puppytreats

Winter Season 2013

159 posts in this topic

If anyone is reading this far, do not miss the January 19, 5 pm free onstage demonstration "Ballet is Woman", which a poster mentioned earlier. It will include company dancers in Western Symphony, Serenade, and more. Best of all, there are still free tickets available at the Koch box office. I wish I could go.

You can also order one on-line if you're worried they'll run out before you get to the box office:

http://www.nycballet.com/Season-Tickets/Season-Highlights/SATURDAY-AT-THE-BALLET-WITH-GEORGE.aspx

It's open seating and they don't indicate whether they'll open anything other than the orchestra.

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I tried this online link and it did not work - the 0 would not move to 1 or 2. It's better to go to the box office.

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I tried this online link and it did not work - the 0 would not move to 1 or 2. It's better to go to the box office.

Very strange - it worked for me just now - at least, it would put the ticket into my basket.

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I'm going to the matinee on January 19 and the free demo on Balanchine's Ballerinas at 5 pm and I'm thrilled that Tiler Peck is dancing Allegro Brillante because I've heard nothing but great things about her dancing that ballet. When I set up my 3-performance subscription, I struggled to decide which performances to see, but I'm happy with the matinee, that I'll be there for Balanchine's birthday celebration and the events attending it, and I just may stay on and go to the 8 pm performance as well, taking in some dinner near Lincoln Center between shows. I'm thrilled I'm seeing so much great Balanchine! And yes it will be a long day for me, puppytreats, also, because I am traveling to and from from Albany! As for NYCB's SB, I saw it many, many years ago at SPAC, so seeing it in February will be a treat.

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If you can, see the evening performance. The casting looks stellar.

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So I have taken Drew's advice and skipped the Joyce. What about PNB at City Center, presenting a program of "Concerto Barocco", "Agon", and "Apollo" as well as Maillot's "R&J"? The only $35 seats remaining are in the back of the orchestra, to the side. I have sat in the second row of CC, on the side, and been disatisfied with curtailed views.

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puppytreats, if you can see PNB at City Center, I'd do it. For the Balanchine program. Hopefully, you'll see Carla Korbes in something.

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As long as Korbes is healthy, the question is which she will dance in: the lead in "Concerto Barocco," Terpsichore in "Apollo," or the Pas de Deux in "Agon." I've seen her dance the first two. I can't remember if she's done the "Agon" in Seattle, but she may have in the last mini-tour to Victoria (BC).

Maillot has given Noelani Pantastico and Lucien Postlewaite leave to dance a performance of his "Romeo et Juliette" in Seattle the weekend before the City Center run. I'm not sure if they'll dance the work in NYC as part of this tour. Korbes and Nakamura were also phenomenal in it the last time it was performed in Seattle. Postlewaite was Korbes partner; I'm not sure who her partner will be now that Postlewaite is a member of Les Ballets de Monte Carlo.

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I bought a ticket for the NYCB Symphony program - Western, 3, C, in addition to the GB celebration performances. No $29 tickets in sight.

I am concerned that the seats at City Centre will render viewing impossible. Has anyone sat in the back of the orchestra since the renovation?

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I have, and while it's not guaranteed that the sight lines won't be obscured like in the old days, if you get a really tall person in front of you, someone with a big square head, or someone who wants to put his or her head on his or her partner's shoulder and cuddle, it's not pretty, and then you're back to needing a chiropractor. I prefer seats closer to the side, since you can usually get a view on an angle.

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Heads up. NYCB has changed the program yet again for Feb 1. The first ballet of the evening was originally supposed to be Piano Pieces. It was subsequently changed to In the Night (which I was looking forward to). Now the first ballet is listed as Polyphonia.

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I watched "Serendade" and "Symphony in C" last night to prepare for my Saturday with George.

Re: "Serenade": From the tiny computer screen and blurry video, as well as the "Swan-lookalike-which one is she effect," I cannot tell which women at the end become the (a) "ascending one who can't be saved by 'Orpheus'/ the dying woman" and (b) the "Dark Angel/'Amour'/winged guide who covers the man's eyes." Are they identifiable in the beginning? Also, is there a "Myrtha" type women leading the group which displays the "underwater Wili-type" movements?

Re: "C": In the new costumes, the men no longer appear like harlequins. Does this impact the interpretation for anyone?

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are your questions about the PBS Serenade from 1990 or the Berlin one from '73?

here's the order for the '90 film, in which Kistler leads the Waltz (and is carried off at the end); Nichols is the Tema Russo (middle section); and Calegari is the "blinding angel" of the final, Elegie section:

Serenade (ca. 34 min.) / music, Peter Tchaikovsky ; costumes, Barbara Karinska ; danced by Darci Kistler, Kyra Nichols, Maria Calegari, Adam L├╝ders, Leonid Kozlov, with Marisa Cerveris, Lisa Jackson, Miriam Mahdaviani, Kathleen Tracey, and ensemble.

if your questions relate to the Berlin film, that data can be found but is not now at hand here.

