NYCB: REVIEWS Week 9

[bobbi]

When Ashley and Andrew graduated from SAB seven years, I was so enthused about their performance that I dreamed of all the roles I wanted to see them in together. Well, last night one of my ballet dreams came true: Ashey and Andrew in Raymonda. Both of them gave a polished fabulous performance. Yes, of course, you expect pyrotechnics from both of them, but each just grows exponentially in artistry. Each of their solos was slightly better than their partnering together. But, don't forget, this ballet has some tricky partnering (perhaps all Balanchine has tricky partnering), so the next performance will be super perfection. I saw details in the choreography that I hadn't seen in thirty years -- all due to Ashley's phrasing. And Andrew's cabrioles were gravity-defying. This second cast with the demis needs a little more rehearsal: there was some bumping into each other in the coda and the demis didn't even get to take a proper bow at the end; they had to be brought in front of the curtain at the end. Standouts were Faye Arthurs, Abi Stafford and Ana Sophia Sheller.

Sterling made a nice if tenative debut in the Violin Concerto

[Leigh Witchel]

By any chance, does anyone know which men danced in the corps de ballet in Violin Concerto last night? It seemed to be off the casting (Kyle Froman danced uncredited, fr'instance)

What I could recognize was Alberda, Hall, Froman (I believe substituting for Laurent), Seth, Scordato, Tworzyanski, Peiffer and a new man who has been in several ballets so far, but I can't identify. Tall, broad shouldered, wavy brown hair. Was that Justin Peck?

[carbro]

Forgive me for asking you to step inside my head, but is Scordato the young man whose face reminds me of Jeff Edwards'?

a new man who has been in several ballets so far, but I can't identify. Tall, broad shouldered, wavy brown hair.

OMG, what a handsome guy! Yes, who is he?

[Leigh Witchel]

I don't see Scordato as looking like Edwards http://www.nycballet.com/company/personnel...c/scordato.html

The young man who reminds me of Jeff Edwards is currently in Miami City Ballet - Michael Breeden.

http://www.miamicityballet.org/images/danc...a-msbreeden.jpg

(not a great image, but the one I could find)

And yes, I noticed the mystery guy similarly. As shallow as I feel for admitting it.

[Dale]

Are you guys talking about Justin Peck as the dark-haired guy?

[Abby918]

Justin is the first guy on the left wearing green in this R&J photo posted on Front Row Center.

http://www.nycballet.com/news/frc/wk2/pic1.html

[liebs]

Wavy brown hair sounds like David Prottas.

[Leigh Witchel]

That's him, Abby. Is he Tiler Peck's brother?

So I know who I'm talking about, the men in green in the picture are Peck, Laurent, Alberda, Tworzyanski, Schumacher?

[Abby918]

Nope. No relation to Tiler Peck. The first three men you note in the photo are definitely correct. Not sure of the last two. Sorry.

[harpergroup]

Yes - the last two are Tworzyanski and Schumacher.

[carbro]

I was at Tuesday, and I would call the dual Raymonda debut a qualified success.

Bouder's dancing couldn't have been clearer, her energy more infectious, her response to the music more delightful. She just overplayed the sweetness factor. There's plenty of sweetness in that music, and the coy tiltings of her head just made it a bit gooey.

The man's first variation is a killer -- nary a moment to breathe, and most of the time spent beating or leaping in mid-air. By the end of the variation, Veyette was looking spent, and he never quite caught a second wind. Count this as a learning experience, and maybe he'll figure out a way to conserve something for the rest of the ballet.

The corps was good, and the soloists mostly at least adequate. Stafford (what is she still doing in this role?) blazed through her variation and the amazing finale. Dronova is an angular dancer, and like many angular dancers has a tendency to look brittle. Tuesday there was no brittleness, just a fine, feminine delicacy. I also liked Mueller's bold reading of the harp variation. In the difficult final variation with the pirouettes on the bent supporting leg, Scheller struggled. I have no doubt she can do it, but it must have been an off-night.

