NYCB Week 3: Jan. 16-21, 2007

[carbro]

I'll be looking for your reviews!

[bobbi]

Very nice evening last night, Wednesday, which had two of Balanchine's greatest hits (Mozartiana and the Tschaikovsky Piano Concerto No. 2) as the opener and closer.

Wendy and Nikolaj both did star turns in the leads, with Wendy demonstrating for the company how to glide across the stage with the smoothest borrees imaginable. She was strong, elegant and very musical. Nikolaj too was in good form; his stage presence and musicality always carry the day. Danny Ulbricht did Victor Castelli's role admirably. He toned down (thank goodness) the acrobatics and made a stronger impression in doing so, but I would like him to listen to the music more.

The special treat of the evening was the debut of Sofiane Sylve (and also of Tess Reichlen) in the Piano Concerto. Wow!! Sofiane brought back memories of Patricia McBride in this role. Although it's a killer part technically, it needs a ballerina with authority and drama to bring out the essence of the role. Sofiane was absolutely fabulous, garnering lots of applause at the curtain. When Sofiane made her promenade around the stage, you knew she was "the Tsarina" and the court (the corps girls) were playing homage. Tess too made a strong technical debut and I think she will get even better phrasing wise as she gets comfortable in the role. Her two partners, Seth Orza and Vincent Paradiso, also did well. If you love this ballet, don't miss this cast.

[Michael]

Sylve's performance and the Ballet were everything except Beautiful

[Leigh Witchel]

Michael - I hope you'll gather your thoughts on this and elaborate your assertion into a discussion. I wasn't there, but I'm ambivalent about Sylve; not about her technique, but her presence, which I like at times (Sanguinic, Theme), and find too bland at others (Agon). I'd be interested to know more from Bobbi about what she saw in the performance, and from you what you felt was lacking.

[Dale]

I was going to post later when I had the time to write, but Reichlen wasn't making a debut. She's done the role at least 3 times.

[sz]

I'll too be curious to hear in fuller detail what Michael meant by his comment...

I'm a big fan of Sylve, and I thought she was absolutely fantastic last night in TP2. Perhaps it was a bit too much of a dress rehearsal for Michael's taste?! It had that nervous energy of a first complete run through.... for nearly everyone.

But I loved that Sylve didn't try to act it, or "sell" it.... She just danced it with her huge expansiveness, huge brush strokes, and a strong, confident, womanly, regal style. Sylve flew around the stage with jumps and turns and movements far bigger than anybody yet (male or female) that I've ever seen in this ballet. Sylve makes the stage look tiny....

I found Sylve's performance exciting rather than pretty, while I found Reichlen's performance pretty rather than exciting. But overall, with these two strong females, and their amazing jumps and big lines, it was thrilling to see the choreography done so fully.

I think in time Sylve, Reichlen, et al., will become more comfortable with the nuances of the music (for Michael ---).... and will add more flavor to their technical brilliance.

Oh, and for a change, the orchestra and pianist were in a fine tempi mood....

[Michael]

I thought the artistic impression was weak. As I said, the ballet did not seem beautiful to me last night. I found the performance physically very impressive but more on the athletic side than on the musically interpretive one. I'd have no problem chosing the Miranda Weese performances of two or three years ago --

I didn't think the costume suited Sylve, she'd have been better in the tutu for the Ballet Imperial Version (and in fact would be better dancing the whole thing as Ballet Imperial). Piano Concerto # 2 is a different ballet I think and the degree to which Sylve is suited to it or not suited to it by physical nature marks exactly the difference. She looked over muscled, particulary the thighs and shoulders. She doesn't have the plumb lines for some Balanchine ballets as I've heard a friend opine and I agree with (I like her in others), though she jumps like she's shot from a circus canon, for sure. I did love the way she came down the line of girls and pencheed to Askegaard in the 2d movement, and the last running retreat backward from it on demi point too (beautiful timing) -- And those tour jetees, my God.

But you know I'm really working backwards here: how do you explain perceived lack of Beauty, it's first of all subjective and also arguing from a negative is to some degree faulty reason. But I've had this experience with Sylve before -- of watching her debut in a very familiar Balanchine ballet (Bizet 2d movement or Serenade for example) and feeling uneasy and asking myself, "this looks different, it feels different, something's wrong, what is it?"

