SCchck

NYCB 2011-2012 Season

51 posts in this topic

What are we expecting from Millepied? After seeing some of his previous works and Black Swan who knows what he will come up with!

Maybe a cameo appearance by Natalie Portman? (Hopefully, she will just be in the audience)

The Evening Standard in London has an article with photos about Mr. Millepied and his discomfort with fame.

Share this post


Link to post

I attended last night's performance. I usually find 2 & 3 Part Inventions a bit tedious. However, last night's cast was so good that I was engrossed by the performance. Particularly, I thought Lauren Lovette was mesmerizing. She is a lyrical, expressive dancer. Chase Finlay was last night's Apollo. I think he is even better this year than last. He is much more confident,and his performance last night did not suffer from the little mistakes that occurred last year. I saw Robbie Fairchild's Apollo last week. I liked it, but I prefer Finlay a little more. There is a youthful exuberance and wildness that is so fresh in Finlay's performance. (By the way, Finlay also did much better in the 3rd Act Pas De Quatre in Swan Lake. Last year he could barely keep up. This year he significantly improved.) Last night was a repeat of Muses Hyltin and Scheller. The new muse in town was Ashley Isaacs. I think she needs a more straighforward approach to the role. There was too much coy smiling at the audience and at Apollo. Tiler and Tyler were breathtaking in Mercurial Maneuvers. There were scattered empty seats throughout the orchestra, first and second rings. The 3rd ring was approximately 25 percent full, and the fourth ring was closed. Not a great turn out for such a wonderful evening of dance.

I saw the two Apollo's back to back, so to speak, on Tues and Wed. I had also seen Finlay twice last season. I like them both, but I very much enjoyed Fairchild's energy and sweep. He is so much bigger than Finlay that his movements take more space and he covers more territory. That made it a bit more exciting. Finlay is more dispassionate and Fairchild seems very intense, with more changes of facial expression -- which seems to be his natural manner. I preferred that. Don't know what Mr. B. would say... but I liked that sense of involvement. (When Rasta Thomas performed for the Balanchine 100 celebration at Symphony Space, his face was very expressive. I was told that he had been coached by d'Amboise, and I felt that I was watching the struggle into manhood.)

Sterling Hyltin does not look comfortable (to me) as Terpsichore. I feel her movement of the horse pawing the ground at her solo entrance, is too big.

The Wheeldon was stunning, and sitting in the 2nd ring gave it more dimension: when the thin scrims were down, I could see the dancers through them in a way I couldn't when in the 4th ring. The work develops and grows deeper each time I see it.

Share this post


Link to post

I attended last night's performance. R. Fairchild was riveting as Apollo. I thought his performance last night was much better than the prior week's performance. I also thought that Gonzalo Garcia was enthralling in the 4T's last night. Reichlin was electrifying as Choleric. I have avoided Union Jack for a few years because I find it tedious. I stayed for last night's performance of the work. DeLuz tore up the stage in his variation. Askegard looked underpowered in his. It was amusing seeing one of tallest guys in the company dancing side by side with one of the shortest. Wendy Whelan was excellent in her variation. Sadly, the youngsters in her regiment could not keep up with the tempo, resulting in a sloppy performance where the corps of that regiment completely lost the element of unison. Time for that regiment to head back to the rehearal studio. Maria Kowrowski was sexy and fun as leader of the Wrens. Ringer and Ramasar were delightful in their section of the ballet. Once again, there were many scattered empty seats in the orchestra, first and second rings. The third ring was 20 percent sold. Fourth ring was not for sale.

Share this post


Link to post

Once again, there were many scattered empty seats in the orchestra, first and second rings. The third ring was 20 percent sold. Fourth ring was not for sale.

Interesting. Your report about attendance at the Robbins-Balanchine-Wheeldon triple bill didn't surprise me (I question how much of a draw Wheeldon really is.) But I'm surprised that an all-Balanchine bill sold modestly.

Share this post


Link to post

Once again, there were many scattered empty seats in the orchestra, first and second rings. The third ring was 20 percent sold. Fourth ring was not for sale.

Interesting. Your report about attendance at the Robbins-Balanchine-Wheeldon triple bill didn't surprise me (I question how much of a draw Wheeldon really is.) But I'm surprised that an all-Balanchine bill sold modestly.

Part of the sales problem might because of the new pricing structure and the fact that the 4th ring is not for sale a lot of the time. It used to be that you could get decent, inexpensive seats in the 4th ring. Maybe I'm wrong about this as a factor, but personally I'm going to NYCB a lot less this season because I can't afford to sit in decent seats. I'm going on Thursday so see the Ocean thing, along with Sonnambula & West Side Story Suite. 4th ring row B cost $89 per ticket plus fees, so it cost me close to $200 for 2 tickets.

