NYCB Winter 2007 Week 8

[drb]

Friday, February 23

Gergiev's Bouderbird

Valery Gergiev not only made the orchestra play like a first-rate Orchestra, he supplied an ideal ocean for dancers to swim in. He was magnificent. The dancers responded in kind.

There were two major debuts tonight. Sara Mearns gave new life to Walpurgisnacht. After the successful larger-than-life adagio with Charles Askegard, she managed the speedy pyrotechnics of both variations, happily popping back on stage after her dazzling success in the second, to take an extra bow. Of course that lush score never sounded better. I think the pacing by the Maestro was just fine, usually giving her the musical space for those magical musical slow-downs of hers at the end of a phrase, in which she melts into one with the music. Maybe about 5 seconds more time spaced through each variation would have given her time to do it more, but I can't knock Gergiev for that, as it was both a debut and a very different kind of dancer. Charisma matters, both on the stage and in the pit.

The second debut was also Sara Mearns, as Jonathan Stafford's Princess in Firebird. Her princess was already a rich, fully-drawn character, full of dew-drop freshness. And incredibly beautiful. But of course, this great living painting belongs to Ashley Bouder. And Gergiev excelled himself in a perfect interpretation, with great dynamic range and what sounded to me like flawless playing on the part of the band. Bouder was one with the music, dramatically and technically a powerhouse. She found her perfect partner tonight, and he was Gergiev.

The program opened with the wonderful children romping through Circus Polka, and also included Jeu de Cartes, which I was able to enjoy for the first time. Gergiev had much to do with that, of course. But kudos also to the dancers, especially the Darci-like dancing of Sterling Hyltin and an Ace-of-Spades who showed why he was the top card in the deck.

But the night had four dominant stars: Assoluta Bouder, of course; double debutant Divine Sara, Balanchine may yet have a future at NYCB; Valery Gergiev, a profound ballet conductor; and the Orchestra of the New York City Ballet.

[flipsy]

I never heard the orchestra play better than tonight. Nobody missed a beat, and Firebird was shimmering with life. I actually took a seat on the side upstairs to watch Gergiev conduct Firebird. He doesn't use the baton, but directs with his hands and fingers and his whole body, hovering over the score and then leaping out over it to bring in one section after another. He conducts like a dancer, and in fact is the only conductor I've ever seen who didn't look clumsy when he joined the dancers for the curtain call.

DRB has it right: Gergiev was profound, and Sara Mearns was divine. Her drama always comes straight out of the music, and tonight she had a profound musical "floor" to dance on.

[Haglund's]

I thought the evening was kind of a nonevent.

I was one of the first through the ticket taker and to my seat in the 5th Ring. I immediately noticed that the orchestra was self rehearsing like there was no tomorrow. Really diligently working. I thought, okay, this is good sign.

The orchestra sounded like a good ballet orchestra. Gergiev probably did the best he could with them and the result was a non-offending, serviceable performance - unlike what we are accustomed to from them. So, in that respect, it was a very successful evening. Yes, listening to Firebird tonight was worth the $20 ticket. The score is glorious, and the orchestra, especially the brass, really came through with a great effort.

The evening's choreography was not very fulfilling. In fact, it looked stereotypical and trite. Sorry, but I have had my fill of that 1st arabesque saute with the front arm flying up to the ceiling and the back arm wrenched back behind the shoulder with the wrist and hand winged to make it look like it's even farther back. 150 times in every piece of choreography. The same arabesque saute. Would it hurt someone to choreograph a 2nd arabesque or a 3rd or a 4th? Apparently, it would, because all we see is this same exact 1st arabesque saute a thousand times in every piece of choreography that this company does these days.

Walpurgisnacht looked like a bunch of little MaryLou Rettons racing around on pointe shoes. Very athletic but uninteresting. Martins' Jeu de Cartes was -- well, I just should not going anywhere near what I'm really thinking.

But the music this evening was lovely, and Gergiev was received warmly by the audience. By the way, he is conducting tomorrow's matinee Met Opera performance of Eugene Onegin which will be broadcast on WQXR locally in NYC and on the Toll Brothers public radio stations nationwide. Listen to it if you can. It may change your life.

[ViolinConcerto]

I was also very impressed with Ms. Mearns, and I had absolutely no expectations beforehand. Her footwork was excellent, her phrasing was very lyrical, and her presence was very secure and calm. Abi Stafford (who I usually feel is very brittle, with a frozen face) really surprised me with her energy, expansiveness and expressiveness.