So then -- Michael Popkin

[Dale]

Michael, I agree almost totally with what you've written about Sylve's performance. I think what's missing from her interpretation is a sense of otherworldliness. I think, maybe, that's a style bred at NYCB (SAB) - Weese has it, Farrell had it, Meunier, Kowroski has it. Kirov dancers have a bit of it too - Lopatkina's and Part's Ballet Imperial showed it. Some people find this impersonal, as if they don't care the audience is there or anybody else on stage. They do care, but they don't court our approval. They are on a higher plane.

[vipa]

I enjoyed Sylve's performance. She has a fullness of movement that is wonderful. I can see that she lacks the "mystery" of some other dancers, but I think she has a kind of majesty. I thought Askegard was very weak (enough said). Reichlen did well but I find something lacking in her use of her upper body. Also, I saw Monique Meunier in that role with ABT fairly recently and it will be hard for anyone to top that.

I loved Ulbricht's gigue in Mozartiana - everything was clean, beautiful and joyful (funny I thought Victor Castelli, who I saw in the role many times originated it, but the notes available at theater say it was Chris D'Amboise).

Wendy Whelen & Hubbe were good, but didn't reach the greatness of the Suzanne Farrell/Ib Anderson performances. I even looked at the video again to make sure I wasn't falling into the "good old days" trap!

All in all it's good to see the company back in rep.

[Leigh Witchel]

The second male lead in Mozartiana was choreographed on Castelli, but he was injured shortly before the premiere and Christopher d'Amboise danced at the premiere. I believe Castelli dances on the televised performance though, no?

[drb]

... I believe Castelli dances on the televised performance though, no?

Yes, the telecast starred Farrell/Andersen/Castelli. I wonder if it could ever be released on dvd... Not only was Suzanne profound, but I do not believe anyone has come close to Ib either.

Wasn't Ib Andersen's role frequently performed by Peter Martins that first summer when Ib was ill? I seem to remember Peter's discomfort with the speed required by the part.

[sz]

I enjoyed Sylve's performance. She has a fullness of movement that is wonderful........ I think she has a kind of majesty.

I think the big reason some of you have mixed feelings about Sylve's dancing is because you've never seen anybody like her!!!. Nobody has!! Nobody moves / dances the way Sylve does and especially in a role such as TP2. I think Monique came the closest to this sort of fullness and womanly majesty. I wish ABT would have given Monique that opportunity... to dance the female lead in Ballet Imperial (TP2).

But Sylve is physically more striking, more clean, with beautiful feet and legs, arms -- a gorgeously classically trained body with a modern edge. And she pushes all the edges/envelopes throughout TP2 as nobody yet has. She's definitely a dancer's dancer.... She doesn't need (or probably want) any smoke or mirrors when her natural bravura, daredevil approach, and stunning movements are so richly beautiful on their own. Sylve's also recently gained a joy where she once was more cool at NYCB. This added a sparkle I wasn't expecting so soon for a debut in such a difficult ballet.

I wouldn't change a thing about Sylve's approach to TP2. It's a very technical ballet, and, minus the Imperial tutu, one can marvel at Sylve's perfume and freedom -- see every inch of that amazing body.

I loved Sylve's dancing so much last night that I'm going to see it all again this evening!

[Helene]

Wasn't Ib Andersen's role frequently performed by Peter Martins that first summer when Ib was ill? I seem to remember Peter's discomfort with the speed required by the part.

I haven't read Robert Maiorano's book Balanchine's Mozartiana for many years, which could explain what I'm about to write, but I don't remember that Balanchine conceived the role for Martins. I thought the point was that Andersen was, in an abstract way, a stand-in for Balanchine, and that Balanchine liked the pairing Farrell with dancers who were closer to his height than Martins's.

Even if Martins had been in Balanchine's mind when he conceived the ballet, it's hard to me imagine that the finished product wasn't built for Andersen's agility, proportions, and musicality.

Wendy Whelen & Hubbe were good, but didn't reach the greatness of the Suzanne Farrell/Ib Anderson performances. I even looked at the video again to make sure I wasn't falling into the "good old days" trap!

I consider the Farrell/Andersen/Castelli performance of Mozartiana that I was privileged to see among the greatest live performances of any kind in my memory.