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here is some info on the Berlin SERENADE:

Serenade. Music: Peter Ilich Tchaikovsky. Danced by Karin von Aroldingen, Susan Hendl, Sara Leland, Kay Mazzo, Jean-Pierre Bonnefous, Peter Martins, and artists of the New York City Ballet.

i had forgotten until digging up these credits that it was filmed w/ four ballerinas. if mem. serves von Aroldingen in is the 'blinding angel" Bonnefous is the man being led in the Elegie.

i forget who, among Hendl, Leland, and Mazzo, led the Sonatina, Waltz and Tema Russo.

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I watched "Serendade" and "Symphony in C" last night to prepare for my Saturday with George.

Did you watch these on YouTube? What is the symphony in C you watched? I've never found a full-out production of it anywhere... Thanks for any info, puppytreats.

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Albany, I got confused. Saturday with George during the Celebration day includes "Ballet Imperial" and "Themes and Variations". "Crystal Palace" is in a few weeks. I also watched a version of "Allegro Brilliante", with Maria Tallchief, introduced by Shirely Jones speaking in a weird accent. The version lasted less than ten minutes, and I think Balanchine Variations states that the ballet lasts seventeen minutes, so maybe includes only one movement.

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Thanks, puppytreats. ( off%20topic.gifFrom your moniker, am I right in assuming you are a dog lover, as well as a ballet lover?) I have a Golden Retriever named Fergus - he's wonderful.

Back to topic, would you like meet during one of the intermissions at the matinee on Saturday (I seem to remember you are going to both performances...)? If you don't, I understand. Being very new to BA, I know no one so I'm not sure if any of you get together or visit when you happen to be at the same performance. I'm not registered for the 1:40pm lecture and don't think I can make that one, but I do have a tkt to the demo 5-6pm.

I've been dipping into Nancy Goldner's fun books, too, and depending on how I feel, I may indeed take in the eve performance....

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If anyone wants a nudge in the direction of the Serenade and Symphony in C films, PM me.

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Just to let you know, there are still tickets to the free demo in Saturday- got two at the box office this morning.

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Being very new to BA, I know no one so I'm not sure if any of you get together or visit when you happen to be at the same performance.
As long as you have a ticket for the matinee, you can attend the 1:40 lecture on the right side of the Fourth Ring lobby. They'll probably offer intermission talks, too.

Enjoy it all!

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to return to the casting of the '73, Berlin-filmed SERENADE, i've now had a chance to screen this film and can state that (see full casting above) the Sonatina features Leland, Mazzo and von Aroldingen.

Mazzo is partnered by Martins for the Waltz.

Leland dances the Tema Russo (and central to the pas de cinq).

von Aroldingen shadows and 'blinds' Bonnefous as he approaches the reclining Mazzo who's fallen the stage before the Elegie.

when the 'third' leading female dancer joins Mazzo and von Aroldingen with Bonnefous in the Elegie, it's Hendl, so Leland either got injured or Balanchine reverted to a sometime variation in casting the ballet with four leading women rather than three. (Leland's hair is more reddish blonde than Hendl's but both are blonde; Mazzo is dark haired and von Aroldingen is medium brown.)

whether on their own or because of prodding by Balanchine, the camera operators frequently close in on a young Merrill Ashley, giving her some prominence amid the 17 dancer ensemble.

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Thank you, Carbro, and SimonA, I'll PM you in a day or so.

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The NYCB season got off to an excellent start. I don't have much time now, so this will be brief. Mearns was magnificent in her Waltz Girl debut. Every gesture, large or small, was full of drama and beauty. I've never seen anyone convey so much meaning simply by raising a hand to cover the eyes. Her interpretation had dramatic urgency. Even though she had been out for a period of time, all the Mearns trademarks were there- supple back, intense stage presence. Jared Angle is a very attentive partner to her. So glad to have this ballerina back with us. Megan LeCrone did very well in her debut as Dark Angel. She has been getting a lot of signfiicant roles lately, and she finally seems to be dancing on a much higher level than a few years ago. As always, Bouder's elevation as Russian Girl was breathtaking. Bouder was a marvel in Tschai Piano Concerto 2. I would have to agree w. the NY Times that this is one of her best roles. Usually I find J. Stafford to be a blank, but he was an excellent partner to La Bouder. I was also very, very pleased with Reichlin's Tschai Piano Concerto No. 2 on Wed night w. Tyler Angle. I thought Lowery looked sloppy, especially her upper body and arms, in Tschai Piano Concerto's soloist role on Tues. Tyler Angle definitely needs some improvement in Mozartiana. Some of his steps were blurred and incomplete. Other passages in his footwork were well done. At times he could not fully articulate all the footwork and still keep up w. the music. He also had an unfortunate mishap in one of his landings. I thought Sterling Hyltin started out well in Mozartiana, but I thought she seemed too coy in her pdd w. Chase Finlay. Howerver, I must admit that it was well danced in terms of showing every step of the choreography to its full effect - dancing full out. Chase Finlay looked like an eager student in his debut in Mozartiana. The choreography is very difficult to execute, and he was not at ease. (Someone bring back Damian Woetzel, ASAP!) I'm sure he'll grow into the role over time. Loved the refined elegance of Huxley in Mozartiana. .

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