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NYCB Winter Season


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#76 abatt

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Posted 26 February 2012 - 10:22 AM

I would vote for Georgina Paz. I think she deserves to be a soloist at this point. Have to agree with other posts about Robbie Fairchild's excellent performance in Russian Seasons.

#77 OneSwan

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Posted 26 February 2012 - 11:10 AM

I would vote for Georgina Paz. I think she deserves to be a soloist at this point. Have to agree with other posts about Robbie Fairchild's excellent performance in Russian Seasons.


Seconded. She dances with real flair and charisma. I was disappointed yesterday when someone subbed for her at the last minute in "Fancy Free", that's the kind of ballet I like her best in.

I really enjoyed Sara Mearns' debut yesterday in "Allegro Brillante". It was wonderful to see how fully she threw herself into the role: such passion!

#78 bobbi

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Posted 26 February 2012 - 04:03 PM

Fabulous closer to NYCB's season. Three out of three. Agon, Stravinsky Violin Concerto and Suite 3 -- all given the deluxe treatment by all hands. Special kudos to Tiler Peck in T&V. She was everything this role calls for: bravura and regal at the same time.

#79 LiLing

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Posted 28 February 2012 - 10:02 AM

I agree that a promotion is overdue for Georgina Pazcoguin. She is vivid in character parts and the co. should value that gift. There are only five women soloists, so there is certainly room for promotions.
It is fun to speculate. In the corps, the Laurens, King and Lovette have both attracted a lot of attention this season. I would expect to see them promoted in the next couple of years.
There are several soloists who have principal potential. Certainly Katherine Morgan, despite being out injured this season would be an obvious choice. The principal ranks are top heavy right now however, so I don't think we will see any promotions next season.

#80 balanchinette

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Posted 28 February 2012 - 02:08 PM

I saw all the T&V couples this season, and Ashley Bouder and Andrew Veyette were hands down my favorite! Ashley -- so much presence, so regal, all grandeur. Beautiful upper body/arms (especially in the Theme section) and phrasing. Their pdd was incredibly moving. And Andrew Veyette -- wow, magnificent double tour/single/double tour/ double variation! So nice to see a taller guy do this role and hit all the bravura bits. Gonzalo Garcia was sadly in over his head -- traversing almost the width of the stage trying to get through the double tours (after a painfully long prep). Not sure why they keep throwing him into these roles -- he always looks stressed out. He's great in things like Opus 19 the dreamer, but I don't think he's bravura material. Tiler Peck spins like a top but she hasn't yet grown into this role -- I much preferred Ashley. In fact, I wish Ashley had danced more this season, just generally! Martins doesn't make enough use of her amazing talents. I'd love to see her do Barocco. And why didn't she do Allegro Brillante this season -- she owns that role! Sara Mearns's timing was off in Allegro because she was taking too long to luxuriate in all the steps -- works for most ballets but not that one.

I also really enjoyed seeing Adrian Danchig-Waring this season (he dances all out, so beautiful). I loved Maria K. and Tess R. in everything and I thought Wendy Whelan was dancing like the Wendy from five seaons ago -- she seemed so energetic and rejuvenated this season. In the corps, my eye was consistently drawn to Devin Alberda (always such a clean dancer), Ashley Laracey and Lauren King. The company is looking very strong in general -- and I spotted some tall men who must be apprentices in the T&V corps -- here's hoping they'll make their way up soon! :)

#81 Colleen Boresta

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Posted 28 February 2012 - 03:07 PM

New York City Ballet’s winter season has been exhilarating. Several young principal dancers and soloists have really come into their own. I am also very pleased to say that the George Balanchine and Jerome Robbins ballets in NYCB’s repertory are in wonderful shape.

This is certainly the case at the February 25th matinee performance. It begins with ‘Allegro Brillante’, one of Balanchine’s most delightful pure dance ballets. It is set to the music of Tschaikovsky and as the great choreographer himself once said “It contains everything I know about classical ballet in thirteen minutes.” As the lead ballerina in ‘Allegro Brillante”, Sara Mearns surrenders herself totally to both the music and the movements of the piece. As usual, Jared Angle is an attentive partner.

The second work, Peter Martins’ ‘Zakouski’ uses the music of four Russian composers – Rachmaninoff, Stravinsky, Prokofiev and Tschaikovsky. It is a slight, but very entertaining ballet. Megan Fairchild is wonderful in the piece, but Joaquin De Luz stands out for his bravura dancing, flair and charisma.

Jerome Robbins’ ‘Fancy Free’ is as fresh as if it had been made last week instead of in 1944. The jazzy score by Leonard Bernstein fits Robbins’ choreography perfectly. It is the story of three sailors on leave in New York City during World War II. The three friends meet up with two girls and therein lies the dilemma. The sailors hold a dance-off to decide who gets to date the women and who has to spend their leave alone.

