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NYCB 2013-2014 season


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#61 abatt

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Posted 11 October 2013 - 07:25 AM

I attended the Short Stories program on Wednesday.  During Sonnambula, I kept thinking about how much I miss Wendy Whelan in the lead role.  Wendy always seemed to float as if driven by a light wind.  I never got that impression with Taylor, whose footwork seemed a little too slow and plodding.  In Prodigal, Maria K. was replaced by Reichlin.  I had not seen Reichlin or Ulbricht in Prodigal for a number of years, and they have each improved in their respective roles.  Reichlin, especially, has become a more commanding Siren.  Last up was Slaughter.  Mearns was sexy and high spirited as the stripper, and Veyette did a wonderful job with his tap dancing. However, there was little chemistry between the two dancers.

 

Regardng the NY Times article, I'm glad the article made favorable mention of Lydia Wellington.  I think she has been overlooked and was disappointed that she was not promoted to soloist. She is a lovely dancer.

 

Unfortunately I will not have a chance to see Hyltin debut in Sonnambula tonight.  Reports please!



#62 Pique Arabesque

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Posted 11 October 2013 - 10:58 PM

I've been lurking in the NYCB subforum for about a month or so, and finally got to see the company live this past Thursday (10/10, "Contemporary Choreographers").

 

I think I am probably the only commenter here who actually enjoyed Spectral Evidence. I found it very musical and percussive, and especially enjoyed the PDD with Tiler Peck and Robbie Fairchild and also the opening (where the women manipulate the arms of the men in silence). However, I could see how it would be jarring to an audience that is used to classical/neoclassical ballets. (I also come from a theater background as well).

 

Soiree Musicale was fun and charming (I loved the Tango and PDD sections). I'm glad that the corps and soloists had a piece of their own, but as I've heard, that's pretty standard with NYCB.

 

I really enjoyed watching the principal women shine in Nanouma. Even though Sara Mearns narrowly avoided a fall onstage, I understand why people are so enamored with her dancing. She is so bold and explosive, and really creates a character onstage. It would be interesting to see her tackle a traditional story ballet. Ashley Bouder was also wonderful as the "cigarette girl."

 

I'm sad that the fall season ends today!



#63 canbelto

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Posted 12 October 2013 - 11:56 AM

Saw last night's delightful performance. Sterling Hyltin's bourrees were to die for in La Sonnambula, and Lauren Lovette and Craig Hall were wonderful in the pas de deux. Slaughter on Tenth Avenue was also an absolute delight. Veyette whom I don't normally like was really fun as the hoofer and Mearns was great as usual as Striptease. Her voluptuous body really works for her in this role. 

 

Prodigal was a disappointment. Ulbricht has all the jumps and explosiveness but seemed to think this was the Jester. And Maria K. seemed rather rote and routine as the Siren.



#64 atm711

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Posted 12 October 2013 - 01:33 PM

I saw the 'stories' program Friday night...In La Sonnambula Hyltin's performance lacked the depth of character which is necessary for the part....lovely bourres, thoughinnocent.gif There was not much mystery. Faye Arthur's coquette was quite good -- seductive and resentful.  The ballet, on the whole, looked a bit thin---perhaps it has been around   too long......a ballet of this type benefits from opulent sets and costumes---neither of which were in evidence.  Prodigal Son had a great performance -- from Ulbricht and Kowroski (I don't think there has  been a better Siren--)  As to 'Slaughter'....I'll take Zorina.



#65 vipa

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Posted 12 October 2013 - 02:44 PM

I attended this afternoon.  I enjoyed Spectral Evidence more than I thought I would after reading all the negative reviews.   It didn't hang together dramatically, and had it ended any number of points during the piece I would have been fine.  At the same time I liked the sections of group movement - two men, four men and 4 woman.  I enjoyed watching the shapes created, flow of movement and movement quality.  I also liked the section in which the set pieces were used as ramps.  The women going up and down gave a feeling of suspension that you can't get on a flat surface.  I wouldn't buy a ticket to see it again, but if it was on a great program I'd definitely watch it.