Someone who had seen the rehearsal advised me to watch Gergiev, to watch for the qualities that flipsy described. But I really could't take my eyes off the dancers.

I had to leave before Bouder's performance, but I will see her on Sunday.

[zerbinetta]

I enjoy pleasant surprises and had two of them tonight - Gergiev's excellent ballet conducting and, like drb, the first time ever I've enjoyed Jeu de Cartes.

I doubt Circus Polka, Walpurgisnacht or Jeu de Cartes are staples in Gergiev's repertory (the ballet is usually cut from performances of Faust) so was not surprised he had his head in the score for the first three ballets. Firebird I've heard him conduct before and, to the extent the NYCB musicians are able, it was wonderfully played. Gergiev did not expand or throttle any tempi here but played it as written. He understands that huge does not have to be loud and communicated that to the orchestra, who were remarkably alert to the maestro. (He does not always conduct without baton, BTW, but I'm not sure what his criterion for that is.)

Jeu de Cartes tonight seemed a Martins tribute to Ashton, even the costumes looked delightful. The four principals are ideally cast and "get" the piece as no other in my experience with a ballet I usually sit out.

Mearns lushness and musicality make her a perfect fit for Walpurgisnacht; she seemed to have fun with it, remarkable for a debut. She was also the Best Princess Ever in Firebird, gracious and sweet and lyrical and loving. Quite a night for her.

Bouder's wonderfully bossy little Firebird was enchanting in all respects.

The thing that sticks in mind several hours later is the risk-taking on the parts of Hyltin, Mearns, Stafford and Bouder at the end of an exhausting season. Well done, ladies!

[SanderO]

Ending the evening with the Firebird was quite thrilling. The first piece Circus Polka was adorable and you could see what these young ballerinas might grow up to accomplish by the time the evening was done. Bouder is such a young and talented artist... and one wonders which one of those lovely little ballerinas will dance the Firebird in 10 years.

Ms Bouder and Mearns were dazzling. Bouder moves with such percision that she seems to carve space with a sharp knife... her facial expressions were wonderful too. Hard to take your eyes off her when she is on stage. I read somewhere that she first did the Firebird as a replacement with only 2 hours preparation. If this is true, that would be amazing... what a role! She nailed it last night.

The sets and costumes for Firebird were on par with those of Zauberflote at the Met... visually stunning. Wouldn't it be great if reality was a colorful as it was in Firebird?

We sat in the orchestra and could not see the Gergiev, but he got a wonderful performance from the orchestra.

Jeu de Cartes had wonderful costumes and the corps is very strong. It is not a great ballet and nothing compared with what was to come with Firebird, but it was delightful and light.

We loved the scene where all the ladies let their hair down in Walpurgisnacht.

A hot performance on a biting cold evening warmed our hearts. Thank you NYCB.

[drb]

I read somewhere that she first did the Firebird as a replacement with only 2 hours preparation. If this is true, that would be amazing... what a role! She nailed it last night.

Here's the story, from NYCB's site:

.... When the two ballerinas cast to dance the role of the “Firebird” suddenly became unavailable to dance due to injury and flu, Ashley was chosen to replace them. The one catch was that she had only two hours in which to learn the choreography before that evening’s performance. In her own words, "I was in a Swan Lake corps rehearsal on stage in the afternoon wondering which ballet would be replacing Firebird that evening when Craig Hall said to me, ‘Bouder, you're doing Firebird tonight!’ And I started crying." She learned the part from her mentor Sean Lavery . This time though she was nervous. She says, "I was so scared. Chuck (Askegard) talked me through the whole thing and Sean was encouraging my every step from the wings." One would never have guessed the trying circumstances of that moment.... Ashley’s transformation into an instinctive and alluring “Firebird” was complete.

The sets and costumes for Firebird were on par with those of Zauberflote at the Met... visually stunning. Wouldn't it be great if reality was a colorful as it was in Firebird?

Kudos to NYCB for keeping its Chagall, I really miss the Met's.

We sat in the orchestra and could not see the Gergiev, but he got a wonderful performance from the orchestra.

This is one ballet where one needs to sit low, since we are watching a painting: Mr. B's choreography often rewards sitting high up because of its patterns, but here it helps to look straight on so that the backdrop is seen as the dancers' background. And we can see Ms. Bouder's elevation.