I'm going to try to see Jewels once, but I'm going to be very picky about casting.

I'm glad my kids are grown, because I used to take them to the ballet when they were kids - 4th ring all the way. I could never afford to take kids to the ballet now.

Share this post


Link to post

4th ring row B cost $89 per ticket plus fees, so it cost me close to $200 for 2 tick

Is that an inflated price for the 'ocean thing'? I paid $55.00 for a ticket in row E 13 of the second ring for Jewels---plus fees which raised the price to $64. Frankly, I am only going this season because I will be meeting some friends at this particular performance.....unless TDF comes up with discounts.

Share this post


Link to post

4th ring row B cost $89 per ticket plus fees, so it cost me close to $200 for 2 tick

Is that an inflated price for the 'ocean thing'? I paid $55.00 for a ticket in row E 13 of the second ring for Jewels---plus fees which raised the price to $64. Frankly, I am only going this season because I will be meeting some friends at this particular performance.....unless TDF comes up with discounts.

I paid $29 for 2nd ring, first row, slightly to the side -- seats number 36 and 34 on two successive nights. This is nuts.

Share this post


Link to post

Especially in view of the controversial pricing and empty sections/seats this season, I was particularly amused by a fund-raising e-mail I just got from NYCB. I don't see anything about this on their web site yet. Are they trying to recruit NYCB supporters to start their own fund-raisers for the company? Is this like a volunteer development staff? (See especially the second paragraph, below):

Please join NYCBs Principal Flutist Paul Lustig Dunkel as he and several members of NYCBs orchestra participate in a very special chamber music program entitled Fluteree on Monday October 17. Every $100 benefit ticket purchased for this concert will go to supporting NYCBs critical education programs. Chamber Music ProgramFlutereeMonday, October 17, 8:00 PMChrist & St. Stephen's Church - 120 West 69th St. (B'way/Columbus) Click here to purchase tickets and visit www.paullustigdunkel.com for more information. The concert is also part of a the Companys new grassroots fundraising initiative, NYCB Turn Out. (More details below.) Sincerely, Member Services

What is NYCB Turn Out? NYCB Turn Out is a brand new initiative launched by New York City Ballet to empower ballet and arts lovers across the globe to help raise funds for the Company. NYCB Turn Out participants take the lead in developing any kind of fundraiser to benefit New York City Ballet. Paul decided to hold a concert for his fundraiser, but other ideas include charity runs, parties, dance-offs, bar nightsany idea is a great one! So get inventive and become a part of a new movementNYCB Turn Out. To find out more, please contact turnout@nycballet.com

========================

Share this post


Link to post

This is hilarious. Maybe if I organize a fundraiser, I'll get a tutorial in their ticketing practices. The web site hasn't worked (at least for me) people are helpful when I call, but it is time consuming. I wish they had the seat picking thing that the Met web site has. Anyway I'm off to the discount Atrium this weekend to try to get tickets to Jewels.

Share this post


Link to post

Saw Jewels tonight with Atrium discount tickets. I was in 4th ring row C. Lots of SAB teenagers in that area. They must have been given comps. It was such fun to see their enthusiasm.

Jewels - Isn't ballet a wonderful art form!

Emeralds had an amazing cast. Tiler Peck, Ramasar, Mearns, La Cour. You couldn't ask for anything more. So musical and full from everyone. Huxley was excellent in the pas de trois with such clean and clear beats, jumps & tours. He was not bothered by the quick tempo. The woman, Dronova & Laracey were quite sparkling in the trois.

Rubies is a great role for Reichlen. Her attack and wit are amazing. Those legs cut through the air with incredible force. She is without mannerisms and so becomes the ballet. Bouder & Garcia were sharp in their pas de deux. I found him a little sluggish in his solo work. Maybe sluggish is not the right word. He was just a little after the music sometimes & he didn't make shapes and lines with his body quickly enough. Bouder as usual is a wonder at etching shapes in space quickly.

Diamonds - Frankly IMO this should be out of Whelan's rep. She just doesn't have the amplitude to fill the music or the choreography. Everything was underpowered. She still has a lot to offer in some pieces (I saw her in La Sonnambula this season), but a role like Diamonds requires big extensions, big arabesques, off center elements - none of which were present. I don't know if this was ever a good role for her, but it isn't now. Tyler Angle is a wonderful partner, not just in partnering but in presentation.