As the first sailor, Adam Hendrickson is a disappointment. He lacks the energy and high-flying virtuosity of Daniel Ulbricht, Joaquin De Lux and American Ballet Theatre’s Herman Cornejo, all whom I have seen dance the role many times. Robert Fairchild is wonderful as the dreamy second sailor. His chemistry with Sterling Hyltin, very natural as the second passer-by, is palpable.

I am most impressed with Sean Suozzi, in a debut as the rumba dancing sailor. For a long time I have been waiting for someone to match ABT’s Jose Manuel Carreno’s and Marcelo Gomes’ performances as the third sailor. With his sly sensuality and playful sense of humor, Suozzi comes very close. I am also glad to see the camarderie between the three sailors. ‘Fancy Free” is a forever ballet, and that’s how long I hope NYCB performs this work.

The afternoon ends with Balanchine’s glorious ‘Tschaikovsky Suite No. 3’. In 1947 Balanchine choreographed “Theme and Variations” to the last two movements of this work. In 1970 he decided to create a ballet from the entire piece of music. The first three sections of the work are performed behind a scrim to add to the dreamlike atmosphere.

Teresa Reichlen and Ask la Cour are hauntingly beautiful in the “Elegie” segment. The “Valse Melancolique” highlights a sultry Rebecca Krohn who has an exquisitely supple back. In the “Scherzo” section Daniel Ulbricht is all exciting leaps and turns. His performance does not surprise me one bit, but his partner’s dancing is a wonderful revelation. In “Scherzo” soloist Erica Pereira is a very good match for Ulbricht in the virtuoso department. I really think she can go very far with NYCB.

After“Scherzo” the scrim goes up and a beautiful chandeliered ballroom is revealed. The last part “Theme and Variations” is one of Balanchine’s most thrilling works. Since both NYCB and ABT dance “Theme and Variations” (ABT dances it by itself and NYCB as part of ‘Tschaikovsky Suite No. 3’), I have seen it close to 50 times. Sunday’s performance is probably the best performance of "Theme" I have ever seen. All of the cast are superb, but the real standouts are Andrew Veyette and especially Ashley Bouder in the leading roles. Veyette is a gracious and considerate partner and his double air turns are spot on. In “Theme” Ashley Bouder is the complete package. Her footwork is clear and precise. Her manner is that of the grandest ballerina and her body is the perfect vessel for Tschaikovsky’s majestic music.

What an outstanding afternoon at the ballet it was. I can't wait for NYCB’s spring season.

#82 cobweb

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Posted 28 February 2012 - 06:53 PM

I enjoyed the season very much and can't wait for the spring!
I too greatly preferred Bouder & Veyette in T&V, as compared to Peck & Garcia. I found Bouder more exciting, as Balanchinette noted above. And as a partner Veyette was better than Garcia, more concentrated on it, more precise, there was more clarity in his movements and how he presented the woman. Especially in the move where the man is holding out one hand while the woman is on pointe in (I think) arabesque, and the man suddenly drops into a lunge and presents the other hand while she goes into arabesque penche and also switches hands -- Veyette was cleaner and crisper and abrupt in his movement, landing in a deeper lunge, and Bouder was crisper as well. They really captured the thrill of that moment much better than Peck & Garcia. I also noticed a spot where the man is turning her, then seems to give her a little sendoff by putting his hand on the small of her back and giving her a little push. It's a lovely touch, and Veyette got it right both times I watched, but Garcia in this and overall, was more muddled. And in the solo variations, Garcia was traveling all over the place in his turns and lacking in precision and sharpness; Veyette was very very sharp.
And I agree -- why isn't Bouder dancing more? I would have loved to see more of her this season!

#83 BSS

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Posted 01 March 2012 - 08:55 AM

I agree that a promotion is overdue for Georgina Pazcoguin. She is vivid in character parts and the co. should value that gift. There are only five women soloists, so there is certainly room for promotions.
It is fun to speculate. In the corps, the Laurens, King and Lovette have both attracted a lot of attention this season. I would expect to see them promoted in the next couple of years.
There are several soloists who have principal potential. Certainly Katherine Morgan, despite being out injured this season would be an obvious choice. The principal ranks are top heavy right now however, so I don't think we will see any promotions next season.


If any soloist deserve to be promoted it is Ana Sophia Scheller. Katherine Morgan has not danced with the company in almost 1 1/2 years. I understand she has some health issues and injuries but promotion i do not see. It would just not be fair to other young ladies who have day in and day out been there when called on to preform.


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