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Fall 2012 season


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#31 dirac

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Posted 08 October 2012 - 02:25 PM

I have been surprised not to be reading more about the Stravinsky festival at NYCB--wonderful programming for many of us I should think and based on what I saw this weekend, the ballets are receiving some excellent performances. I went up to NY with a special eye to the program w. Stravinsky Violin Concerto/Monumentum/Movements/Duo Concertante/Symphony in Three Movements. I have to say that, previous to this trip, the last time I saw Stravinsky Violin Concerto at NYCB it was a dull affair and though I tend to defend NYCB in the Martins era, after that particular performance I thought 'well, that it is the sort of thing his detractors are talking about.' And the last time I saw Monumentum/Movements at NYCB it was with a past her prime Kistler. So I was particularly curious how this program would look.

I thought that at the Saturday matinee and Sat evening performances with partly overlapping, partly differing casts the company looked energetic, intelligent, and engaged. Overall, the dancers were terrific. And the ballets!!! Classical ballet broken down and reassembled from the inside out--to become something utterly astonishing and deeply moving. I have to admit that for me it's also a very challenging program, even mentally exhausting, like a blockbuster art exhibit; by the time you are looking at your 60th Cezanne you are just a little dizzy...

I don't have time to go into detail re performances plus or minus, but I will say that Sterling Hyltin was electric in Symphony in Three Movements and Megan Fairchild playful, womanly, and quietly radiant in Duo Concertante. Fairchild was also excellent--musical and even witty--in Danses Concertantes the night before, despite an opening slip; in fact, these three performances were the best I have seen her by far; she seems to have reached a new maturity and artistry as a dancer. In Duo Concertante Finlay and she made a nice Martins/Mazzo after image, but by comparison with her, he needs seasoning.

This weekend was also my first chance to see Robert Fairchild in a substantial dancing role (the Martins role in Stravinsky Violin Concerto) and I was very impressed. I had seen him in Double Feature and Liebeslieder last spring--in both of which I thought he was excellent,but this performance really sharpened my impressions of him as a dancer. In some ways, he seems to me the quintessential American male dancer of our era. I'm not forgetting Hallberg, but the latter seems to belong more to the Bruhn/Dowell line of elegant classicists; one recalls Hallberg's French training, supplemented more recently with the note of drama that the Bolshoi seems to be injecting into his persona. Fairchild more obviously recalls the NYCB lineage of D'Amboise, Villella, and Woetzel -- while also being just entirely himself. He is wonderfully easy and yet still precise in the quality of his movement--likewise boyish and yet manly, graceful and yet sculptural. The last quality is something particularly pleasing to see in a role created on the very sculptural Martins. Call me a fan.

Other highlights? Well, when the curtain went up on Stravinsky Violin Concerto Saturday afternoon and Janie Taylor was standing facing the audience with two men on either side of her, there was something so relaxed, attentive and subtly galvanizing in the way she held her body while just standing for the first few bars of the music, that I felt instantly that this was a performance it had been worth my while to get on a plane to see.

Lots more to say about the weekend--including my enjoyment of Reichlen in Movements for Piano and Orchestra Sat night (and the final sensual moments of her berceuse in Firebird the night before)--but I'll stop. For myself, I think that if NYCB can consistently perform the major Balanchine modernist works at this level, then they are doing very well indeed. Was every performance a home run? No. And in patches Symphony in Three Movements could perhaps have used more of a charge from the entire ensemble. (Actually I was a little pooped myself at that point in the program.) But no-one I saw dance was lax or out of their depth, as I have sometimes seen at NYCB. As for the ballets: I find them to be among the most wonderful works of art ever created. Sorry I can't see the Agon program as well.


Thank you for the long and detailed review, Drew. You make me sorry not to have been there.

Brian Seibert in the Times bounces up and down in his seat over the Peck ballet, along with many others, one gathers:

But the Friday debut of his “Year of the Rabbit,” slotted between the most recent contributions of Benjamin Millepied (‘Two Hearts”) and Christopher Wheeldon (“Les Carillons”), was the true coming-out party. It was a triumph not just for Mr. Peck but also for the institution that has nurtured him. The dancers looked happy. The audience responded with ovation after ovation. I’m sure I wasn’t the only person who wished the whole 30-minute dance could have been encored immediately.



#32 cargill

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Posted 10 October 2012 - 06:32 AM

About Brian Seibert's wish that the new Peck ballet had been encored: in a way, it was, since there were so many steps and combinations in the Wheeldon that looked similar.