I very much enjoyed Hyltin's debut in Stravinsky Violin. Unlike her partner, Nilas Martins, she has the right energy. My complaint about this performance is hard to pin down. I didn't find much contrast between the two pdds. I used to think the first one involved a mature couple with a complicated relationship, the second a younger one who haven't yet accrued the complications. This time, the couples seemed very much alike. Kowroski lacks the quirkiness vonAroldingen brought to the role. The "crab step" when she turns over in back bend, was too smooth and apparently effortless. Nothing knotty there. (Facility is not always a good thing, I guess.) But it allowed the eye to take in the whole picture, as Evans mimicked her movements with his arms. However, the Kowroski-Evans partnership was powerful. I very much enjoy them together. He is finally getting the prominence he has, for so long deserved.

Dybbuk continues to get strong performances from its whole cast. Ringer and Millepied have been digging deeper into their roles, sharpening the details.

[vipa]

I was at Tuesday, and I would call the dual Raymonda debut a qualified success.

Bouder's dancing couldn't have been clearer, her energy more infectious, her response to the music more delightful. She just overplayed the sweetness factor. There's plenty of sweetness in that music, and the coy tiltings of her head just made it a bit gooey.

The man's first variation is a killer -- nary a moment to breathe, and most of the time spent beating or leaping in mid-air. By the end of the variation, Veyette was looking spent, and he never quite caught a second wind. Count this as a learning experience, and maybe he'll figure out a way to conserve something for the rest of the ballet.

The corps was good, and the soloists mostly at least adequate. Stafford (what is she still doing in this role?) blazed through her variation and the amazing finale. Dronova is an angular dancer, and like many angular dancers has a tendency to look brittle. Tuesday there was no brittleness, just a fine, feminine delicacy. I also liked Mueller's bold reading of the harp variation. In the difficult final variation with the pirouettes on the bent supporting leg, Scheller struggled. I have no doubt she can do it, but it must have been an off-night.

I very much enjoyed Hyltin's debut in Stravinsky Violin. Unlike her partner, Nilas Martins, she has the right energy. My complaint about this performance is hard to pin down. I didn't find much contrast between the two pdds. I used to think the first one involved a mature couple with a complicated relationship, the second a younger one who haven't yet accrued the complications. This time, the couples seemed very much alike. Kowroski lacks the quirkiness vonAroldingen brought to the role. The "crab step" when she turns over in back bend, was too smooth and apparently effortless. Nothing knotty there. (Facility is not always a good thing, I guess.) But it allowed the eye to take in the whole picture, as Evans mimicked her movements with his arms. However, the Kowroski-Evans partnership was powerful. I very much enjoy them together. He is finally getting the prominence he has, for so long deserved.

Dybbuk continues to get strong performances from its whole cast. Ringer and Millepied have been digging deeper into their roles, sharpening the details.

I was there Tues. A few observations if I may. Bouder was wonderful, fun, grand, a technical wizard -- and I am so glad that she shares the joy she feels in her dancing. While Bouder always seemed ready for more Vayette seemed spent. He had wonderful moments (big hanging cabrioles) and moments of - well not so good.

I thought all of the variation girls looked a bit wimpy with the exception of Scheller who had bad moments but showed a presence.

Ringer was fine in Dybbuk but I don't want to see the ballet ever again!

I rather liked Kowroski in VC. I am finding her to be quite a witty dancer.

I must say that one of the reasons I love this board is that I love hearing opinions that I may or may not agree with, but that invariable make me think about my opinions and think about performance I've see in a different light.

[Dale]

I was there, too. The crispness and musicality were there for Bouder in a wonderful debut. The grandness and increased lyricism hopefully will come. I agree with carbro on Veyette. But even as the role caught up to him, he was so gracious and matched Bouder's joyfullness. Boy that pas de deux is tricky.

I too liked Dronova in this. I was pleased with all the soloists and didn't think Scheller had trouble at all. And Stafford is becoming such a pleasure. She looks so much more relaxed out there. 2007 winter and spring seaons have been a triumph for her. There was some Keystone cops sections in the corps. There was a crash and a section towards the end when one lady looked lost. I know the soloists changed from last week but did the corps change too? The dive at the end was devine.

I haven't quite decided what to make of Hyltin, especially in Balanchine roles. There's promise in there in this ballet, but I thought she was choppy. Kowroski certainly didn't have any trouble with that backbend carbro, but I didn't find her subsequent moving over and over that smooth. However, the overall feeling from the pair was that the pas lacked a certain tension or rather frission. Overall, the group sections was were the whole cast shown brightest.

Dybbuk is certainly a ballet that benefits from repeat viewing. Ringer and Millepied were even better than last season.

