NYCB Spring '06 -- Performances

[carbro]

Diamond Project continues as Elo's new ballet premieres. Debuts in Divert 15 and Vienna Waltzes. Who's seen what, and what do you think?

[carbro]

Hello? Anybody here? I'm away and need reports, please!

[bobbi]

Well, I was just bowled over by two extraordinary Diverts this week. Absolute stand-outs among the debutantes were Ana Sophia and Tiler. Wow!! There is magic when two dancers who know how to phrase meet Mr. Mozart. Just heaven. The rest of the cast -- old timers by now ( Megan, Andrew, Rachel, Jason and Jonathan Stafford) -- were outstanding as well. On Tuesday night, there were glitches in the partnering betwen Andrew and Rachel, but they got their act together (literally) on Wednesday.

I had forgotten how much I enjoy Vienna Waltzes. The most delightful section for me last night was the Rachel Rutherford and Hubbe pairing in the first section. Again, the ability to phrase counts for so much, and these two are past masters at it. In the second section, De Luz subbed for Damian. Although the height different between him and Miranda looked wrong, it was very enjoyable. De Luz seems to have a great affinity for Helgi roles (see his Baiser). I would like to see him paired with Ana Sophia here. I know Miranda (albeit a strong techncian) has many fans on this board, but I find her dancing lacks phrasing and thus is not satisfying for me.

A lovely evening. By the way, the Episodes was very well received.

But, then again, what's not to like in an All-Balanchine evening? There should be more of them.

[nysusan]

Thank you Bobbi! I am also out of town and going through withdrawls. I caught Divert last week and was so dissapointed to miss Scheller. She is a gem. Wasn't Hyltin in that cast as well?

[sz]

I am also out of town and going through withdrawls. I caught Divert last week and was so dissapointed to miss Scheller. She is a gem. Wasn't Hyltin in that cast as well?

I was there last night. Sterling Hyltin keeps getting better and better. Gorgeous lines, endless quirky energy in the allegro parts. Bright, big jumps, beats! Lovely, risk-taking turns. This girl is a fearless mover! Did I say, and with so much energy?!!! In the adagio section, Hyltin becomes tender, delicately pretty with her long arm and leg lines. She's totally unpredictable, but I will predict she's going to be one of the best at NYCB gobbling up many leads along the way. The other leads, and corps, in Divert were all very good, and this ballet looked well rehearsed again.

Seems the first performances of NYCB rep ballets have become the new dress rehearsals (except the new semi-precious stoners, I can't call them Diamond Projects either....). I tend to catch the second and/or third performances of rep in preference to the first run throughs.

Such was the case with the return of Vienna Waltzes last night. It was beautifully fun. Gorgeous costumes and sets. But the orchestra was badly off, especially for the final Der Rosenkavalier section. My favorite section. Glam, glam and more glam. I wanted to blow a whistle, and say, please...start over Mr. Conductor.... please. The horns were a complete mess. Honkers Richard Strauss never intended and missed notes everywhere. Com'on!!!

Darci Kistler started off radiantly in this section, but quickly began having some costume-in-the-way problems, also a couple of Chuck Askegard (where are you, my partner?) problems. She lost her bright smile by the curtain bows.

The rest of the ballet did much better not having to cope with as challenging of costumes. Joaquin De Luz replacing Damain Woetzel in the Voices of Spring was dazzling and completely on top of his technical skills. His partnering with Miranda Weese needed more work, but this was a last minute male substitution. I also loved the very dashingly handsome, Nikolaj Hubbe in the first Woods section.

I had heard there was only one run through, in costume, for everyone, earlier in the day of Vienna Waltzes. That would explain a lot... Tisk, tisk. Especially considering that for the many brand new corps/apprentice dancers this one rehearsal was the first and only rehearsal of Vienna... avec long-trained gowns, wigs, ballroom partnering, a crowded stage, sets. They did a good enough job, but it was a bumpy ride that should get better as the ballet continues in performances this weekend and next week.

Pascale Van Kipnis returns tomorrow matinee in the first Wienerwald (Woods) section. She'll be back from an injury break, and I'm so looking forward to watching her special glowing charm in a part perfectly suited to her genuine, unfussy beauty.

[drb]

Friday, June 16

The Biggest Bang

At the moment Ana Sophia Scheller and Joaquin de Luz finished the final duet in Jorma Elo's Slice to Sharp the entire orchestra section of the State Theater appeared to explode to their feet and the roars and screams began. The longest and loudest reception for any of the Diamond Project ballets. I didn't count the curtain calls, there must have been around 10. Believe it or not, the State Theater patrons dwarfed the reception given to the sublime Vishneva/Malakhov Giselle two nights earlier.