#33 Slant

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Posted 10 October 2012 - 08:47 AM

I agree w/ Krystin. loved the ballet which was so entertaining. I would add that the pdd for Taylor & Hall was beautiful and just the right touch in the midst of all that excitement. So many curtain calls - the audience was crazy about it!


I will also add my two cents. Loved Justin's ballet, and on top of his "In Creases" this summer at Saratoga Springs, he is off to a great start! Can't wait for his next work! A very talented young man!

#34 cobweb

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Posted 10 October 2012 - 07:28 PM

I so much appreciated Symphony in C tonight. What a great piece! I feel like I could watch it a thousand times and never get tired of it. I'm so aware of time passing while I'm watching it, because I know that every second brings it closer to being over, and I don't want it to end!
Especially enjoyed Maria Kowroski and Tyler Angle. She has a special quality that's "star" and very warm both -- that and the amazing wingspan, in which I include the legs. She can take in so much space, and the arabesque penchee is iconic, in the sense that that the image lives on in my mind long after it's over. Tyler Angle conveys a serene confidence as he moves her about, then dazzles when he takes the stage on his own.
Also I've enjoyed Andrew Veyette in the first movement (tonight with Megan Fairchild, and a few days ago with Ana Sophia Scheller). I love how he's so intensely focused on his partner, but then when he takes the stage, totally commanding.
Sean Suozzi also impressed with razor-sharp precision in the 4th movement tonight and some other recent performance (exactly when escapes me), and also Anthony Huxley.
Lauren King unfortunately has struggled with the demands of the choreography all three times I've seen her in the 4th movement. I'm assuming they wouldn't have given the part to her if her technique wasn't up to it, so I don't know -- is it just that she's dancing in every single performance and she's tired?
I really miss Ashley Bouder this season, no time more so than the third movement of Symphony in C. She looked in fine, fine form in Justin Peck's piece the other night... so where is she otherwise?
Seen quite a number of performances over the past few weeks (thank you Society NYCB!) A few other dancers who come to mind are Lauren Lovette, always drawing the eye; and Ashley Laracey and Faye Arthurs in the 2nd movement of Symphony in C (and Arthurs was wonderful, to go back a season, as Helena last June). Also Troy Schumacher always has a big grin like he's totally enjoying himself. Keep smiling, Troy, I'm enjoying it too!

#35 canbelto

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Posted 14 October 2012 - 05:53 AM

I was at both performances yesterday. Great day of dancing -- standouts include Tiler Peck in Andantino, the entire cast of Year of the Rabbit, and Lauren Lovette as the purple girl in Les Carillons. I'm amazed that the NYCB was able to pull out such a strong season despite the injuries. Bravo to all of them.

#36 jerryb

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Posted 14 October 2012 - 06:58 PM

Canbelto - Thanks for posting that Lauren Lovettee was the purple girl in Les Carillons. She was outstanding. I don't like Les Carillons very much. The music is too heavy and it goes on for too long. I had a thought while watching that it sounds like music for a bad story ballet.

I too found the cast of Year of the Rabitt excellent. I like the ballet and look forward to more from Jusin Peck.

#37 abatt

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Posted 19 November 2012 - 11:33 AM

I'm amazed that the NYCB was able to pull out such a strong season despite the injuries. Bravo to all of them.


According to her twitter page, Sara Mearns is in rehearsals and intends to return in January 2013 for the Winter Season. She mentions that she has been rehearsing Lilac Fairy, Diamonds and Serenade. Great news.

#38 abatt

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Posted 01 January 2013 - 07:49 AM

For all of you Mearns fans, she posted on her twitter page that for Week 1 of the Winter Season she is scheduled to appear on Jan 16, Jan 19 and Jan 20. She is doing the Balanchine Swan Lake w. Jared Angle on the 20th. No mention of what she will perform on the other dates, but I would bet it is Serenade (Dark Angel). Counting down the days until the return of this magnificent company of dancers.

#39 pasdequatre

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Posted 02 January 2013 - 12:10 PM

Oh how I miss NYC Ballet! I'm new, and I think I registered prematurely, for I can't attend any performances until after mid-April because - well, let's just leave it at that. But I have tickets for two performances in May and June, and look forward to commenting. And I also enjoy the skillful descriptions of the posters here, especially cobweb. So I will read until I can write.


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