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NYCB 2013-2014 season


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#46 rg

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Posted 04 October 2013 - 05:52 AM

when asked on the wing in the theater, Ratmansky told me he cut about five minutes from the original presentation of NAMOUNA, A GRAND DIVERTISSEMENT. after comparing the slightly trimmed, approx. 55-min. version's music with the initial 60 min. one, i found that the musical numbers Lalo called "Tambourin" and "Danse Morocaine" were the excised selections. 



#47 Natalia

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Posted 04 October 2013 - 05:56 AM

Thanks for confirming my feelings, rg and abatt. I felt as if something was missing but it remains a richly satisfying work on all levels - movement, music, costumes, dancing, lighting, plot, etc.



#48 cobweb

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Posted 04 October 2013 - 08:38 AM

I had never seen Namouna before, and I loved it. Wish I could see it again, but there is no way I could sit through Spectral Evidence again. If I could have walked out during this piece without disrupting the people sitting next to me, I would have. In fact, I was so dispirited at intermission that I nearly left altogether, but I had heard good things about Namouna, so thankfully, I stuck it out and left the theatre in high spirits. Like the delightful Four Seasons, Namouna is saddled with being on a program with pieces I have zero interest in (although Soiree Musicale was charming), and it's hard to buy a ticket when I know I'll be skipping half the program. 



#49 vipa

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Posted 05 October 2013 - 02:21 PM

Had my second viewing of Balanchine Black & White.  It's a program I could see again and again with pleasure.  The casting was different, and I just want to comment on a few dancers.  4T's - Ana Sophia Scheller was lovely in the 2nd variation, but I prefer the go for broke quality that Savannah Lowery brought to it.  Episodes - I like this even more the second time it saw it than the first.  I wish the company would do it more.  The first go round Sara Mearns did the "Musical Offering" movement and brought her usual lush movement quality to it.  This time it was Rebecca Krohn who was very different, but I liked it as much.  Her dancing was big, but also direct and gracious.

 

Duo Concertant - Sterling Hytin & Robert Fairchild.  They look great together.  Hyltin was wonderful. Her dancing both joyful and relaxed.  She's been a dancer that I never went out of my way to see, I didn't avoid her, but never looked for her in casting.  After seeing her in Symphony in Three Movements & Duo C, I'm changing my mind. I don't know if I've changed, she's changed or both!

 

Symphony in 3 - Who is Andrew Scordato?  I know he's in the corps, but why have I not noticed him before?  In the first movement he made his entrance with a jump that just hung in the air.  He danced the entire ballet well.  Has he been given principal roles before?

 

 

Both nights that I attended, when the curtain went up for Symphony in 3, the audience gasped.  Something about that diagonal of women in those white leotards is striking.

 

Again a great program.  Next week I'm seeing the Preljocaj piece.  I'm not very hopeful.



#50 Drew

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Posted 05 October 2013 - 02:53 PM

 

 

Duo Concertant - Sterling Hytin & Robert Fairchild.  They look great together.  Hyltin was wonderful. Her dancing both joyful and relaxed.  She's been a dancer that I never went out of my way to see, I didn't avoid her, but never looked for her in casting.  After seeing her in Symphony in Three Movements & Duo C, I'm changing my mind. I don't know if I've changed, she's changed or both

 

 

 

I don't see the company as regularly as you  do, but from my occasional viewing over the years (and having last seen Hyltin during the spring season), I think she has genuinely grown as an artist in a very impressive (and pleasurable) way...Maybe others could "see" her qualities before I did--but I also think she has really changed if only in the sense of realizing those qualties.