[Balanchinomane]

Raymonda's another good role for Bouder's talent. Veyette will pull it off next time.

The variations are devilishly hard but this ballet is often dismissed as a piece of fluff.

Petipa could not have dreamed of such difficult footwork. The soloists all did fine -

stand outs were Scheller and Stafford doing their fouettes in perfect unison,

spinning like pairs skaters.

Color me shallow, but in Dybbuk whenever the 7 men line up to dance I hoped they

would break out and do the bottle dance from Fiddler on the Roof. I'd much

rather see that.

[ViolinConcerto]

FAREWELL TO THOSE BEAUTIFUL ARMS, those lovely feet, long legs, those radiant blue eyes, and that stunningly musical phrasing. Kyra chose all Balanchine to say her goodbyes, and used all her skills with great artistry in Serenade, Davidsbundlertanze, and the final movement of Vienna Waltzes.

The introduction to the evening, Philip Neal's program notes, were honest, simple, revealing and loving, as was his partnering in Serenade and Vienna. All the dancers were at their best, and pardon me if I seem delusional, but there was a lot of loving energy on the stage, not only emenating from Kyra's face and being. There's just no way to parce and analyze this very special evening. To convey the feeling throughout the theater to those of you who were not there, just let me say that of all the wonderful performances, and even "farewells" I have attended, I felt that tonight there was more beauty, artistry, warmth and caring ricocheting around all levels of that auditorium (and on the promenade) than I have felt in many a year. I saw friends from out of town, people who only come to the most special of special evenings, many former company members (and administrators), all back to say "Goodbye" to Kyra.

The highlight, of course, was the long series of curtain calls with either everyone on stage with her, or just Kyra alone (and she can certainly hold it!), flowers and sparkles dropping down from the flies and bouquets being tossed on stage, and more, bigger lovely bouquets brought out to Kyra by Askegard, Woetzel, Nilas Martins (who seemed as if he was holding back tears), Philip, Peter Martins and Joseph and Cameron Grey (or Gray??)-- her sons. The cheers were unstoppable, everyone was on their feet from the start, and Kyra took many, many graceful, deep bows. After a bit, she walked off stage, and when the curtain came back up (as it did about 10 times) she was with David Gray (her husband) and her sons.

She really, really seemed to drink it all in and enjoy the evening. As a friend of mine said, "It's HER party!"

(edited to make a correction - thanks to Harpergroup who alerted me that I had mis-remembered Kyra's married name. Apologies to David, Joseph and Cameron Gray)

[carbro]

Thank you, ViolinConcerto. I'm not sure it was a party, but it was Kyra's night.

Serenade, Davidsbundlertanze and Balanchine's Rosenkavalier Waltz -- all ballets with themes of parting or loss -- certainly added poignancy to the occasion.

Damian's dropping to his knees as he presented his bouquet to Kyra was also particularly moving, as he will presumably be the honored dancer sometime around this time next year.

Clearly, Kyra takes with her much love and good will from her colleagues.

[ViolinConcerto]

Yes, and we will miss her greatly, deeply.

How did I manage to forget to say that??

(and aren't most Balanchine ballets about parting, loneliness, loss???)

The only thing I felt that was missing from the stage during the wondrous series of curtain calls was the presence of former partners and colleagues. That has been done for many other farewells......I wonder if it was her choice.

Edited June 23, 2007 by ViolinConcerto

[drb]

Yes, and we will miss her greatly, deeply.

On the last evening of her 34th year at City Ballet, Kyra Nichols danced a huge workload with joy and passion and abandon, full-out, yet nothing was broken but hearts.

The central ballet was Schumann, in which Kyra played the domestic aspect of Clara, that of wife and mother to their numerous children. In her first scene with Charles Askegard's Robert, perhaps an early, healthier time in his life, they related warmly and tenderly, her frequent touches so delicate, yet seeming to reach beyond the story to her company itself.

