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Spring Season 2013


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#1 abatt

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Posted 12 March 2013 - 12:21 PM

http://artsbeat.blog...gala/?ref=dance

There will be a Queen in our midst at the Spring Gala - no, not HRH. Queen Latifah.

#2 Jayne

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Posted 12 March 2013 - 02:57 PM

but you bring up a good point - royal patronage. I will start new thread...

#3 abatt

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Posted 26 April 2013 - 08:48 AM

This is an article on the costume designs for Wheeldon's new ballets, which will premiere at the upcoming Spring Gala:

http://runway.blogs....ebut/?ref=style

#4 abatt

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Posted 01 May 2013 - 05:37 AM

Last night's performance at NYCB was a great way to kick off the spring ballet marathon, and to pay tribute to Balanchine, who died 30 years ago on Apr 30. I regard Who Cares as one of Tiler Peck's signature roles. She is electric, and her dancing w. Robbie Fairchild is especially thrilling. Peck gan an absolutely brilliant performance in terms of technical achievement, phrasing, dramatic presence and timing. I thought the new Santo Loquasto costumes for the principals were lovely, but the corps costumes were loud and ugly, without any sophistication or elegance.

The only section of Ivesiana that captured my attention was the Unanswered Question, in which Janie was held aloft, swooping in and out of Huxley's grasp. Nobody does ghostly like Janie! The rest of the ballet I found to be a total bore.

DeLuz and Fairchild have done Tarantella many times before, and they once again were spectacular.

Certainly Liberty Bell is now a Bouder signature role. She gets the humor, and boy does she get the technical challenges right too. Veyette is good, but he tends to look a bit effortful sometimes. Ulbricht led the men's regiment, and you couldn't take your eyes of his perfect jumps and spins. I can't understand why they have not given him a shot at the S&S lead with a short ballerina, but I'm happy to have such a brilliant performer as him in the secondary role.

#5 kfw

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Posted 01 May 2013 - 06:17 AM

The only section of Ivesiana that captured my attention was the Unanswered Question, in which Janie was held aloft, swooping in and out of Huxley's grasp. Nobody does ghostly like Janie!


Thanks for the review. I don't think of the woman in the Unanswered Question as ghostly, however. That would drain most of the mystery and erotic tension out of it for me. For me she may be a specific (though idealized), unattainable woman, or she may be an unreal unattainable ideal, but there is nothing ghostly about her. She isn't a spirit, or rather she isn't just a spirit.

Suki Schorer is quoted in Repertory in Review as saying "I felt Balanchine wanted mystery, something sphinx-like, Egyptian, endlessly on a pyramid. Yet I think he wanted a sexual woman there."

#6 abatt

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Posted 01 May 2013 - 06:51 AM

Interesting, because I viewed Taylor's character as completely otherworldly and spiritual (ghostly), created out of Huxley's dream or vision or imagination. I had never thought about it before, by the pyramid used to hold her up is similar to the way the Siren is brought on stage from behind the table in one scene in Prodigal, and then falls backward to be caught by the men holding her. Also similar to the way the Waltz Girl is held aloft in the final scene in Serenade.

#7 vipa

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Posted 01 May 2013 - 08:39 PM

I was there tonight and I second abatt's review of the first night, except I enjoyed Ivesiana more. I admit I didn't get the first section, but I liked the woman held aloft section very much, and really liked the "In the Inn" section with Mearns and Ramasar. It had an folksly/modernist combination that I thought was quite fun. Allegra Kent wrote that she love the handshake that happened in that section - I could see that.

I just want to add that Daniel Ulbricht was, as always a treat in Stars & Stripes. I wish there was a woman in the company short enough for him to be able to expand his rep.

I still don't get Erica Pereira. She seems stronger than she used to be, but nothing she does seems to be organic.

One last thing. As "Who Cares" started I once again found myself thinking - what a great company.

