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NYCB Winter Season


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#16 puppytreats

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Posted 20 January 2012 - 11:30 AM

Colleen, the promenade is the large area up several stairs from the ground floor lobby and then up another half flight. (It's reachable from either side, left or right, of the lobby.) There are two large white sculptures on either end of the promenade, and on performance nights, a gift shop in the middle near the windows. They set up lots of chairs and it's first come, first seated. So line up in the lobby early!

I went last year and it was wonderful - the dancers were interviewed and they were so insightful and just lovely as individuals. This year, unfortunately, I am tethered to home waiting for Verizon guys to fix my computer! This process will take 4-6 hours!!! So Colleen, I am counting on you to report on the 1:45 panel discussion since I can't be there, and for other Ballet Talkatives as well. Oh, and you need a ticket, be sure to get one, free at the box office.


Worth it to reschedule the cable Eileen. If I lived as close as you do (and it weren't so cold), I would go. Trying to think how I can get to see Pina at Linc Center in the snow.

#17 Helene

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Posted 20 January 2012 - 12:11 PM

A gentle reminder that the board is a place to discuss points made in posts, but not a place for specific criticisms of a poster or politics that is not arts-related.

#18 Eileen

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Posted 20 January 2012 - 12:19 PM

Why thank you, Colleen for your kind words. They brought a smile to my face. (I will omit the icon though!) Enjoy the panel discussion and the performances. I didn't mention, you also need a free ticket for an on-stage demonstration at 5:30 by Peter Martins teaching class to advanced students in the theater.

Just saw puppytreats' post. Thank you for your good words, too, but my ability to write what I think is what gets me into hot water!

I love this board, and the forum it gives people who love NYC Ballet to discuss performances and dancers on a high level. I also learn from other posters.

#19 SimonA

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Posted 20 January 2012 - 04:12 PM

Does anyone have any thoughts on attending performances at the end of a season (when fatigue, injuries, etc., may have taken their toll)? I'd really like to come up to see Agon, which is only being performed the last two weekends in February (and which I've never seen before). I know that the nature of live performance is unpredictable, but can anything generalizable be said about the quality of the dancing here as the season progresses? Thanks.

#20 Colleen Boresta

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Posted 25 January 2012 - 05:59 AM

Here is my review of NYCB's Sunday performance featuring Who Cares and Union Jack.

Let me start with Who Cares? All the dancers are wonderful, but the real standouts are Tiler Peck and Robert Fairchild. Fairchild’s timing, his rhythm, the snap of his fingers – all remind me of a young Fred Astaire. Tiler Peck is just perfect as the girl in pink. The first time I ever saw New York City Ballet perform (February of 1980) Who Cares? was on the program. I was totally blown away by Patricia McBride’s solo to “Fascinatin’ Rhythm”. Her quicksilver footwork and dizzyingly fast series of turns left me gasping in disbelief. I saw McBride in Who Cares? many times. After she retired from NYCB, I hoped to find a ballerina who could equal her rendition of “Fascinatin’ Rhythm”. Some dancers came close – Nichol Hlinka, Janie Taylor, Jennifer Ringer – but they just could not match my mind’s eye image of Patricia McBride performing that solo.

On Sunday, however, Tiler Peck nails “Fascinatin’ Rhythm”. Her precision, her musicality, her phrasing – all are beyond compare. Peck’s whiplash turns are danced at a breakneck pace. In their pas de deux to “The Man I Love” Peck and Fairchild are magical. The radiant yearning of their love brings tears to my eyes.

As the girl in blue, Teresa Reichlen is demurely coy in her duet with Robert Fairchild to “Embraceable You”, but shows her steely technique to great effect in her solo “My One and Only.” Sara Mearns seems miscast as the girl in red. In both her duet with Fairchild to “Who Cares?” and especially her solo “I’ll Build a Stairway to Paradise” she lacks the coltish playfulness needed for the role.

