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Spring 2007 Subscription Programs


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I'm glad Bugaku is back. People worried that when it only made an appearance on the 2003 winter gala it looked as if it would be dropped quietly from rep. Now, let's hope Janie Taylor gets to perform the role Allegra Kent coached her in.

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Wow! Back to real rep programs. Much more temptation to buy tickets beyond subscriptions.

I'm very happy Mr. Ratmansky has given the company Middle Duet for regular rep and not just for last season's Gala.

Also Schumann, one of my Top 10. Had to avoid it its last season as Mr. Martins took it away from Maria Kowroski, who had previously performed Suzanne's role as well as The Greatest of All Time had.

Newbies will also get to see why Robbins is a Great too.

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Hmmm ... I think Mr Martins is attempting to use the excuse of Mr Kirstein's centenary to separate me from my wallet. The Greek Program! Apollo, Episodes, *and* 4ts on the same night! Agon everywhere!
Whatever the reason, those are great ballets, and I'm glad there will be many reports of their performances, so I can live vicariously through you :)
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Subscription brochures are available in the lobby. The front cover shows Darci and Nilas in Orpheus. Subscribers should have theirs in the mail soon (if not already), with other NYCB mailing list members to follow.

I just noticed that the program titled "Four Voices" includes Moves. If one read that literally, wouldn't it be three voices, plus silence by Morton Gould?

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Subscription brochures are available in the lobby.

As usual, full of great photos.

The full-page painting by Per Kirkeby gives a clue about their new R&J. Abstract, with the color-coding inherent in that artist's narative vocabulary that was so central to the way Peter Martins told the story of Swan Lake. This time blue, red and yellow. For Lake, if one watched for the colors of the drop in the costumes that followed, the social/political aspects of the story were brought out in clear relief, freeing Martins from some narrative necessities in his choreography. I wonder if this will free Martins to produce more pure dance than one finds in the familiar narrative-laden versions of R&J.

There is a fabulous photo of airborne Ashley Bouder in Dances at a Gathering, capturing her perfection in abandon better than any other I've seen. A photo of Maria Kowroski, partnered by Philip Neal in Diamonds, demonstrates the far too underated significance of physical beauty in Farrell roles. I prefer Maria's Diamonds for this very reason: the sublime beauty in the Adagio for me simply outweighs any technical shortcomings elsewhere (and of course this time around she appears to be stronger).

Recent comments on another thread of La Sylve's sexual allure are potently supported in a photo of her with Albert Evans in Violin Concerto. Another page traces the temporal span of the company with The Apprentice Kathryn Morgan (with Seth Orza in Carousel) in one photo and Senior Prima Kyra Nichols (in Prayer from Mozartiana) in the other.

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New York City Ballet subscription brochures take awhile to reach the the outer southern boroughs of NYC, but mine reached me here in Charlottesville today, and I was struck by all the photos already mentioned, but also by the back cover shot of three rather merry muses. Do they really grin like that in Apollo these days? I'm reminded of the Kirov at the Met in '99.

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New York City Ballet subscription brochures take awhile to reach the the outer southern boroughs of NYC, but mine reached me here in Charlottesville today, and I was struck by all the photos already mentioned, but also by the back cover shot of three rather merry muses. Do they really grin like that in Apollo these days? I'm reminded of the Kirov at the Met in '99.

I thought it a particularly strange photo. A little cheesy!!

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Do they really grin like that in Apollo these days?

I'm reminded of a story my wife used to tell about the time her grandmother was taken to a production of "The Taming of the Shrew" and came home horrified that the audience had been laughing at Shakespeare. If I'm not mistaken, the photo shows the moment when the muses have discovered the joy of movement. Soon Apollo will be swinging two of them through the air on his arms. Grinning seems an appropriate reaction. I will admit that out of context the photo looks a little odd.

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New York City Ballet subscription brochures take awhile to reach the the outer southern boroughs of NYC, but mine reached me here in Charlottesville today, and I was struck by all the photos already mentioned, but also by the back cover shot of three rather merry muses. Do they really grin like that in Apollo these days? I'm reminded of the Kirov at the Met in '99.

I thought it a particularly strange photo. A little cheesy!!

What came to my mind was "Three Little Maids from School," in The Mikado.

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If I'm not mistaken, the photo shows the moment when the muses have discovered the joy of movement. Soon Apollo will be swinging two of them through the air on his arms. Grinning seems an appropriate reaction. I will admit that out of context the photo looks a little odd.

Thanks, FF. I agree that joy is appropriate, even glee. But you may agree that the discovery of movement is profound; to call it fun is to trivialize it. Borree and Bouder look to me like they're suppressing giggles.

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