[carbro]

Re: Mozartiana. I don't like the casting of the second man lately. I think it began when Gen Horiuchi was in the company (would he have been the third to take on that role?), and he was cast predominantly in partner-less roles due to his very short stature. But when Victor danced the role, there was no suggestion that he was the jester imported from a Soviet Swan Lake. No. He was very elegant, aristocratic. He could have been a guest from the party in LaSonnambula who just wandered into another ballet.

Chris didn't have the classical polish that Vic did, but they shared basic proportions of medium-tall height with proportionally long legs. This seems to have been forgotten when the Balanchine Trust (Maria Calegari?) set it on ABT, selecting demi-caractere danseurs for the role. I hope Castelli's version has been preserved, because we may never see the "original intent" again.

[drb]

Wasn't Ib Andersen's role frequently performed by Peter Martins that first summer when Ib was ill? I seem to remember Peter's discomfort with the speed required by the part.

... but I don't remember that Balanchine conceived the role for Martins. ...

Even if Martins had been in Balanchine's mind when he conceived the ballet, it's hard to me imagine that the finished product wasn't built for Andersen's agility, proportions, and musicality.

...consider the Farrell/Andersen/Castelli performance of Mozartiana that I was privileged to see among the greatest live performances of any kind in my memory.

Sorry, I didn't mean at all to suggest that the role was made for Martins, rather that I seem to remember that he had to sub for Andersen in some of the early performances. I absolutely endorse your evaluation of the F/A/C performances. I believe Suzanne, in commenting on how difficult her part was, explained that in all her other roles she played herself, but in this one she had to be Mr. B.

[vipa]

I consider the Farrell/Andersen/Castelli performance of Mozartiana that I was privileged to see among the greatest live performances of any kind in my memory.

Amen

[ViolinConcerto]

I loved Ulbricht's gigue in Mozartiana - everything was clean, beautiful and joyful (funny I thought Victor Castelli, who I saw in the role many times originated it, but the notes available at theater say it was Chris D'Amboise). All in all it's good to see the company back in rep.

Victor was magnificent in that role. when he died (how can that be? what a tragedy) the NYTimes, and the company printed the wonderful photograph of him in the Gigue.

I don't think that Martins ever danced Anderson's role, but I could be wrong.

Tonight's performance of Mozartiana was much as previously reported, but I have to say Wendy was very good, and her bourees were perfection.

Sylve should have been lifting Askegard. But she's magnificent to watch -- and yes, those tour jetes!

[carbro]

When Sofiane made her promenade around the stage, you knew she was "the Tsarina" and the court (the corps girls) were playing homage.

This walk was no minor element in the performance. I agree with many of Michael's points, and perhaps this is why he felt this was more a Ballet Imperial than a TPC2. It really displayed the difference between American and European sensibilities. Piano Concerto is an Americanized version of an imperial-style ballet, and Sofiane's European attitude made it just a tad too courtly.

Interesting, isn't it, that no one (yet) has even mentioned In Vento, the second ballet, which received such high praise when it premiered last spring. I saw it for the first time and liked it. The second duet for Kowroski and Liang was very tender. I hope to catch it again. But the attention our posters have paid to the bread of this sandwich (or the meat of an inverted sandwich, actually) illustrates what we take as the valuable ballets in the company's rep.

And, yes, Peter Martins did dance Andersen's role in Mozartiana. And no, no one has matched Andersen's fleetness.

[hbl]

Thursday night Whelan was just wonderful in Motzartiana. Not SF but wonderful in her own right. I think it is a bit unfair to compare Whelan to Farrell - the ballet was made on SF and all of her strengths. And there will only be one SF.

The second piece In Vento, which I remember from the Spring, was just a tour de force for Millepied and Kowroski. All I could think about in the opening was how my abs would be aching for months if I ever even tried to hold that position for any length of time. And the interlpay of bodies with Kowroski and Liang was stunning. And Reichlin also was superb - using her long legs beautifully.

As for TP2, I thought Sylve did a good, if not great, performance. She is technically outstanding. I am not a fan of her body type - she seems to be too long waisted and short legged for me. But then there was Reichlin again ... anything but long waisted and short legged. I just love the way she has been dancing lately.

Great night to start the non-SB season.

[Michael]

I'd love to see Teresa Reichlen dance the first role in Piano Concerto - She'd be capable of it very well. Her expression and the placement of her upper body and shoulders vis-a-vis her neck and head have also been very much improved; it's a very strong and natural presentation now. I don't think there are any basic issues left with her.