Despite my complaints about various performers I had a wonderful evening at the ballet. Jewels is a masterpiece. Just imagine the idea of Mr. B's to do a full length abstract ballet to 3 different composers and make it work. Part of the fun of Jewels is watching the corps. I almost wish I could see it without the principal dancers!

Share this post


Link to post

Thank you, Vipa, for your post. I left before Diamonds so I could catch the Yankees (even though I'm a Mets fan). I had a feeling that Wendy (who has done this role spectacularly in the past) might not be on top of her game. And I am looking forward to Mearns' Diamonds this coming Tuesday. I agree that the Emeralds was given one of the best performances ever. This ballet demands two female leads with superb musicality and phrasing -- both of which Tiler and Sara have in spades. Those of you on this board know I am a huge Ashley B. fan but I really wish Patricia McBride would come back and coach this role. IMHO, it's nothing like it used to be.

Share this post


Link to post

I am surprised that no one has mentioned the Jerome Robbins program and awards. The performance of "2 and 3 Part Inventions" was again very beautiful and got a very warm response. "In Memory of....." to me has so much emotional weight and memories (of Suzanne Farrell, Joseph Duell and Adam Luders -- and Mr. Balanchine, as some people believe it is in tribute to him) that I really can't judge it, I end up nearly in tears each time.

THEN CAME THE AWARDS!!!

Chita Rivera was announced and came to the podium. She spoke briefly of her experience with "Jerry" while photos of her in "West Side Story" were projected on a large screen. She then introduced the awardees in reverse order of admission to the Company.

They formed a long line across the stage. There were photos and I hear some film clips shown on a big screen above them, but I was glued to my binoculars, as I wanted to watch each face as closely as possible. Each dancer walked to the center of the stage, took a lovely, wide-armed curtsey, (in a way that summed up - to me - her style and personality) and joined the line, alternating between stage left and stage right. There was a bit of irony when Suzanne Farrell and Gelsey Kirkland ended up next to each other, but they greeted each other warmly.

When Jenifer Ringer came out in the orchid dress of "Anita," -- dressed for the performance -- Chita said, "I recognize that dress!" and got a great, warm laugh. A friend later said to me that it might have been a bit intimidating for Jenifer to perform with Chita there -- but you'd never know it if that were so.

The applause and cheers for each dancer were heart-warming, and seemed to get louder and longer as we went back in time, all the way to Jillana and Yvonne Mounsey. Tanaquil LeClerq, Nora Kaye and Melissa Hayden were honored posthumously.....

The awardees and other dancers were on the Promenade of The-Theater-Formerly-Known-as-the-New-York-State-Theater during the intermissions, and greeted each other with love and warmth, chatting at a mile a minute to catch up on each others' lives if they hadn't seen each other. After the performance (which ended with a good, but not great performance of "West Side Story Suite" -- as I felt the orchestra was not where it should have been, and did cause some discomfort), many of the awardees hung out on the promenade and lobby, and under the portico, due to the rain. They were very accessible and friendly to those of us who remember and adored them for so many years. That was the best part!!!!

Share this post


Link to post

I was also at the Robbins Award evening. (Janet Reed was included in the group honored posthumously).

I found it so moving to see these wonderful artists acknowledged, especially those who have been off the stage for many many years. To know they are remembered by fans and their contributions appreciated. They each wrote a paragraph about their experiences and memories of working with Robbins which were in an insert in the program. Allegra Kent's contribution was especially fey and witty, just like her dancing! :clapping:

Kudos and thank you to the Jerome Robbins Foundation, NYCB, and all who contributed to making this such an exciting and memorable event. :clapping:

Share this post


Link to post

I saw tonight's Jewels. Happy to report that ticket sales were strong and the audience was very large, particularly for a Tuesday evening. Bouder was lovely in Emeralds, and Jared Angle was a gallant partner. Emeralds is one of Ringer's best roles. An excellent performance. I didn't really care for the lead Rubies cast tonight. Veyette was making his debut, and he looks like he could use some more practice. It was a very careful and studied performance. A Rubies performance without joy and fun robs the ballet of its spirit. I had never seen Hyltin in the lead of Rubies. (She debuted last season, I think.) Maybe it was because of Veyette, but her performance also looked too careful. Reichlin was sexy and witty as the tall girl. And then came the sublime Diamonds. This was Mearns' only performance of Diamonds for the season. J. Staford was replaced by Chuck Askegard as Mearns' partner. It was pure, radiant joy beaming from Mearns to Askegard and vice versa. It was an extra special performance. They seemed to be in a private reverie that we in the audience had the privilege of seeing. :clapping: I've seen Mearns do this role before, but tonight's performance of the central pas was on an even higher level.