The ballet began with four pairs of dancers, pairwise hands linked spinning each other around rather like the way children do. Spinning was to be a connecting theme through most of the ballet. The first pairing was Scheller/de Luz. Elo seemed to be using de Luz to salute his childhood idol Baryshnikov. Joaquin was given the most earth-shakingly virtuosic, classically-based choreography, and Ana Sophia was his Patty McBride. Generally speaking, like Ratmansky, Elo was very much engaging each dancer's whole body. But unlike Ratmansky, who did so in a very classical manner, Elo's upper-body work was radically unclassically linked to hips, legs and feet. Very Euro. I suspect some of these movements have some semiotic content, of which I am oblivious. While partnerships were not set in stone, usually they went in the expected manner: Kowroski/Liang, Sylve/Ramasar, Whelan/Hall. Maria's line and jump, Sofiane's ability to do everything explosively, Wendy's everything, Ramasar's charisma, Hall's intensity, Liang's emotional diversity. Edwaard was given the most interesting arm and hand movements, often to brilliant comic effect. Sofiane seemed very much at home with this Euro virtuosity and looked happy beyond joy. I don't know if this was my favorite of the Diamond ballets, In Vento was the most moving and Russian Seasons holds some mystery that makes me want to see it more than again. But tonight's ballet was a wonderful entertainment. It makes you very happy!

Mearns magic

The evening began with Episodes and contrasted the company's two extremes, the perfect Balanchinarina Tess Reichlen, weaving through the Master's mystery-puzzle of Five Pieces perfectly partnered by Jason Fowler, and--on the surface--the least likely Balanchine dancer Sara Mearns. Both swim in the music. In the Ricercata a moment of Mearns magic worth the price of admission. After a supported double rotation she lowered her raised leg to the floor. It was that lowering. It made Bach corporeal, the music becoming a dense matter that gave physical resistance to her leg's descent. Well, you've got to see her to know why she is more than just her allure, her perfume.

Carrie Lee

The evening concluded with Andrea Quinn's brilliantly conducted Fearful Symmetries of Peter Martins. While of course this is a complexly structured ballet, I trust my emotions rather than choose to tax my mind. It was Carrie Lee Riggins who delivered the goose-bumps. Where is she most of the time?

[ViolinConcerto]

Such was the case with the return of Vienna Waltzes last night. It was beautifully fun. Gorgeous costumes and sets. But the orchestra was badly off, especially for the final Der Rosenkavalier section. My favorite section. Glam, glam and more glam. I wanted to blow a whistle, and say, please...start over Mr. Conductor.... please. The horns were a complete mess. Honkers Richard Strauss never intended and missed notes everywhere. Com'on!!!

I absolutely agree about the orchestra and conductor (Kaplow). NYCB's French Horns have long been a weak section.

I got to see 2 Diverts, Episodes, Vienna Waltzes, Klavier and Fearful S's this week -- almost making up for the drought caused by family obligations. The Diverts were wonderful: high energy, precise footwork, and good teamwork. I particularly enjoyed Jason Fowler among the men, and Sterling Hylton among the women. I felt that Andrea Quinn took it very fast, and that Megan Fairchild couldn't enjoy what she was doing as much as she usually does. Scheller's gargoulliards were slightly better on Wed. night than Thurs., but who's complaining: they were very clearly defined both nights. I just had a big grin, and remembered that "everything is beautiful at the ballet." I heard one ballet pal complaining about someone's partnering, but I was too happy, happy, happy to be there to care about minor flaws.

Carrie Lee Riggins was wonderful in Fearful S's, which I haven't seen in about 10 years. I liked it much better this time, and was really impressed by one of the three guys in red, who I'd never seen before, he just had such joy in dancing, and looked as if he was oh so casually whipping off those turns and jumps -- Troy Schumacher. Watch that kid if you can see him!!! Carrie Lee was a lot of fun in the Explosion Polka in Vienna as well. I am always happy to see her.

I brought a young friend to the Wed. night performance. She's been taking class for many years, but this was her first time seeing NYCB. She was (naturally) impressed with the dancing, and even though she told me after Divert that she preferred story ballets, she was really moved by Chris Wheeldon's Klavier.

Saturday, I get to see Divert again! I'm looking forward to it -- it is always fresh, when done well, and it is being done very, very well. I still treasure that brief moment near the end when the 5 women and 3 men, separately form little clusters that look like floral arrangements, or garden statuary. Hope you can come see it!

