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Morphoses-Wheeldon NYCC First Program


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#16 nysusan

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Posted 20 October 2007 - 08:15 AM

I also went again last night, and I enjoyed the program much more than I did on Wednesday. Last time I enjoyed it but had reservations, this time I loved it.

The only differences were Kowroski and Angle in Liang's work instead of Bussell & Cope in Tryst, Cojocaru instead of Pereira in Prokofiev pdd, and seats that were much closer to the stage. I don't think the first 2 changes made the difference, though Cojocaru alone was worth well more than the price of admission last night. Along with strong technique she has such gorgeous lines and just exudes freshness and purity. Can you tell she's one of my 2 co-favorite ballerinas in the world today?

Much as I love her, that doesn't explain why I liked this performance so much better than the last one. I also love Bussell and thought Tryst pdd showed her off beautifully. I enjoyed seeing Tina Periera in the Prokofiev on Wednesday . Perhaps the dancers had settled in a bit, as drb suggested, but I think the biggest difference for me was the seating. Last time I was sitting in the front of the rear mezz, and I think the switch to the front of the grand tier made a huge difference. I like to be far from the stage for some types of choreography, I think the 4th ring is perfect for most of Balanchine but the works on this program were on a smaller scale, with a lot of subtlety that I missed the first time around. This time each work seemed much more differentiated and unique, and I loved every minute of the evening and every single dancer from the great ballerinas of our age and some of my favorite male dancers to emerging favorites including a very lyrical Ashley Laracey - each one made a vivid impression.

I also agree with drb that on second viewing Fools Paradise went from a work I really liked to one I totally love. This time I noticed how many of the lifts ended in shapes that made the couples resemble stars, and together with the falling star confetti it gave the work very celestial overtones. Could it have been about foolish humans reaching for the stars? Seeking the heavens, paradise? At first seeking in groups of 2 or 3 - starting on the right path, then struggling and getting frustrated until their efforts fall apart and they start from scratch. This time they all work together, the pieces fall right into place and Whelan ascends. Just one possible scenario... anyway, I loved it and hope they do it somewhere again soon. Its a work that deserves to be seen by a wide audience and one that Id like to see over & over again.

#17 Kathleen O'Connell

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Posted 23 October 2007 - 08:44 AM

I attended the 10/21/07 performance of Program Two for those of you who may be keeping track, Sterling Hyltin replaced Ashley Bouder in the program opener, Morphoses. No white slip in the program, and no announcement before the curtain either. :cool: I found this odd, since Wheeldon came out and spoke briefly before the program began and presumably could have mentioned the casting change then. In any event, Hyltin was a more than able substitute and a lovely, lively presence -- I for one was pleased to get a chance to see her in this role.

#18 cargill

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Posted 24 October 2007 - 05:33 AM

Kathleen, maybe your slip fell out, because I got one, along with the slip about the Ballet Boys film. And yes, Hyltin was lovely. Mary

I attended the 10/21/07 performance of Program Two for those of you who may be keeping track, Sterling Hyltin replaced Ashley Bouder in the program opener, Morphoses. No white slip in the program, and no announcement before the curtain either. :flowers: I found this odd, since Wheeldon came out and spoke briefly before the program began and presumably could have mentioned the casting change then. In any event, Hyltin was a more than able substitute and a lovely, lively presence -- I for one was pleased to get a chance to see her in this role.



#19 drb

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Posted 24 October 2007 - 07:51 AM

Kathleen, maybe your slip fell out, because I got one, along with the slip about the Ballet Boys film. And yes, Hyltin was lovely. Mary

On Sunday neither of us got a slip regarding the cast change. Not seeing Bouder in the first piece was such a shock and cause for concern that it got in the way of enjoying the performance. But that also may have had to do with the second program; as one may note, there is not even a thread for reviewing it on BT. Did the slip give any information on why Ms. Bouder was not dancing?

#20 ViolinConcerto

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Posted 24 October 2007 - 08:30 AM

Kathleen, maybe your slip fell out, because I got one, along with the slip about the Ballet Boys film. And yes, Hyltin was lovely. Mary

On Sunday neither of us got a slip regarding the cast change. Not seeing Bouder in the first piece was such a shock and cause for concern that it got in the way of enjoying the performance. But that also may have had to do with the second program; as one may note, there is not even a thread for reviewing it on BT. Did the slip give any information on why Ms. Bouder was not dancing?


It only said what the cast for Morphoses would be; not what it was supposed to be.