Share this post


Link to post

I wonder if anyone has any info about programming for tomorrow's Askegard farewell. "Diamonds" is listed on the calendar, and has been listed, I believe, since the Farewell was first announced. But I just took a look at "Running Times" on the website, and "Diamonds" is not included there. I have the opportunity to go tomorrow, but it means major hassles for my schedule. I'd do it because I would really love to see Askegard and Kowroski do "Diamonds" one last time, but if it's off the program for whatever reason I don't know if I'm going to make it. If anyone has info on the programming, please PM me, thanks.

Share this post


Link to post

I wonder if anyone has any info about programming for tomorrow's Askegard farewell. "Diamonds" is listed on the calendar, and has been listed, I believe, since the Farewell was first announced. But I just took a look at "Running Times" on the website, and "Diamonds" is not included there. I have the opportunity to go tomorrow, but it means major hassles for my schedule. I'd do it because I would really love to see Askegard and Kowroski do "Diamonds" one last time, but if it's off the program for whatever reason I don't know if I'm going to make it. If anyone has info on the programming, please PM me, thanks.

I was at today's matinee and Diamonds with Kowrowski and Askegard is posted as first in tomorrow's program.

Share this post


Link to post

Thank you, Peg, and welcome to Ballet Alert!

Share this post


Link to post

I've broken off the question of whether NYCB is treading water into a new topic:

Share this post


Link to post

NYCB has added two new videos for the 2012 winter season.

Ocean's Kingdom with Sara Mearns, Peter Martins and Paul McCartney: http://www.youtube.com/user/newyorkcityballet#p/a/u/0/Xn-gvd6GCks

Allegro Brillante with Megan Fairchild and Andrew Veyette: http://www.youtube.com/user/newyorkcityballet#p/a/u/1/S0xBZEbN2IY

I thought the videos were nicely done, especially the Allegro Brillante video. I think something that could bring ballet into the mainstream is humanizing dancers and showing just how difficult performing ballet is. Showing that Veyette and Fairchild are a real life couple that have to deal with the normal problem of creating a healthy working relationship with your spouse is something many people can relate to. Also, when Veyette discussed the difficulty of landing in fourth from a jump and not being able to bounce up to your next step was insightful. It's a moment that may look incredibly easy to an audience member, but him speaking about it and showing it from that telling camera angle will probably make me notice it when I see it performed. It also made me want to go see the ballet :)

Share this post


Link to post

That's nice but....How about DVDs of the full ballets, commercially-available to the public around the world?

Share this post


Link to post

That's nice but....How about DVDs of the full ballets, commercially-available to the public around the world?

Absolutely! If the DVD version doesn't work financially, how about a download on iTunes? I'd buy Allegro, for sure, if they could tape the full performance.

These look like the videos they run in the front lobby of the Theatre, which I appreciate. But the complete ballet would be so welcome. They could wait until the theater performances are over, if that's their worry. So many people around the world have no way to get to New York to see these in performance.

Share this post


Link to post

I'm curious about one programming choice and wondered if anyone here knows the story. Robbins' Les Noces is scheduled for just one performance all year on Tuesday, May 29. Originally, they had announced Moves at that performance, and this is a substitution. It seems odd to go to all the trouble rehearsing this for just one performance. (I saw it many years ago and loved it. I hope to get to New York next spring to see it again.)

I did a little googling and it was apparently reconstructed for the 1998 Robbins Celebration: http://www.nycballet.com/news/press/pr01-29-08.html

Perhaps it has been performed since then. Does anybody know why they are doing this one-time-only performance? Tuesday night doesn't seem like it would be somebody's retirement performance, but perhaps it is.

Share this post


Link to post

They did Les Noces in 1999. I don't know if they've done it since.

Share this post


Link to post

I remember seeing it in 1998 or 1999. It was rather odd, describing a wedding ritual, with everyone dressed like European peasants. Not really ballet. The title describes it. Les Noces.

Share this post


Link to post

I remember seeing it in 1998 or 1999. It was rather odd, describing a wedding ritual, with everyone dressed like European peasants. Not really ballet. The title describes it. Les Noces.

I think it's been done since then, although I don't remember when. The ballet is very much visually modeled on Bronislava Nijinska's "Les Noce." It premiered at ABT.

Share this post


Link to post