[Michael]

Re In Vento -- Tiler Peck showed that she can indeed dance without smiling. What an amazing sense of weight she had in that (weight-iness or weighted-ness might be better words), just walking or standing on the floor even, she sank down into her hips but with the torso still pulled up, a great sense of how to do that. And just turned eighteen years old this past week I believe.

[carbro]

I don't think there are any basic issues left with [Reichlen].

She's so strong and moves gorgeously, but she's got to be more attentive to the music.

[sz]

Last night's performance was a bit tired compared to Wednesday's for both the lead females of TP2, Sylve and Reichlen. Go figure.... A very diffficult ballet, back to back, Wednesday then Thursday....exact same cast. I really don't care much for this sort of block approach....

Hmm. But Bouder will not be dancing Stars and Stripes, another as- difficult lead, two nights in a row. That's more fair... And they didn't put the same Sugarplums and Dewdrops or Sleeping Beauties in performances back to back either. Guess TP2's female leads are a greater challenge to cast these days....

Anyway, Sylve was very good last night but not as great as she was on Wednesday. Ditto Reichlen. The corps however looked much better, more comfortable, having benefited from that opening night's dress rehearsal...

As for Sylve not having long legs.... What?! Was that poster sitting in the upper levels, looking down on the dancer's bodies?! Take a peek at two pictures on NYCB's website of Sylve. In the repertory index you'll find pics of Sylve in Cortege Hongrois and Symphony in C. She'd definitely not be dancing Sym in C's adagio, 2nd mov, if her legs were not long.

As for Reichlen, she definitely needs some work, primarily from the waist up with crisper attention to the music. Her arms are often too limp, and her hands are too floppy with fingers undefined, which can make her dancing look too relaxed instead of exciting and clean.

[drb]

Saturday matinee, January 20

The Stravinsky Marathon

We seemed to be locked into Tschaikovsky at BT, perhaps the afterglow of Nutcrackers and Beauties, while the company has quietly been making friends again with Stravinsky.

In the Program Notes Wendy Whelan recalls

And then there's Agon, with its odd and lovely PdD. I was 14 years old when I first saw Agon, and that's when I knew that I wanted to be in New York City Ballet.

She and Albert Evans nailed the PdD this afternoon, one long seemless weaving of pretzels in hyperspace, and even the partnering during his famous fall maintained the perfection of continuity. Truly an other-worldly presentation.

But the rest of Agon was alive as well. In the first PdT, Sean Suozzi's strong portrayal also featured Ellen Bar and Rebecca Krohn capturing the humor of this section. Tess Reichlen was at her full-amplitude best in the second PdT, full of grace and grandeur, speed and light, and partners Adrian Danchig-Waring and Tyler Angle completed their pass of her with aplomb.

Sorry, but last year I seemed to see M&M too much, an OD. Rebecca Krohn and Charles Askegard appeared fine, and the corps was quite polished. But the highlight of the middle section was a smoldering Duo Concertant with Yvonne Borree and Nikolaj Hubbe. I was really not looking forward to this work, and the same old casting. Well, after the point where she changes No to OK they turned on the erotic heat, eliciting a bigger audience response than that earned by Agon!

Jennie Somogyi subbed for Miranda Weese in Symphony in Three Movements. When the curtain goes up the ballerina diagonal is always a thrill, especially with Kaitlyn Gilliland as leader of the pack! Ashley Bouder was the first soloist, the impish girl-next-door spinning-kicking-jumping for joy. Finally getting her neo-classical fix after two months of Tschaikovsky, and giving us ours as well. This was IT. Tom Gold was her partner, and credit to him, or anyone else, who could find such a speeding bullet. Ellen Bar and Adrian Danchig-Waring (subbing for Arch Higgins) were the glamorous second soloist pair.

The central PdD was danced by virtuosa Jennie Somogyi and long-missed partner Jared Angle. The partnering went very well, not something trivial for this masterpiece, especially considering the casting change. In fact the technical side of things was realised with enough ease so that they could also breath some of the mystery of this iconic choreography, to music originally composed to represent the apparition-of-the-Virgin. To see both this and the Agon PdD on the same program is to be reminded that Mr. B. wasn't just a great choreographer, he was 10 (well, more) of them. The final tableau gave a sense of completion to an afternoon with Mr. B's City Ballet.

[Juliet]

Sounds like a great afternoon---wish I hadn't had to be at work! Thanks for the report!