Much later in the ballet she dances the solo where Clara seems to be taking stock of their family, she tours the stage, frequently dipping one or both hands down to child level, as if brushing one here, caressing another there, petting this one, grazing the cheek of yet another,... but one sees that her husband is momentarily the missing element in this picture. At times, she brushes her forehead or eyes with the back of one hand or of the other, exits with both hands crossed over her eyes. The source of this inquietude enters, the very agitated Robert. Mr. Askegard is disoriented, suffering a bout of paranoia with the demonic scribes, his critics. His illness breaking the balance of their family. Maria Kowroski, the Farrell-like Muse dimension of Clara, she was the greater pianist of the two, inspiring his compositions, tries to muse him up from his pit. He does create a brilliant final arabesque-y lift for her exit, but art is no longer sufficient to lift him from madness. Later, Kyra tries to dance him back, leading his hands with hers, warm gestures of love and family, but Robert, holding on with only his empty eyes, slowly pulls loose from her reaching, guiding hand and softly backs into the sea.

Just tonight, perhaps Clara's children are our company's dancers, and Schumann those who gave the company creative life; a farewell from Kyra to Mr. B. and Robbins and others from the creative staff, to Suzanne and Jacques and all the dancers of then, and dancers very much of now.

She leaves a circle of talent that remains inspired: this is the only company that I regularly see that can present a trio of such great ballerinas in a single work as seen so blessedly tonight in Serenade, Kyra, Ashley, and Sara. Now it becomes necessary to get it up to three again, with one so crucial element gone. I hope Ms. Nichols stays a part of things here, as she goes on with life. Her connections with NYCB, so organically there for all to see this special night, could hardly let it be otherwise.

[Farrell Fan]

Despite the sadness of Davidsbundlertanze, there was an overall joyousness to the evening which I don't remember from other farewells. Even in Serenade, Kyra was smiling and by Vienna Waltzes, she was positively beaming. During the curtain calls, she kept coming forward, threading her way through the flowers that covered the stage, opening her arms to the audience as if to gather us all in her embrace. And her two boys were charming and obviously proud of their mom. So was her husband.

[Balanchinomane]

Last evening was such a heartfelt expression of love and appreciation coming from

both sides of the footlights. There were so many special moments. In Serenade,

the knowing smile as she gives her hand to Ashley and then to Sara, her new

successors, sharing secrets of a very exclusive sisterhood. The beautiful arch of her

back and outstreched arms as the curtain fell - what could she have been thinking of?

The special grins for Phil and Nilas as they got to whirl her around one last time.

That beautiful white dress with the all the bright colors of the flowers (and her

husband's Hawaiian print shirt.) Those sweet little boys in miniature tuxedos - what

was she whispering to them? She has given us so much joy - our paltry applause

doesn't seem enough in return.

[maddam]

We can all be thankful for Kyra Nichols farewell performance on Friday evening. She left us with the grace, style and artistry that endeared her to us over her 34 year career with the company. She has been seen on that stage in so many different works for so long that there is an inevitable rending of its tightly woven fabric when she departs. It was obvious last night that she was beloved by everyone on both sides of the footlights and in her lovely nuanced performances of three Balanchine classics it was equally obvious why we care so deeply about her departure.

Kyra’s dancing displayed all of the honesty, the integrity, the technical authority, the musical acuity, the sheer joy, the sly humor, the tenderness, the spontaneity we have so admired throughout her career. And the company rose to the occasion magnificently.

In “Serenade” surrounded by a sisterhood of outstanding corps women (Megan LeCrone, Rachel Piskin, Alina Dronova, Glenn Keenan, Ashley Laracey, Likolani Brown and Gwyneth Muller especially caught my eye) with Ashley Bouder and Sara Mearns contributing indelible performances and with Philip Neal and Ask la Cour providing elegant support, Kyra was the radiant central element of this richly patterned, endlessly appealing work. Her technical resources were integrated into a performance that was lyrical, nuanced and secure.

‘Robert Schumann’s “Davidsbundlertanze”’ shows us a community of 8 dancers and a pianist exploring both fraught and tender moments (presumably in the lives of Robert and Clara Schumann). Dancing the most mature couple, Kyra and Charles Askegard seem to be looking back toward their youth and foreword toward their doom. Kyra’s maternal gestures reaching out to calm Askegard’s increasingly agitated state were heart stopping. Maria Kowroski partnered by Neal caught the exuberance and abandon of her role, while Jenifer Ringer with Jared Angle, and even Nilas Martins with Jennie Somogyi seemed to be inspired by both the choreography and the occasion. Cameron Grant contributed a more coherent reading of the score than earlier in the season, but I would still wish for more nuanced, supple playing.