#8 abatt

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Posted 03 May 2013 - 12:09 PM

I attended NYCB last night. I enjoyed the ballroom ballet Thou Swell very much. I have not seen it for quite some time. Reichlin was ravishing. Her never-ending legs, and the manner in which she wields them in this ballet are pretty amazing. Ringer looked like she was having the time of her life out there. I thought the men mostly faded into the background, except for Robbie Fairchild who has charisma and charm to spare. Sterling Hyltin's energetic performance gave new vitality to the role that I don't recall seeing when Boree used to do that role. Of course, Mearns was uber-romantic in her duets w. Jared Angle.

Tiler Peck gave another breathtaking performance, this time as the lead in Carousel. It's not merely her technique. Even when she is standing still she can speak volumes. Veyette danced his heart out as Billy Bigelow, but I didn't detect any of the dark menace that used to be there when Woetzel originated the role.

Speaking of never ending limbs, Maria K. was sexy as she strutted and high kicked in Slaughter. I think Tyler Angle could use a refresher in tap.

#9 angelica

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Posted 03 May 2013 - 01:21 PM

I also attended NYCB last night and thoroughly enjoyed Thou Swell. The principal women were beyond ravishing. Watching Jennifer Ringer, I couldn't help but think "one too many sugarplums," indeed! How rude of Alastair Macaulay to insult this beautiful dancer! Every one was a marvel. In Slaughter on Tenth Avenue, Maria Kowroski was magnificent, with her gorgeous long limbs making breathtaking extensions.

Sorry this is so brief, but I just want to say that if you can get tickets for this program before the season moves on, I urge you to do so.

#10 canbelto

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Posted 05 May 2013 - 07:59 AM

I saw the all-Balanchine program yesterday afternoon. I hate the Santo Loquasto costumes for Who Cares? but thought that Fairchild and Peck were glorious in "The Man I Love." I liked the "dark" parts of Ivesiana very much, but was completely turned off by "In the Inn." Fairchild and Carmena were delightful in Tarantella. Bouder, Veyette and Ulbricht were fantastic in Stars and Stripes. What a great company indeed.

#11 vipa

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Posted 05 May 2013 - 04:53 PM

I was there for Sun. Matinee (BTW the atrium was selling discount tkts on Saturday for Sat. Mat, Sat. Evening & Sun. Mat.)

It was my first time seeing "Thou Swell." The principal's looked glamorous and danced well. Apprentice Claire Von Enck continues to be a stand out in the corps. As for the ballet - I didn't hate it, probably because the dancers are so good, but I had a problem with the Martins' choreography. The steps have no breadth - guess I mean there is no space around the steps. It's almost as if Martins doesn't trust anything to have impact, so he just moves along filling the music with steps. He came up with some nice lifts, but over all for me, the whole is less than the sum of it's parts.

Carousel was danced by T. Peck and A. Veyette about as well as it can be danced. I enjoyed it, but I think this is one of those works that is best on first viewing.

Slaughter was the surprise for me. I hadn't seen it in many, many years and was surprised by how delightful it still is. The whole construction really works. Kowroski is both beautiful and hilarious - a hard thing to pull off.

I was with a friend who has seen very little ballet, but is an fine, fine musician. He loved Slaughter but in the other works found the music "too thin."

Canbelto - thank you for the link to your blogspot. I really agree about Erica Pereira.

#12 Natalia

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Posted 06 May 2013 - 04:45 PM

I saw the all-Balanchine program yesterday afternoon. I hate the Santo Loquasto costumes for Who Cares? but thought that Fairchild and Peck were glorious in "The Man I Love." I liked the "dark" parts of Ivesiana very much, but was completely turned off by "In the Inn." Fairchild and Carmena were delightful in Tarantella. Bouder, Veyette and Ulbricht were fantastic in Stars and Stripes. What a great company indeed.


ITA with virtually all you write, canbelto!

Just back from 4 days at NYC and am about to go on a biz trip, so I'll be brief.