“Who Cares?” is a gorgeously joyous ballet. As Ira Gershwin once wrote, “Who could ask for anything more?”

The afternoon ends with Union Jack, a three part salute to Great Britain. It uses regimental military tattoos, Scottish ballads, British folk music, music hall ditties and sailors’ hornpipes to set the desired moods. The score is provided by Hersey Kay.

Part I is a tribute to the Scottish and Canadian regiments. 70 members of these clans, clothed in their tartan best, parade onto the stage in intricate patterns. Then the marching evolves into phenomenal dancing. The highlight of these is the MacDonald of Sleat variation, where the lead performer dances a very quick paced solo to a staccato drumbeat. Wendy Whelan has owned this solo for years. On Sunday the 44 year old ballerina performs it flawlessly. Obviously Whelan is ageless.

Part II is the Costermonger pas de deux. It is set in an Edwardian music hall, where a down on their luck husband and wife team perform. Andrew Veyette has a goofy charm as the Pearly King. Megan Fairchild, his wife in real life, is adorably hammy as the Pearly Queen. At the end of the pas de deux, their daughters, the Pearly Princesses, arrive in a pony cart. Then the whole family dances together, with the Pearly King and Queen still trying to upstage each other.

Part III is a salute to the Royal Navy. All the dancers join in the highflying hijinks. My favorite part of Union Jack is the second section of the Royal Navy tribute. In my mind’s eye I still see former NYCB principal, Damian Woetzel, performing the solo. He always made the endless leaps and turns look so light and effortless. On Sunday Tyler Angle is fantastic in this role. He doesn’t quite have Woetzel’s happy swagger but that will come in time.

As usual, Union Jack ends on a joyous note. As the orchestra plays “Rule Britannia”, the cast uses hand flags to signal “God Save the Queen” and the Union Jack rolls down the back wall of the David Koch Theatre. It was a wonderful afternoon at the ballet.

#21 Colleen Boresta

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Posted 25 January 2012 - 06:07 AM

I forgot to mention that I didn't get to attend the 1:45PM talk on Sunday afternoon. When I got to the box office at the David Koch Theatre (a little after 12:00PM) the man there told me the tickets were all gone. Could I have gotten the ticket to the talk over the internet? Do you have to go in person? I live in Staten Island and don't want to make that long trip if I don't have to.

With regard to simona's question, I have often attended performances at the end of NYCB's season (whether winter, spring or now fall). My subscription is on Sunday matinees and often I've gone to the very last performances of the season. I've never noticed any major differences between the quality of the dancing at the begining and end of the seasons. Sometimes dancers get injured and NYCB has to change performers or even the program. Injuries seem more likely to occur at the end of the season, but they can of course occur any time in the season.

#22 mira

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Posted 25 January 2012 - 08:04 AM

Thank you all for your impressions of the recent performances at nycb - I wonder if someone would be kind enough to list the 8 couples dancing [font=helvetica, arial, sans-serif][size=4]Le Tombeau de Couperin[/size][/font]? tia.

#23 rg

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Posted 25 January 2012 - 10:04 AM

see attached scan:

Attached Files



#24 mira

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Posted 25 January 2012 - 11:37 AM

thanks RG -
I'm a fan of Taylor Stanley's - glad to see his name there.

#25 puppytreats

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Posted 25 January 2012 - 05:20 PM

I forgot to mention that I didn't get to attend the 1:45PM talk on Sunday afternoon. When I got to the box office at the David Koch Theatre (a little after 12:00PM) the man there told me the tickets were all gone. Could I have gotten the ticket to the talk over the internet? Do you have to go in person? I live in Staten Island and don't want to make that long trip if I don't have to.

With regard to simona's question, I have often attended performances at the end of NYCB's season (whether winter, spring or now fall). My subscription is on Sunday matinees and often I've gone to the very last performances of the season. I've never noticed any major differences between the quality of the dancing at the begining and end of the seasons. Sometimes dancers get injured and NYCB has to change performers or even the program. Injuries seem more likely to occur at the end of the season, but they can of course occur any time in the season.