[Brice]

Ending the evening with the Firebird was quite thrilling. The first piece Circus Polka was adorable and you could see what these young ballerinas might grow up to accomplish by the time the evening was done. Bouder is such a young and talented artist... and one wonders which one of those lovely little ballerinas will dance the Firebird in 10 years.

Yes Sander O, I agree. Ashley's performance last night (and I've seen her dance this role several times) was breathtaking-nuanced, right on the music, full of depth, technically flawless-to think what this ballerina will look like 10 years from now! I was in the audience with my daughter(age 11), who appeared in Circus Polka that eveing(and also appeared in Firebird last year). She turned to me somewhere between the 3rd and 4th curtain call and said "mommy, some day I'm going to dance like that I hope...)She has had the privilege of taking classes with Ms Bouder as well. Depsite all it's flaws, the company has a trmendous amount of young talent at the moment...one can only hope that talent will mature and grow. Kudos to Sarah Mearns & Sterling Hyltin as well. And I enjoyed Jonathoan Stafford's sensitive performance also-another young talent to watch.

[drb]

Saturday evening, February 24

Goodbye

Tonight Miranda Weese danced the last dance at NYCB. Christopher Wheeldon came out with flowers, and a kiss. Then Peter Martins came out with a bouquet, and a long hug with mutual kisses on both cheeks.

Let it be known that Miranda gave us all a parting gift that is all we could ask from a ballerina, dancing with her vaunted technique and her whole heart. It was a performance that Wheeldon's Evenfall needed. The work-long PdD finally had the synthesis of emotion and invention to make it whole. A triumph too for Miranda's partner Seth Orza.

Be aware, Seattle, you are receiving a ballerina at the peak of her powers, that stage of fullness, where body and soul unite.

[ViolinConcerto]

Yes, tonight was very moving and special.

I thought the Raymonda was nicely done. I think that Clive Barnes went way too far in the Feb. 22nd NY Post:

Balanchine's 1961 Glazunov ballet, "Raymonda Variations," led for the first time by Megan Fairchild and an elegant Joaquin De Luz, was badly played by the orchestra - guest conductor Paul Mann was gallantly taking over at very short notice - and looked shabbily under-rehearsed.

It is not worth restoring a masterpiece to the repertory if it cannot be better presented.

I wasn't thrilled with some of the casting -- I don't think Savannah Lowry is appropriate for most of the roles I have seen her in -- she's too big, and in my opinion, too clunky. Alina Dronova, on the other hand is all delicacy and lightness. Unfortunately, I lost my program, so can't report on the other soloists. Megan Fairchild seemed very tense in the beginning, and then at the end of a phrase, when she looked at DeLuz, she gave a big smile, and looked flirtaciously to the side, with those big eyes of hers.

Antique Epigraphs was beautifully presented. To me, Robbins created a portrait of a strongly bonded group, who all support each other in making a beautiful work of art. It is as if they are creating the ballet anew each time.

This was the first time I'd seen Evenfall and I'm really sorry to have missed it previously. I agree with the raves I've heard (this season, not when it first opened, tho!). It is interesting, complex, beautiful to watch and masterfully constructed. As with all Wheeldon works, the stage pictures were strikingly beautiful. Maybe there will be a renaissance of footwork, now that Wheeldon is stressing its use again. Barnes really liked this one:

Yet the highlight came with Wheeldon's "Evenfall." New only last summer, it's large-scale classic ballet set to Bartok's Third Piano Concerto, and perhaps Wheeldon's finest and certainly most ambitious ballet to date, majestic in scope and bold in imagination.

The company - zestfully led here by Miranda Weese and Seth Orza, another dancer debuting in a fresh role - perform with unerring style Wheeldon's apt and fascinating personal dialogue with City Ballet classic traditions.

The corps was excellent tonight and Seth Orza showed good technique, real strength, and conveyed depth of feeling. Miranda is in a class of her own. She not only is a magnificent dancer, she brings feeling and intelligence to everything she does. I will miss her very, very much. I hoped that Chris would give her flowers, and he came through.

Many of the dancers (who were not on stage) were watching from the first ring, and I saw Allegra Kent and some other former dancers in the orchestra, to cheer for Miranda, and send her off with love.

[zerbinetta]

Here's hoping what Peter M whispered in Miranda's ear after presenting the flowers was "If you change your mind, you can always come back".