Who Cares? - The right question is: "Who is the moron who decided to change the costumes?" The old Ben Benson designs were so glittery, flirty (those swishy skirts!), and glamourous. The corps now seem to be garbed for a working rehearsal. The soloists had tiny bits of glitter but nothing like the originals. The new colour pallette is garish. LUCKILY...what matters the most -- the dancing -- was terrific. Tiler Peck and Robert Fairchild are very fluid and charismatic.

Ivesiana - My first time seeing this full work. I was impressed - haunted by the gorgeously eerie music of the three 'dark' segments. Ashley Laracey was (is) so gorgeous in the first segment, Central Park in the Dark. Janie Taylor (and her amazing long blonde mane) totally owns Unanswered Question. In the Inn? Well, I'm a fan of both Mearns and Ramasar but this seemed like a silly ragtime...just like Farrell's Ragtime (II) bon-bon. The sublimely eerie mood returned for the brief final segment, In the Night.

Tarantella - Megan Fairchild and Antonio Carmena aren't usually my faves but they totally rocked this ballet!

Stars & Stripes - WOWIE, that was FUN! The soloists were all fantastic -- pert Erika Pereira, saucy Savannah Lowery, 'the human comet' Danny Ulbricht, and the sassy perfection of Ashley Bouder and Andrew Veyette -- but the greatest kudos go to the corps de ballet. Their short season in DC and what I just saw in NY confirm my belief that, at this moment in time, they are America's grandest and most unified corps de ballet. BRAVI!

p.s. - Is it just me or has Veyette recently become even better - now dancing at the very highest levels (Woetzel and Hubbe quality)? I've admired him in recent years but his elevation, turns (Cuban style wind-downs), panache (characterization), partnering, etc. now make me think of him as one of the world's best male ballet dancers right now. Loved him in Carousel - A Dance, too, in the Robbins program. Is he always this great? I'm dumbfounded - pleasantly surprised.

#13 vipa

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Posted 06 May 2013 - 05:07 PM

p.s. - Is it just me or has Veyette recently become even better - now dancing at the very highest levels (Woetzel and Hubbe quality)? I've admired him in recent years but his elevation, turns (Cuban style wind-downs), panache (characterization), partnering, etc. now make me think of him as one of the world's best male ballet dancers right now. Loved him in Carousel - A Dance, too, in the Robbins program. Is he always this great? I m dumbfounded - pleasantly surprised.


Funny you should say that Natalia. My husband and I have just been discussing Veyette's development. We agree with you. The last Theme & Variations we saw him in was terrific, as has been so many other ballets. He a broad range, is a great partner and has great technical prowess. He's become a favorite of ours.

#14 abatt

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Posted 09 May 2013 - 06:12 AM

I attended last night's gala. It seemed low on celebrity wattage this season, in comparison to recent galas. Valentino was in attendance.

I thought Soiree Musicale was pedestrian and bland. I know it premiered at SAB, but it looked like it should have stayed as a student enterprise. It was all very pretty, but instantly forgotten. There were ZERO curtain calls for Soiree Musicale. A Place for Us at least had sophisticated choreography, but I didn't feel that it all added up to much. Granted, the music was very knotty and not very amenable to dance. Not sure why Wheeldon chose this music. This was not Wheeldon's finest hour.

The first half of the evening concluded with Veyette leading the ensemble in Cool. Maybe they should have asked Latifah to step in to sing Veyette's vocals from the side of the stage.

The second half started with the final section from Glass Pieces, which was very well done. Next we had Latifah singing the Man I Love while Ramasar and Hyltin performed. There was no chemistry between the two dancers. It looked nothing like the dramatic miracle that Peck and Fairchild gave us last week in the same roles. Latifah sang well, although I can think of a lot of other singers who probably would have brought more depth of interpretation. By the way, NYCB has already dumped the Liberace sequined vest worn by the male lead in Who Cares and substituted with a simple black shirt with suspenders.

Last up was a fantastic performance of the pdd and final movement of S&S. Veyette took a spill on an exit, but other than that it was flawlessly performed by all.

#15 mussel

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Posted 09 May 2013 - 10:01 AM

Gala red carpet coverage.


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