forward momentum in his dancing - each step kind of pouring into the next one with such energy that the combinations kind of built into fireworks. Fantastic leg beats and jumps. His only problems were in spins on one leg where he lost balance (this happened twice). He needs to work on this problem but otherwise he has arrived. He had presence, authority, excellent mime - definitely a premier danseur.

The other revelation was Teresa Reichlen as Titania - incredible multiple fouettes and soaring jumps. She also has a beautifully proportioned long-limbed body. Even more impressive was her prima ballerina presence in the final wedding ensemble. She caught your eye as the star ballerina in the center even flanked by the superb Alexandra Ansanelli and the charismatic Rachel Rutherford. She had that presence and authority that made her the one dancer you looked at in the group. Her promotion is richly deserved and bodes well for the future.

Albert Evans was a scene-stealing joyous Puck with mischief and a way of getting the audience on his side. Lively but not overdone. Alexandra Ansanelli as Helena acted with real pathos and the shapes her body makes in all positions are a joy to behold. Miranda Weese had some soft backbends and made one hold one's breath in wonder with her phrasing in a few places in the Divertissement PDD - Nilas Martins is a good partner and you felt she was in good if somewhat stolid hands.

The score sounded lovely, the orchestra played well and the vocal soloists were quite good.

[Leigh Witchel]

As I recall it, Hayden danced the first performances of the role, but I believe it was meant for Diana Adams - who was tall, but was not able to perform it (off the top of my head, because of pregnancy). I also believe the ballet was left to Adams by Balanchine.

I thought Carmena and Sylve made fine debuts, but was rapturous about neither. Carmena has very good batterie; he could clean up his turning position - a higher, flatter retiré would look good on him. They're both a bit emphatic in their mime. That said, I think both are good fits for the role. It would be a good thing to give Carmena Prodigal Son to continue his development.

I was a bit disappointed by the second act divertissement. Ringer's too womanly for my taste in the role (I want someone unearthly there) and even I recall when the six men used to be senior corps, and now maybe three were. It makes a difference.

[BW]

After reading everyone's thoughts as well as today's NY Times review, I feel even more that after a certain point - so much of ballet is subjective. I couldn't believe the NY Times piece didn't even mention Teresa Reichlen. :rolleyes:

To each his or her own. :yes:

Edited June 28, 2005 by BW

[zerbinetta]

Gia Kourlas reviewed Reichlen's performance in the opening night cast in the NYT issue of June 23.

I believe there is a rule (written? unwritten?) in journalism that a later reviewer is not to cover the same territory already reviewed by another.

It is not always observed.

[BW]

I do recall that earlier review, but had never known of that rule. So if a particular dancer falls flat on evening 1 and pulls out all the stops in the same role on evening 2, it's just too bad - they can't be reported upon? Say it isn't so!

[Mme. Hermine]

it is diana adams (or now her daughter's?), i remember that when san francisco ballet first did it in 1986 she came just before the opening.