[sz]

> think that Clive Barnes went way too far in the Feb. 22nd NY Post:

> "Raymonda Variations," led for the first time by Megan Fairchild

>and an elegant Joaquin De Luz, was badly played by the orchestra ->guest conductor Paul Mann was gallantly taking over at very short

> notice - and looked shabbily under-rehearsed.

Were you there on Feb 22nd? Raymonda was pretty awful all around under Mann's conducting. Ridiculously speedy that even DeLuz was showing much frustration with not being able to dance his best. I left after Janie Taylor's Faun with Craig Hall which was striking beautiful.

Last night, Janie with Sebastian danced/acted Faun. It was at its most dramatic and sexiest interpretation, better than I've seen in years. I loved every minute!

Raymonda was much, much better last night with the return of Kaplow as the conductor. I thought Fairchild and DeLuz did a fine job. Tyler Peck was brightly outstanding with flawless, sparkling technique. But I couldn't take my eyes off of Scheller whose gorgeous, mature, gently regal style and strong technique captured the music best in my view.

And best of luck to Miranda Weese! Evenfall and Chris Wheeldon's bouquet of flowers gave the perfect ending to this dancer's chapter at NYCB.

[drb]

Zerbinetta: Thanks for capturing Ashley Bouder's take on Firebird above:

... Bouder's wonderfully bossy little Firebird

Yes, tonight was very moving and special.

... Unfortunately, I lost my program, so can't report on the other soloists....

In addition to Lowery (Var 1) and Dronova (yes, to the manner born in Var 6) the soloists were Tiler Peck (Smiley Dazzle danced Var 2), Gwyneth Muller (Var 5), Ana Sophia Scheller (Var 7). Peck and Scheller were the dance-off pair, just before the leads return to end the ballet. These two so different technical power houses matched trick-for-trick, very musically. It was one of those draws where both won and were roundly applauded. Overall, a loud audience tonight.

Antique Epigraphs was beautifully presented.

Isn't that true for all the Robbins? Someone's minding the store for him, and casting is usually spot on. Too bad there isn't a correspondingly powerful pro-Balanchine faction at the company. {Peter picked a wonderful Balanchine rep this season, but noone seemed around to coach it nor, especially, to cast it (well, Friday night's Walpurgisnacht featured the outstanding debut of Sara Mearns, but were there any others...?). Maybe the idea is to have people sit on their hands for his stuff so the company can get rid of all that dead wood and get on to its mission of creating new work.} Sara Mearns and Tess Reichlen (both blatantly ready for promotion to Principal rank) lead AE's group of four soloists (as defined by inverse bowing order), that included Ellen Bar and Rebecca Krohn. The four second soloists were Saskia Beskow, Savanah Lowery, Gwyneth Muller and the recently much noted Ellen Ostrom.

Afternoon of a Faun was danced by the Playbill cover duo of Sebastien Marcovicci and Janie-of-the-dancing-hair Taylor. Janie was hypnotic and Sebastien was not the only man in the theater who was entranced.

Paul Mann was Maurice Kaplow's replacement. Please let him be well. The orchestra seemed somewhat in the afterglow of Gergiev for a while, but the final Bartok was something of a challenge.

[ViolinConcerto]

Raymonda was much, much better last night with the return of Kaplow as the conductor. I thought Fairchild and DeLuz did a fine job. Tyler Peck was brightly outstanding with flawless, sparkling technique. But I couldn't take my eyes off of Scheller whose gorgeous, mature, gently regal style and strong technique captured the music best in my view.

As drb mentioned, it was Paul Mann, not Kaplow -- no mention has been made of what has happened to Kaplow.

I believe that Jean-Pierre Frohlich is the one to thank for his wonderful casting and rehearsal (and perhaps coaching) of the Robbins rep., he may be helped by Russell Kaiser, but I am not sure of that.

[ViolinConcerto]

Well, the season ended with a surprise, and for me, it wasn't a happy one.

When he had finished with the cellphone announcement, Perry Silvey went on to say, "Ladies and gentlemen, in tonight's performance of The Firebird, the role of the Firebird will be danced by Teresa Reichlin."

The first three pieces on the program, Circus Polka, Walpurgistnacht Ballet, and Jeu des Cartes all went well. Sara Mearns was again beautiful, gracious and unflappable in both Walpurgistnact and Firebird. Jeu was danced beautifully, but for me, it's just empty calories I could do without and not miss it a bit.