#51 vipa

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Posted 05 October 2013 - 05:10 PM

 

 

 

Duo Concertant - Sterling Hytin & Robert Fairchild.  They look great together.  Hyltin was wonderful. Her dancing both joyful and relaxed.  She's been a dancer that I never went out of my way to see, I didn't avoid her, but never looked for her in casting.  After seeing her in Symphony in Three Movements & Duo C, I'm changing my mind. I don't know if I've changed, she's changed or both

 

 

 

I don't see the company as regularly as you  do, but from my occasional viewing over the years (and having last seen Hyltin during the spring season), I think she has genuinely grown as an artist in a very impressive (and pleasurable) way...Maybe others could "see" her qualities before I did--but I also think she has really changed if only in the sense of realizing those qualties.

 

That's such an interesting comment Drew.  I tend to agree.  It makes me remember that an artist is never a finished product.  I'll be looking forward to more performances from Hytin.



#52 abatt

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Posted 06 October 2013 - 06:24 AM

Hyltin is definitely a more compelling artist and dancer as compared to a few years ago.  I think her dancing was always strong, but she has more stage presence and charisma now. 



#53 canbelto

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Posted 06 October 2013 - 12:01 PM

Hyltin I think was promoted too quickly. In the first few years after her promotion she was pushed into a bunch of roles and in each of them was sweet, charming, but not much more. Her dancing has much more power now -- more boldness in attack, more clarity. I still think some of her roles are a bit too coy (Terpischore for example) but she's definitely a greater overall artist.



#54 vipa

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Posted 06 October 2013 - 12:37 PM

Hyltin I think was promoted too quickly. In the first few years after her promotion she was pushed into a bunch of roles and in each of them was sweet, charming, but not much more. Her dancing has much more power now -- more boldness in attack, more clarity. I still think some of her roles are a bit too coy (Terpischore for example) but she's definitely a greater overall artist.

 

Interesting observations Canbelto.  Talk about someone who was promoted too quickly, IMO (to soloist not principal) - Erica Pereira.  I keep hoping to see her blossom, but not much seems to be happening.



#55 abatt

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Posted 07 October 2013 - 08:41 AM

In case anyone was wondering why Finlay has not been cast recently, here's the info.

 

 

http://artsbeat.blog...njury/?ref=arts

 

Not sure why this warranted an announcement in the NY Times. Dancers injure themselves frequently, but it is rarely reported on in the NY Times.  Wishing Chase a speedy recovery.



#56 ABT Fan

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Posted 07 October 2013 - 09:26 AM

Thanks abatt.  I agree that's a strange announcement.  



#57 cinnamonswirl

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Posted 08 October 2013 - 09:30 AM

I wonder if NYCB put out an announcement about his injury on its own, or if they were responding to a question. Isn't Finlay a favorite of McCaulay?



#58 abatt

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Posted 10 October 2013 - 05:41 AM

There's a wonderful article in today's NY Times which is very complementary regarding certain NYCB's dancers.  I've attached a link. Many Ballet Alert members (myself included) have made particular note of the emergence of Sterling Hyltin as an important artist in recent seasons. This is one of the topics covered in the article. 

 

http://www.nytimes.c....html?ref=dance



#59 susanger

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Posted 10 October 2013 - 10:08 AM

I'm so tired of Mr. Macaulay's snarky comments, including this one: "...there are signs that Adrian Danchig-Waring, Rebecca Krohn and Ana Sophia Scheller may be waking up to their responsibilities as principal dancers."  Does he think they've been lazy, indolent dancers who aren't dedicated to their artistry?  I just find him annoying.



#60 vipa

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Posted 10 October 2013 - 01:57 PM

I'm so tired of Mr. Macaulay's snarky comments, including this one: "...there are signs that Adrian Danchig-Waring, Rebecca Krohn and Ana Sophia Scheller may be waking up to their responsibilities as principal dancers."  Does he think they've been lazy, indolent dancers who aren't dedicated to their artistry?  I just find him annoying.

 

I so agree with susanger.  If he thinks those dancers are improving, why state it so negatively?  Also, there are certain dancers that he almost goes out of his way to criticize.  Megan Fairchild is one of them.  She is not my favorite, but I've enjoyed many of her performances.  It's almost as if he equates failing to meet his esthetic with moral failure.




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