#21 aurora

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Posted 24 October 2007 - 07:01 PM

Kathleen, maybe your slip fell out, because I got one, along with the slip about the Ballet Boys film. And yes, Hyltin was lovely. Mary

On Sunday neither of us got a slip regarding the cast change.


just a note to second--my mother and I had no slips in our programs either... I guess they were rather haphazard about ensuring they were in there.

#22 jimmattimore

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Posted 27 October 2007 - 10:28 AM

For me after seeing Morphoses on October 18, I'd say that a whole evening of Wheeldon is too too much.

He is in love with contortionism .I am not. I am sick of seeing the dancers rolling around on the floor. I loved seeing Darcy (GULP.).

Check the Observer this week for Gottlieb on Wheeldon.

Wheedon 's stuff works better for me at NYCB with a bill including Ballanchine and maybe Robbins.

I hated the piece from the opera.

JM

I also went again last night, and I enjoyed the program much more than I did on Wednesday. Last time I enjoyed it but had reservations, this time I loved it.

The only differences were Kowroski and Angle in Liang's work instead of Bussell & Cope in Tryst, Cojocaru instead of Pereira in Prokofiev pdd, and seats that were much closer to the stage. I don't think the first 2 changes made the difference, though Cojocaru alone was worth well more than the price of admission last night. Along with strong technique she has such gorgeous lines and just exudes freshness and purity. Can you tell she's one of my 2 co-favorite ballerinas in the world today?

Much as I love her, that doesn't explain why I liked this performance so much better than the last one. I also love Bussell and thought Tryst pdd showed her off beautifully. I enjoyed seeing Tina Periera in the Prokofiev on Wednesday . Perhaps the dancers had settled in a bit, as drb suggested, but I think the biggest difference for me was the seating. Last time I was sitting in the front of the rear mezz, and I think the switch to the front of the grand tier made a huge difference. I like to be far from the stage for some types of choreography, I think the 4th ring is perfect for most of Balanchine but the works on this program were on a smaller scale, with a lot of subtlety that I missed the first time around. This time each work seemed much more differentiated and unique, and I loved every minute of the evening and every single dancer from the great ballerinas of our age and some of my favorite male dancers to emerging favorites including a very lyrical Ashley Laracey - each one made a vivid impression.

I also agree with drb that on second viewing Fools Paradise went from a work I really liked to one I totally love. This time I noticed how many of the lifts ended in shapes that made the couples resemble stars, and together with the falling star confetti it gave the work very celestial overtones. Could it have been about foolish humans reaching for the stars? Seeking the heavens, paradise? At first seeking in groups of 2 or 3 - starting on the right path, then struggling and getting frustrated until their efforts fall apart and they start from scratch. This time they all work together, the pieces fall right into place and Whelan ascends. Just one possible scenario... anyway, I loved it and hope they do it somewhere again soon. Its a work that deserves to be seen by a wide audience and one that Id like to see over & over again.



#23 carbro

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Posted 27 October 2007 - 05:13 PM

I thoroughly enjoyed the gala performance, without quite understanding what made it "gala." Usually gala means higher prices, but that did not seem to be the case last night. Nor did the audience look particularly dolled up.

There was a high-priced dinner following the performance. Both while having a quick bite at the coffee shop on the corner and on my way into the theater, I saw a few ladies in fancy-ish dresses. What I can't understand was, given the bill of fare on all nights consisting of a roster of international stars in a string of pas de deux, which one was not a gala?

I saw both programs and agree with most posts here.

Wheeldon manages, in most of his pieces, to create at least one, sometimes two, sometimes three, images that are original and startling. You see them, and they're over. There was the change of epaulement -- from first to second arabesque arms -- of the four men at the end of "There Where She Loved"'s The Wish section, or the beautiful, circling lift that ended that piece's Spring (danced in New York by Hyltin and Garcia); Wouldn't it be great if he could make such moments recurring motifs? That would require building the ballet phrase by phrase, maybe working backwards from the end or out from the middle. It would result in ballets being easier to differentiate each from the others in his growing oeuvre.

I used to cringe during the Cygnettes dance in Swan Lake. So annoying! But over time I realized that it was necessary to separate the White Swan pas from the Waltz. Without Cygnettes, the two would probably blend together, the majesty and eloquence of the pdd diminished. Wheeldon needs to learn to make -- or at least program in -- some Cygnettes equivalent.

I can't say I disliked the Dance of the Hours. I'm just having trouble deciding whether it, with its abundant choreographic cliches, is intended as a parody or whether Wheeldon, stretched in so many directions, simply lacked inspiration. But it came at a point in the program when I was crying out (to myself) "Please! :dunno: Let me see one pas de chat! Some step that I recognize!" And there goes Bouder -- flying across the stage in a pas de chat diagonal! :devil:


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