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NYCB Spring 2006 -- Performances


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I have to admit that was my plan - to see the Wheeldon and make an early night of it. Do you think the company anticipated that?

Yes. Looking at the timings, the pointe-break in Liebeslieder would also have been at 10:20, and since Part 1 is the "less exciting" part, and itself would have followed a somewhat uninvolving middle work, a mass exodus was anticipated. So you might say the change was out of respect for Mr. Balanchine.

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I have to admit that was my plan - to see the Wheeldon and make an early night of it. Do you think the company anticipated that?

My plan too.

Thought Liebeslieder was lovely, but in need of a new ballerina or two and accompanying partners.

I skipped Red Violin.... Don't care much for Martins' donut holes...

Evenfall was fun. Lighting and costumes were beautifully used to complete this work. Wheeldon definitely uses the corps in new and interesting ways, moving them about the stage with much cleverness. Evenfall appealed much to the intellectual eye. However it, and especially the pas de deux, had little heart/soul. It left me a bit chilly, though I enjoyed watching it.

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Thanks also for your recent comments on Kyra Nichols and Tyler Angle in Liebeslieder and for bringing up the concern about having Reichlen dance three significant parts in one night.

Re Reichlen's night... I should have added that it's not just tiring to have been featured in all three ballets at one performance, but that what was probably exhausting for Reichlen was dancing them all during the day during rehearsals... plus whatever else she's learning / preparing to dance in days/weeks ahead, then repeating her major roles again for the audience that night. It was one long day for her when Reichlen debut'd in Monumentum.

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drb- thanks for your detailed review, especially the account of Evenfall. I don't know when I will get to see it, but am definitely curious. Re: The Red Violin: I remember Martins' interview before the Diamond project a little differently than you do--I recall him saying he gave other Diamond Project choreographers the first choice of which dancers to work with, EXCEPT for Somogyi--whom he definitely wanted.

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I may be in the minority, but I don't see Evenfall as a near-masterpiece, or even a great ballet. It is a good ballet -- filled to the brim with delightful invention. But, as sz noted, the central couple is not the central focus. I wonder to what degree this is due to Miranda Weese's cool personality, and whether, with Ashley Bouder as the ballerina, the balance would shift. Perhaps it is not Wheeldon's intention to make a romance between the lead couple, but it seems empty of any relationship. Bouder, who relates to her fellow dancers as if she can't help herself, could add a yet unseen dimension to this work. It would be fascinating to see her here. Well, fascinating to see her anywhere, but that's another topic. Miranda may fade into the background, but Damian shines in his variation. His leaps may not soar as they once did, but he can still turn on a dime, and his phrasing is fluid and unaffected and one of NYCB's consistent pleasures.

Red Violin is one of Martins' better ballets. I like the motif of the waist-level lift, the women perpendicular to their partners, one leg bent forward and one back, arms in a wide, open fifth. It is a curved line that contrasts with the sharp angularity that pervades the ballet. The biggest thing working against this ballet is the score, which was probably excellent in the film for which it was composed, but just sort of languishes, giving no propulsion to the work.

I remember an interview with Martins, still a new choreographer, where he cited Balanchine instructing him to start with the final image and work his way backwards. Martins said he just couldn't work that way. It shows in both his and Wheeldon's work. Both have too many "where now?" moments, where it there seems to be nothing in the next movement that ties it to what has gone before.

And yet, the most important thing of all, is that is is very clear that both choreographers have learned as their oeuvres have grown.

I think placing Liebeslieder first was a good programming move. It was a very different performance from Tuesday's. Again, I didn't see the same Liebeslieder that sz saw. :bow: Kistler was off form, looking uncharacteristically weak on pointe, and Weese was dancing while remembering she still had another ballet ahead. But Nichols was more relaxed and she and Martins had a lovely rapport. The final (danced) waltz in Part II, by Whelan and Hubbe was a passionate whirlwind that culminated the ballet most fittingly.

Edited by carbro
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...I don't see Evenfall as a near-masterpiece, or even a great ballet....filled to the brim with delightful invention. But...the central couple is not the central focus. I wonder to what degree this is due to Miranda Weese's cool personality... but Damian shines in his variation...he can still turn on a dime, and his phrasing is fluid and unaffected and one of NYCB's consistent pleasures.

Red Violin is one of Martins' better ballets...

....Liebeslieder... It was a very different performance from Tuesday's... Kistler was off form, looking uncharacteristically weak on pointe, and Weese was dancing while remembering she still had another ballet ahead. But Nichols was more relaxed and she and Martins had a lovely rapport. ....Whelan and Hubbe...a passionate whirlwind that culminated the ballet most fittingly.

I didn't think Evenfall was a great ballet either, but it was fun...as you said, filled with invention. I'd see it again just for the corps.

Also am agreeing with you re Liebeslieder... just didn't want to go into it again at length... I didn't care much for Kistler Saturday or Tuesday... and I also didn't care much for Weese who is too cool for me... Wendy and Kyra were lovely...

Today was the day to see Brahms Schoenberg. Sylve was better than ever in Fourth Movement with a last minute sub of Chuck Askegard as her partner. Sylve was smoldering sexy and bold with technical treats. Chuck was the lucky last-minute partner for Sylve although he was only originally cast to partner Kyra in the First Movement! By Fourth Movement, Chuck was ready to have some extra fun.... and he did! They both did!!

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SZ is absolutely right about today's Brahms-Schoenberg! It must have been a first to have someone -- Askegard -- "double" in it. As for luck, I'd say that the entire (though sparce) audience was lucky to see Sylve pull out all the stops and be well-supported by Askegard. She just totally sizzled, while in absolute control. At times like that, I wish I could make those loud basso "bravos" that ring out through the theater. It reminded me of the days when Sean Lavery and Merrill Ashley set the stage on fire in the finale. (Of course, the lighting helps!)

Reichlin and (especially) Krohn were excellent in Monumentum/Movements. Krohn really reminded me of Suzanne in her line and her smoldering reserve.

Opus Jazz was a fun way to end the performance -- I love the youthful energy, and the time-machine perfection of the 50's "cool" moves.

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