[Abby918]

At the moment Ana Sophia Scheller and Joaquin de Luz finished the final duet in Jorma Elo's Cut to Slice the entire orchestra section of the State Theater appeared to explode to their feet and the roars and screams began. The longest and loudest reception for any of the Diamond Project ballets. I didn't count the curtain calls, there must have been around 10. ... I don't know if this was my favorite of the Diamond ballets, In Vento was the most moving and Russian Seasons holds some mystery that makes me want to see it more than again. But tonight's ballet was a wonderful entertainment. It makes you very happy!

I thought Elo's new ballet was wonderfull! Invigorating, athletic, expressive, quirky, and overall a real winner. I've never experienced a world premiere ballet like this before at the State Theater. The entire performance was peppered with applause and the standing ovation at the end was very well deserved. Each dancer had huge smiles during their many curtain calls (all four couples, couples with choreographer, couples with violin soloist, women alone, men alone, all four couples again, etc.) and seemed to be enjoying themselves. Definitely my favorite Diamond Project ballet this yr. I can't wait to read the reviews!

[hbl]

Well Elo certainly brought the house down. What a night. What dancing. Wonderful.

To start at the beginning. We saw Episodes last night (Thursday) as well as Tonight (Friday). Major difference was that Jennie Somogyi and Marcovici danced Friday in the Concerto while on Thursday it was Whalens and Evans. Whalens/Evens were just more exciting in my humble opinion, but both nights were stolen by Reichlen and Fowler in the Five Pieces section. And of course Mearns is someone to watch as well. All in all both evenings had their bright spots and their brighter spots.

Vienna Waltzes was wonderful on Thursday. Rutherford/Hubbe started it off - but I will always remember Von Aroldingen and Lavery in that section and no one has ever come close to their interpretation. And Nilas very much reminded me of his father in his role. Ringer was, well, a ringer for Kay Mazzo. A delight overall. I think the final scene with all of those flying white gowns is one of the most awesome sights in all of ballet.

Friday, the Elo ballet was really something different. I agree with most of what was already said. The arm movements were unusual and very interesting. The energy and explosiveness of the ballet was just amazing. The principles were all outstanding - each and every one. Ana Sophia Scheller more than held her own with Wendy, Maria and Sofiane. Very exciting.

To top it all off with Fearful Symmetries, one of my favorite Martins ballets, was just great. It seems like a tribute to Glass Pieces. Abi Stafford and Askegard made a grand partnership. I thought it would be awkward because of the differences in their height. But it worked out wonderfully. Somogyi/Evans and Riggins/Carmena were also delightful. It was an interesting contrast to the Elo work. Both were so full of energy and excitement but Fearful Symmetries seemed to hold onto its clasicism. Elo was much quirkier. A very ineteresting mix.

I am looking forward to seeing the Elo piece again next week.

[ViolinConcerto]

Vienna Waltzes was wonderful on Thursday. Rutherford/Hubbe started it off - but I will always remember Von Aroldingen and Lavery in that section and no one has ever come close to their interpretation. And Nilas very much reminded me of his father in his role. Ringer was, well, a ringer for Kay Mazzo. A delight overall. I think the final scene with all of those flying white gowns is one of the most awesome sights in all of ballet.

To top it all off with Fearful Symmetries, one of my favorite Martins ballets, was just great. It seems like a tribute to Glass Pieces.

I agree completely about Sean and Karin -- her sweetness and his elegance are still unmatched. BTW, Karin was in the audience Thurs. night, on the promenade.

As I said above, I really enjoyed Fearful, but was reminded more of Symphony in 3 Movements -- kept expecting a particular sequence (which I am unable to describe, not the great "unwinding" one) to pop up. I feel it is very derivative of both Robbins and Mr. B, and also Tharp.

[AmandaNYC]

What struck me about the Elo was that I stopped, quite quickly, getting disturbed by the modern arm movements. When it started out, I was like "Oh, great, another person making a piece 'modern' by doing contrived arm movements." But, quite soon i was just drawn in by the energy and movement. I wanted to see how the bodies would move next. It almost became addictive to watch. You kept wanting to see more and more of what would come next-- what these dancers could do so beautifully and amazingly. One great thing about the Diamond Project across ALL the years has been that, regardless of whether we liked the ballet or not, the dancers always got to strut their stuff-- showing what they could do and keeping us amazed at their abilities. The Elo ballet was that and so much more. It helped that he chose to use my four favorite men.

On an indicental notes, the rep notes must have featured the original casting, pre-injuries and changes, as Bouder and Reichlen were listed, but not Scheller and Hubbe was listed, but, I think, not Hall.