In the “Der Rosenkavalier” section excerpted from “Vienna Waltzes” Kyra’s opening solo was perfection. Carried along by those exquisite arms and hands in long white gloves, this was really dancing about the joy of movement to gorgeous music in a magnificent setting with a handsome, though sometimes phantom, partner -- Neal. When the ballroom fills with swirling waltzers and Kyra’s joyous movement is magnified, expanded and refracted.

The audience reaction was tumultuous and the curtain calls went on and on. Flowers were presented to Kyra by Askegard, Perry Silvey, Neal, Damian Woetzel, Nilas Martins, Peter Martins, and finally by her two sons, Joe & Cameron. All of the company joined in the applause and flowers and confetti rained from the rafters. Kyra was gracious, awestruck, ah shucks, doting mother, loving wife, grateful partner. An unforgettable farewell to an incomparable ballerina.

[carbro]

Tuesday. . . Bouder. . . overplayed the sweetness factor. There's plenty of sweetness in that music, and the coy tiltings of her head just made it a bit gooey.

The man's first variation is a killer -- nary a moment to breathe, and most of the time spent beating or leaping in mid-air. By the end of the variation, Veyette was looking spent, and he never quite caught a second wind. Count this as a learning experience, and maybe he'll figure out a way to conserve something for the rest of the ballet.

What a difference a few days can make! I've never seen Bouder more radiant, and while she displayed plenty of gesture, there was none of Tuesday's excess.

And with the debut under his belt, Veyette sacrificed nothing, either, in pacing his performance. His stamina easily carried him through, and in a more relaxed mode, his beats were clearer and more musical.

As Dale noted, these two make a fine, fun partnership.

Even with the always expected Bouder boost, I missed my daily starter dose of caffeine and left early.

[Klavier]

Just wait until you see Bouder and Millepied in Rubies . . .

(more tomorrow, or rather later today).

[ViolinConcerto]

I also really loved Bouder and Veyette in Raymonda. She literally skimmed across the stage at times, reminding me in her energy, charm, attack and clarity of line of Nina Ananyashvilli (just not as tall). I was on theater right, and at one point, just before her entrance, she playfully peeped out, for an instant, and those of us that caught it laughed out loud! oh, she made it seem so easy, I was sure I could have done it myself.

Veyette's elevation, footwork, line and energy were excellent. If he had had trouble earlier in the week (which I didn't see) with maintaining energy, yesterday he seemed to manage it by giving it ALL....and it worked fine.

In the Stravinsky VC, I again really liked Amar -- I think it's the best role he's done: his musicality and phrasing shine, and I really like the way he finishes his gestures. Maria seemed a little too loose in some sections, but I love to see her smiling, when her humor seeps though (and this is a good role for that). Maybe Nilas is a very strong partner and maybe Sterling needs that, but there must be someone else who can support her in the man's role! I can't even watch her, much as I'd like to, because he just pollutes that beautiful pas de 2. Why Why WHY???? Lose some weight, style your hair, stop grimacing, man!

After the performance I watched the DVD of that ballet, and there is something so fluid about all the performances that seems to me to be missing now. Could it be that when we are closer to the physical energy, the sound of feet on the stage and the breathing, it impacts how we SEE what's on the stage, and that the video takes us back a step, so that it looks smoother? Is it just the way film and video or DVD is filmed and projected, and the retina and brain perceive those images? Or were the dancers, (Peter Martins, kay Mazzo, Bart Cook and Karin von Aroldingen) working on that cement floor, just better -- under the watchful eye of mr. B?

[Old Fashioned]

In the Stravinsky VC, I again really liked Amar -- I think it's the best role he's done: his musicality and phrasing shine, and I really like the way he finishes his gestures. Maria seemed a little too loose in some sections, but I love to see her smiling, when her humor seeps though (and this is a good role for that). Maybe Nilas is a very strong partner and maybe Sterling needs that, but there must be someone else who can support her in the man's role! I can't even watch her, much as I'd like to, because he just pollutes that beautiful pas de 2. Why Why WHY???? Lose some weight, style your hair, stop grimacing, man!

I loved Amar's performance in SVC. His smile and attitude are so infectious in this one. Dare I say I preferred him to Albert Evans in this role? Also, this is the first time I've seen a performance of Sterling's that I actually liked. I couldn't agree with you more on Nilas. I wanted to look away but couldn't...