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NYCB Spring 2012 Season


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#16 cobweb

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Posted 13 May 2012 - 02:43 PM

Mearns is still out; she was replaced in Symphony in C this afternoon by Maria Kowroski (with Tyler Angle), and Reichlen did Firebird instead of Kowroski. I wish there was some official word on what's wrong. I'm praying for a complete recovery for her!
Agree it was a pretty lackluster Concerto Barocco on Friday night... including some uninspired violin playing. Also in agreement about Abi Stafford's lack of energy. She seemed to be struggling just to keep up with the demands of the choreography and stay with the music, both in Concerto Barocco and Symphony in C.
Bouder & de Luz were wonderful in Symphony in C. Bouder's elevation, musicality, boundless energy, and the saucy good humor that she radiates, make her a total delight to watch.
Adrian Danchig-Waring also looked impressive, definitely looking like principal material!

#17 ivanov

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Posted 13 May 2012 - 07:48 PM

I don't mind not knowing the back story behind the cancelled performances, since it was ever thus, but I do wish the casting on the web site were updated more frequently, or at all. It used to be that the web casting was more or less a mimetic reflection of what was posted in the NYST lobby, but now it seems the web page is rarely updated. (Tuesday's Serenade did change from Mearns to Taylor, but never changed back to Mearns, which is what ultimately happened--I think.)

#18 puppytreats

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Posted 14 May 2012 - 04:44 AM

http://www.nypost.co...rLq2okMAFAKU9XL

Trying to look like Tiler Peck?

#19 cobweb

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Posted 14 May 2012 - 06:12 AM

Can anyone comment on "Double Feature"? I've never seen it and would like to know what others think about it, before I buy tickets and invite a friend. Thanks!

#20 cinnamonswirl

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Posted 14 May 2012 - 07:19 AM

I like Double Feature. It's not a great ballet that I want to see over and over, but it's cute and makes for an entertaining evening.

#21 Natalia

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Posted 14 May 2012 - 07:43 AM

I enjoyed the 'Blue Necklace' segment but not the other silly one. I agree with Cinnamonswirl that it is quite cute. It's in the genre of 'family-pleasing entertainment' designed to pull-in first-time audiences to ballet. Nothing wrong with that...[size=2]unless one prefers to spend one's hard-earned cash on Balanchine and Robbins masterworks. Ahum.[/size]

#22 abatt

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Posted 14 May 2012 - 06:30 PM

Kowrowski was sublime on Sunday afternoon in the second movement of Symphony in C. Reichlin has improved tremendously in Firebird since I last saw her dance it earlier this year. In general, she is dancing with more poise and presence. It was a fantastic afternoon of dance.

They need to find someone with a better public speaking voice to make the cast change announcements before the show on the days when Perry Silvey isn't available to do it. The woman who has been making the announcements is inaudible.

#23 miliosr

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Posted 16 May 2012 - 02:33 PM

New York Social Diary was on the case at the Spring Gala:

http://www.newyorkso...om/node/1908044

Love Grace Coddington. And a day without Millepied hustling his way into a photo is like a day without sunshine. Enjoy!

#24 abatt

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Posted 16 May 2012 - 07:00 PM

A word about Mearns. The casting sheet in the lobby of the Koch was updated today. Mearns is replaced in all ballets for this week. Krohn replaces her in Concerto B. Kowrowski replaces her in Liebeslieder. Georgina Paz. replaces her in Russian Seasons. Reichlin replaces her in BS Quartet, 4th movement.

R. Fairchild is replaced this week in Fancy Free by Tyler Angle.

#25 mimsyb

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Posted 16 May 2012 - 07:42 PM

If there was ever an argument about whether Georgina Pazcoquin deserves to be made a soloist tonight was the night! She replaced Sara Mearns in "Russian Seasons" and despite an early belly flop (ouch!), she attacked the choreography with such style and vigor I kept gasping at her fearlessness. She just went all out and it paid off! Brava Georgina! The entire cast did amazingly by this piece. What a thrill to see these dancers give this work such a gorgeous rendering.

"Two Hearts" I'd like to see again. It had some intriguing moments and I found the score growing on me as the work progressed. Tiler Peck has to be at the top of her game as viewed tonight. Splendid!