-amanda

[Kathleen O'Connell]

I thought the upper bodies in "Slice to Sharp" looked like some sort of wonderfully demented amalgam of Kathak and early 80's break dancing. The lower body looked nothing like either. The dancers were in constant motion, even when they weren't going anywhere -- i.e., a pulse of movement would propagate through their bodies like a wave (really, think break dancing without the spins) and resolve in the upper body. Is this typical of Elo? I enjoyed it, at any rate, and look forward to seeing it again today. The dancers looked terrific.

I have only one complaint -- the music. No more bits and pieces of Baroque, please (or bits and pieces of anything, for that matter). It's time for the "I'm Going to Use a Whole Darn Symphony Composed After 1750" Festival. Actually, I have no complaints about Elo's using Biber; we don't really get to hear much of him live and it would have been nice to have had all Biber and no Vivaldi.

[ViolinConcerto]

Saturday evening: Divert, In Memory of.... and Fancy Free.

It was my 3rd Divert this week, a rare luxury these days, with two cast changes -- Abi Stafford and Yvonne Borree instead of Rachel Rutherford and Tiler Peck. Again, very well performed, and appreciated for its whimsy, grace and delight.

For In Memory of...., both Wendy Whelan and Charles Askegard had very different interpretations of their roles than any previous casting I'd seen, with much stronger acting. While Askegard is built much like Adam Luders, he brought much more strength and intensity to the role. He was nearly violent in his approach: angry and determined -- no mercy. Wendy showed shock, horror, pain, and fear, during her battle with death, and radiantly ecstatic at the end, where she is "able to walk on air," as Robbins is quoted saying by Deborah Jowitt (in the Playbill).

Fancy Free was just tons of fun! It seems totally refreshed. Again, some of the specialness came from the acting. The casting of the dance sequences were switched (as they have been previously, in particular for Robert LaFosse) so that Tyler Angle, as the cute, sweet guy -- who I call the Kansas Cornfield, (previously danced by Kip Houston for example), did the pas de 2 with the woman in purple (Pascale van Kipnis). The Rumba solo was done by Jonathan Stafford, who was charming but slightly weak rhythmically. Daniel Ulbricht is just right as the little guy. He reminded me so much of Tom Gold in the way he hitched up his shoulders. Amanda Hankes looked really good, but her performance was not exceptional.

On the other hand, Tyler was the real standout. In his pas de 2 with Pascale, they really connected, and he is the first dancer I've seen in that duo who really looked as if he desired her -- make that DESIRED! One friend described it as real desperation! His face, body and hands all conveyed emotion. When, after their dance, he reached to caress her bottom, he actually did it, and then pulled back, but with real sweetness.

I haven't seen him much before, and was wondering what all the fuss was about....until tonight. He's very, very special.

[nysusan]

Thank you again for all of these reports, reading them is almost as good as being there! I'm going to see Slice to Sharp on Tuesday, and these raves have me really excited! I'm very sorry to have missed Wendy in In Memory of and also wanted to see Klavier again but I guess one can't see everything all the time...

[carbro]

On the other hand, Tyler was the real standout. . . . haven't seen him much before, and was wondering what all the fuss was about....until tonight. He's very, very special.

And seems to grow with each new role. Stay tuned, ViolinCto!

Thank you again for all of these reports, reading them is almost as good as being there! I'm going to see Slice to Sharp on Tuesday, and these raves have me really excited!

Ditto -- with ! ! !

[hbl]

I agree completely about Sean and Karin -- her sweetness and his elegance are still unmatched. BTW, Karin was in the audience Thurs. night, on the promenade.

Yea. She was there talking to I think Ramasar. I was rushing downstairs as I swept paat her and told her no one will ever match her in that ballet.

[ViolinConcerto]

Or in the Stravinsky Violin Concerto!

[jimmattimore]

Hello? Anybody here? I'm away and need reports, please!

Ana and Tiler should be promoted now to soloist; they have been great. I saw "Russian Seasons" for a second time and maybe it's B, not C, but I still preferred "In Memory of." and "Western Symphony."

I'm elated for Kathryn Morgan whom I spotted in 2005 at SAB.

Hubbe out in "Western," the magnificent Damien in his place.

Somogyi was wonderful.

My mind drifts: Where is Monique? She must be gone since she is not listed.

I LOVE Georgina Pazcoquin.

So now we must wait for a gala in November , seeing a few "Nutcrackers" and awaiting Winter 2007.

I saw a nice "manon" today and will see two "Swan Lakes.

Cabro: I hope you are on vacation, not working.

Jim

[ViolinConcerto]

My mind drifts: Where is Monique? She must be gone since she is not listed.

Jim

Wake up my dear.....You've been drifting for quite a while, Jim! She was a guest a few seasons ago, but went to ABT several YEARS ago!