I was told the same thing by two people behind the glass at the box office, but then spoke to a representative from the ballet (not the box office) and was let in to hear the lecture. Some people with subscription tickets indicated that they did not have notice of the need to get a ticket for the lecture; they were allowed to attend the lecture by the ballet company representative. I would hope that you are not too disappointed by having missed it, though. Other lectures I have seen have been more informative. However, the dancers were really nice.

#26 cobweb

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Posted 25 January 2012 - 07:46 PM

Tonight I saw In G Major, the first time I've seen this piece. Maria Kowroski and Tyler Angle were stunning in the pas de deux. As far as I could tell, never having seen it before, the complex partnering was flawless. And they conveyed an intensity, sexual charge, and sense of drama that were riveting and deeply moving.
I I want to chime in, a little belatedly, with the reports from last week's performances. Totally agree with everything that's been said in praise of Tiler Peck in both Tchaikovsky pas de deux and Who Care? As a previous poster said, she's beautiful and fearless. A born performer with stunning technique and musicality and a dazzling smile. You get the feeling she loves every minute and ready for bigger and better challenges.
Robert Fairchild in Who Cares? was also terrific, handsome, authoritative, and charismatic.
Joaquin de Luz was a delight in Tchaikovsky pdd and Union Jack.
I'd never seen Who Cares? before either, and I enjoyed it. It turned out to be a terrific double bill on Sunday with Union Jack, a favorite of mine. Last week was also my first time seeing The Concert. Hmmm.... I may have to develop a taste for this one. I skipped out early tonight because I didn't really need to see it again, but it's on another program I'm going to next week so I'll have another chance.

#27 canbelto

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Posted 27 January 2012 - 07:27 AM

I highly suggest people run, don't walk to see Ashley Bouder's Firebird. Absolutely stunning performance from her tonight. Her jumps, her speed, even her habit of turning her face extremely forward to the audience, all fit the role to a T. She was simply spectacular. Jonathan Stafford was disappointingly bland as the Prince. But this was Bouder's triumph.

#28 abatt

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Posted 28 January 2012 - 09:24 PM

I highly suggest people run, don't walk to see Ashley Bouder's Firebird.


I have to agree. She was a spectacular Firebird. She devoured space with her breathtaking technique. Her understanding and portrayal of the character was much more developed and nuanced than in years past. I also have to note the captivating performance that Maria K. gave earlier this week w. Tyler Angle in In G Major. Any reports on the tonight's All Wheeldon.

#29 miliosr

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Posted 01 February 2012 - 05:17 PM

Any reports on the tonight's All Wheeldon.

Tobi Tobias weighs in:

http://www.artsjourn...armed-life.html

#30 vipa

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Posted 02 February 2012 - 07:34 PM

I saw the Wednesday night performance. The 1st thing is that I think the company looks terrific.
Interplay - the Lovette/Stanley pas was so nice. Lovely lines from her and just the right tone. Ulbricht is just terrific. It's not just the technique and jumps (4 consecutive double tours ending in a glorious plie) it's the musicality, the characterization, the focus. He is always a pleasure to see on stage. IMO he is one of the greatest American male dancers around today. I thought all of the dancers looked great in this piece.

Tarentella - Bouder/De Luz - Had me grinning the whole way through. They came out of the gate almost too excited. Bouder at her best.

In Memory Of - I had not seen before, but at some point in the ballet I became annoyed that it wasn't over.

DGV - Really like it. The music, set, lighting, choreography really worked for me. I'd like to see it again. I must repeat the company looks great. The principal women - Mearns, Fairchild, Whelan & Peck all looked amazing in the costumes. They all blazed through the movement. Among the guys Andrew Veyette was a stand out for his abandon and super big movement.

What a great company!


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