And "DGV: Danse a' Grande Vitesse" continues to make an impression after several viewings. It's sheer power and energy is infectious. Everyone danced as if their lives depended on it. Wow! A great evening.

#26 Colleen Boresta

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Posted 17 May 2012 - 03:51 AM

New York City Ballet had a special treat for moms on Sunday afternoon – a whole program of Balanchine ballets. (‘Firebird’, however, was choreographed by both George Balanchine and Jerome Robbins.)

The first ballet is ‘Serenade’, set to the music of Tschaikovsky. ‘Serenade’ is the first dance Balanchine created in America (1933). The work is just as glorious as ever, beginning with the opening – those 17 young women in blue raising their right arms to the moonlight. ‘Serenade’ contains no narrative, but Balanchine has found the passion, mystery and drama in Tschaikovsky’s music.

As the waltz girl Janie Taylor rockets onto the stage – an ethereal creature of the twilight. She loves and loses two men and at the ballet’s end is lifted high into the air and carried from the stage by three young men. Has she died? Is she being taken to the afterlife? There are no right or wrong answers to these questions. Great art is open to varying interpretations.

Dancing the more earthbound roles are Sterling Hyltin as the Russian girl and Rebecca Krohn in the role of the dark angel. Both give beautifully layered performances. The all important corps dancers, whose movements are sometimes reminiscent of the willis in ‘Giselle’, are absolutely perfect. No one put a foot or hand wrong. ‘Serenade’ is a ballet that should live forever.

The second ballet of the afternoon is ‘Firebird’ with music by Stravinsky. It is the only story ballet on the program. In my opinion it is the weakest of the three dance pieces. ‘Firebird’ is based on a Russian fairy tale. While hunting Prince Ivan catches a firebird, half woman and half bird. The Firebird begs for her freedom and the Prince lets her go. The grateful creature gives Ivan a brilliant red feather. She tells him it is a magic charm. If he is ever in trouble all he has to do is wave the feather and the Firebird will come to his rescue.

Ivan then comes across a princess and her handmaidens. The young women are under the control of the evil wizard Kastschei. With the help of the Firebird and her feather, Ivan defeats Kastschei, frees all the girls and marries the Princess.

Strangely enough for a Balanchine ballet, the dancing is overpowered by the scenery and costumes (both designed by Marc Chagall). The roles of Prince Ivan and his Princess are primarily character roles. Acting is required – well delivered by Justin Peck and Gwyneth Muller – not dancing.

The only performer on pointe and in a tutu is the Firebird herself. In the title role Teresa Reichlen is somewhat bland. Her movements don’t seem birdlike enough. When she is captured
by Ivan, Reichlen lacks both energy and a sense of frenzy.

‘Firebird’ is most memorable for the Stravinsky score as well as the Chagall costumes and scenery. It is a nice ballet for children, but in my opinion it is one of Balanchine’s very few misses.

The afternoon ends on an extremely high note with ‘Symphony in C’, set to music by Georges Bizet. ‘Symphony in C’ is one of Balanchine’s glorious tutu ballets. It is divided into four sections, based on the Bizet music. Each movement is led by a ballerina, a premier danseur and the corps de ballet.

In the first movment, Allegro Vivo, Megan Fairchild stands out for her sparkling footwork. Jared Angle is not only an attentive partner, but a spirited performer as well. His dancing has improved wonderfully during the 2011-2012 seasons.

Maria Korowski is magnificent in the second movement: Adagio. Her meltingly expressive upper body, gorgeously fluid movements and lyrically lovely extensions make ‘Symphony in C’ a work of haunting beauty.

Ashley Bouder and Joaquin De Luz are perfectly matched in the ebulliently bouncy third movement. Their lightning speed, incredible elevation, musicality and playful sense of fun – all are in total and complete sync.

In the last movement Tiler Peck whirls across the stage at an astounding pace, spitting out diamond sharp pirouettes. Then the dancers from all four movements join together for an unforgettable finale. Sunday afternoon saw New York City Ballet at its very finest.