Reichlin held her own in Firebird, although it was quite obvious that she'd had to pull a "Bouder" for Bouder. Stafford supported her well throughout -- and it must have been difficult to have to partner someone with such different proportions and weight from the person you have learned the part with. In the beginning of the first pas de 2, that magical feather fell to the ground, and I wondered how in the world she was going to get it back in time to give it to the Czarevitch, but she made a magnificent recovery, stepping grandly over to it and gracefully pick it up just before she had to hand it to him. The "Bercuse" was also done well. I still feel that she is not very musical, and her body is not a natural one for dance, but she was heroic today. I was kicking myself that I left early on Thursday, saying, "Oh, well, I'll see Ashley on Sunday."

[sz]

>As drb mentioned, it was Paul Mann, not Kaplow -- no mention has been made of what has

>happened to Kaplow.

For Saturday night as well? I know Mann filled in for Kaplow last week.... but on Saturday night there was no buckslip in my program announcing Mann as the replacement. Sorry for any confusion. I wasn't sitting close enough to the pit in orchestra to see which conductor was there. However Raymonda had its best performance this season on Saturday night, including the music with whomever conducted.

[drb]

... "Ladies and gentlemen, in tonight's performance of The Firebird, the role of the Firebird will be danced by Teresa Reichlin."....it was quite obvious that she'd had to pull a "Bouder" for Bouder....

I don't know if I can take the stress of waiting till next season to find out if Ashley will be OK, so please, if anyone finds official news regarding her situation, post it on this thread!

[ViolinConcerto]

For Saturday night as well? I know Mann filled in for Kaplow last week.... but on Saturday night there was no buckslip in my program announcing Mann as the replacement.

It was Paul Mann as well. He got a real workout, including on Sunday.

[AmandaNYC]

... "Ladies and gentlemen, in tonight's performance of The Firebird, the role of the Firebird will be danced by Teresa Reichlin."....it was quite obvious that she'd had to pull a "Bouder" for Bouder....

I don't know if I can take the stress of waiting till next season to find out if Ashley will be OK, so please, if anyone finds official news regarding her situation, post it on this thread!

That was my thought when I just read about the substitution. So, I second that request!

-amanda

[drb]

I was happy to read in today's links that Ashley Bouder is back, dancing with other City Ballet dancers this Saturday at the University of South Carolina. She's also listed for Gala appearances on April 29 (Toronto: Stars of 21st Century) and April 30 (New York: YAGP). Stay well, Assoluta Ashley; NYCB needs someone to match ABT's Vishneva/Ananiashvili/Ferri star power this Spring!

[ViolinConcerto]

In that very same article was news that Sara Mearns was injured:

http://www.free-times.com/index.php?cat=19...002803072913381

".....The program — a fundraiser for USC's dance program — includes performances by five top New York City Ballet dancers, including Wendy Whelan, Albert Evans, Maria Kowroski, Craig Hall and Ashley Bouder..... Columbia native Sara Mearns, also a New York City Ballet dancer, was originally scheduled to perform but had to cancel because of an injury."

[drb]

.....The program — a fundraiser for USC's dance program — includes performances by five top New York City Ballet dancers, including Wendy Whelan, Albert Evans, Maria Kowroski, Craig Hall and Ashley Bouder.....

Did anyone see Saturday's performance?

Stacey Calvert seems to arrange a visit of NYCB dancers every year at USC. Here's an extensive interview with her, talking about her 20 years at NYCB and life since, from the State of South Carolina's site. Included is a video of her rehearsing a dance.

http://www.thestate.com/115/story/17933.html

[drb]

While one general review of the USC program was posted on Links a couple of days ago, a weekly paper, Free-Times, just published a review that went into detail about each dancer, in particular taking us back to the question of Ashley Bouder:

... [in] Allegro Brillante... Bouder flaunted her incredible strength and lightning-fast reflexes....

.... The evening concluded with Balanchine’s Serenade ... led by Ashley Bouder, who made it nearly impossible to watch anyone else with her electric stage presence.

Sounds like our Ashley is back and ready!

"Graceful yet spirited" Maria Kowroski and "steady" Albert Evans were admired in Ratmansky's Middle Duet. As was Ms. Bouder's partner Amar Ramasar. Red Angels featured Kowroski, Evans, Wendy Whelan and Craig Hall. The latter two starred in the evening's highlight, Wheeldon's After the Rain, which was "spine-tingling" and left the viewer "breathless".

http://www.free-times.com/index.php?cat=19...000404073180191