#27 vipa

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Posted 19 May 2012 - 03:18 PM

I attended May 18 - Liebeslieder Walzer & Brahms-Schoenberg Quartet.
One word about how I got the ticket (Orchestra row D center) if I may. Bidding for Good is an organization that runs online auctions for non profit organizations. The not-for-profit that I work for uses it, as do many schools and arts organizations. I went to biddingforgood.com searched under tickets - ballet/dance - nyc. A school in Washington DC had these tickets in their auction. I bid and was the highest bidder. I got the tickets for less than face value and the money went to a school. I thought maybe some of you might want to check it out.

On with the show. Liebeslieder blew me away. One of the few Balanchine ballets that I wasn't familiar with. The inventiveness of the partnering and musicality of the choreography is extraordinary. Loved the cast - Bouder, Kowroski, Janie Taylor, Whelan, Jared Angle, Tyler Angle, Marcovici. Jonathan Stafford. So many magical moments with gestures, facings and relationships. One lift, where Bouder was lifted into a horizontal position is just one that took my breath away. I confess, my eyes teared a few times and at one point my husband starting squeezing my hand! Maybe those of you who have seen the ballet before can point out deficiencies in the cast - this first timer was enchanted.

Brahms-Schoenberg Quartet - 1st movement Rebecca Krohn, Chase Finley with the other soloist being Emily Kikta. For me Krohn is a constantly improving dancer. She is growing in technique and her performance quality seems softer and more nuanced. I enjoyer her. Chase Finley has great potential but seems a little scared! The partnering worked out, mostly because Krohn fixed things. He had a slight moment of tripping, but I see the potential and look forward to following him. The great thing about NYC ballet rep is that he can be tossed out there in lots of roles and so he will grow.
2nd movement - Tiler Peck & Justin Peck. Tiler Peck has become one of my favorite dancers. I'm starting to think that there are few roles (if any) that she couldn't be cast in. Enough said.
3rd movement - Ana Sophia Scheller & Gonzalo Garcia. Scheller is a lovely dancer. She has a strong and secure technique, has beautiful line and brought tremendous beauty to the role. I believe she'd be a principal dancer if the roles she is most suited for weren't already covered by Bouder, Megan Fairchild and Tiler Peck. Gonzalo Garcia is a dancer I don't care for and this ballet reinforced that opinion. When he jumps, his positions don't really gel so we don't see the shape in the air. His turns are hit or miss and his partnering isn't very attractive.
4th movement - Reichlin (replacing Mearns) & Ramasar. She's a little big for him, but it didn't matter much. They had the right kind of playfulness for this, and both seemed to have a great time.

I just want to thank everyone for their reviews. I love reading them, please keep them coming.

#28 abatt

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Posted 20 May 2012 - 05:21 AM

Hi there. I was at Friday's performance as well. I have never before seen Bouder give such a lyric interpretation to an adagio role. She is, as we all know, a great allegro dancer. However, I've often been disappointed in her performances in adagio roles. This was a whole other side of Ashley that we don't see very often. The entire cast was marvelous.
IN B-S Quartet, I thought Finlay was stil trying to find his way back and get his sea legs back under him after a long period of absence. The first movement saw the debut of corps member Ms.Kitka in the soloist role. More please! This young dancer had great sweeping grandeur in her upper body and arms. Her jetes were huge. I can't wait to see her in other roles. Tiler Peck danced with complete abandon in the second movement. She was absolutely breathtaking. Justin Peck, her partner, was good, but he still has a ways to go. Scheller and Garcia were thrilling in the third movement. I thought Scheller captivating. Didn't stay for the fourth movement in order to get home and prepare for super Saturday at ABT.

#29 susanger

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Posted 20 May 2012 - 04:14 PM

Both NYC Ballet and Roslyn Sulcas tweeted a few hours ago that Ana Sophia Scheller and Rebecca Krohn were promoted to Principals!Posted Image

#30 vipa

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Posted 20 May 2012 - 04:46 PM

Both NYC Ballet and Roslyn Sulcas tweeted a few hours ago that Ana Sophia Scheller and Rebecca Krohn were promoted to Principals!Posted Image


Well deserved and congrats. Now we will see if anyone gets promoted to soloist.


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