 

Soiree Musicale is a well constructed piece that is very slight.  I can see how as a work for SAB it gave the students nice opportunities to show off.  The reference to Apollo at the end of the Tango is nicely done.

 

Namouna - it's fun to see every cliche used in full length story ballets piled on, with no real story.  It is a little long, but still quite enjoyable.  The cast looked great, and seemed to be having a wonderful time.



#66 kfw

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Posted 12 October 2013 - 03:15 PM

I saw the 'stories' program Friday night...In La Sonnambula Hyltin's performance lacked the depth of character which is necessary for the part....lovely bourres, thoughinnocent.gif There was not much mystery. Faye Arthur's coquette was quite good -- seductive and resentful.  The ballet, on the whole, looked a bit thin---perhaps it has been around   too long......a ballet of this type benefits from opulent sets and costumes---neither of which were in evidence.  Prodigal Son had a great performance -- from Ulbricht and Kowroski (I don't think there has  been a better Siren--)  As to 'Slaughter'....I'll take Zorina.

 

Hytlin doesn't seem like the mysterious type, although New Yorkers who see her a lot may disagree. It's very interesting to read such divergent opinions of last night's Prodigal Son. Thank you, forum posters.



#67 Natalia

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Posted 13 October 2013 - 10:17 AM

I had to go back yesterday for another fill of Namouna. Ratmansky's masterwork is even more fantastic than previous viewings, due to the magnificence of Rebecca Krohn in the lead (Whelan's original role, dressed in white). Krohn is so lithe and musical, she sent shivers down my spine in her pleading solo to Lalo's 'Mazurka.'  Special kudos to the orchestra and its conductor in this piece, Clotilde Otranto! That orchestra sounded, in moments, as if it were playing in Bayreuth. I am so in awe of this 'Mighty Mite' conductor, who can bring such power and richness from an orchestra. Woman of the Year!!!

 

I also enjoyed Wheeldon's powder-puffy Soiree Musicale even more upon second viewing. This time, I mostly enjoyed Brittany Pollack in the Tango -- with umpteen men trailing after her. Beside the allusion to Apollo -- Pollack leading a 'chariot' of three male muses -- the 1950s long romantic tutus, in various hues of lilac or raspberry, certainly brought Balanchine's La Valse to mind, especially when the girls toss-up the skirts, as do the 'three tall girls' at the start of the Balanchine work.

 

A second viewing of Spectral provided even more 'evidence' that this work must die!  I feel sorry for the dancer who must wear the tights with the bloodied buttocks. Gross.



#68 tutu

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Posted 13 October 2013 - 01:56 PM

Joyful last performance before Nutcracker: Sara Mearns and Sterling Hyltin in Episodes and Duo Concertant; pitch-perfect 4Ts. Symphony in Three a bit ragged, but exuberant all round--infectious delight radiating from stage. Orchestra sounded great.

Hope all involved are celebrating--they earned it.

#69 Swanilda8

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Posted 16 October 2013 - 06:20 PM

I saw Contemporary Choreographers and Balanchine Black and White this weekend. I'm somewhat late on posting my review, but here are some of my thoughts:

 

Robert Fairchild had a hell of a weekend - he stared in three of the ballets, and was wonderful in all of them - and had a completely different character in each one as well.

 

Spectral Evidence didn't upset me as much as it's upset some people here, but I wasn't overly fond of it. I thought it worked better when it was behaving in the rather hammy gothic style (a la True Blood). But I'm not sure the choreographer would be happy to think that it might be a comic work.

 

The Balanchine's were of course danced to perfection, especially the two Stravinskys. I have to say I've never really loved Four Temperaments, and this weekend's performance didn't convince me otherwise. 

 

Full review here:

http://itinerantball...and-future.html



#70 tpc

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Posted 20 October 2013 - 01:47 PM

In Soiree Musicale, the unfurling of a line of men behind Brittany Pollack was a great quote from Tchaikovsky Piano Concerto.



#71 Dale

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Posted 21 October 2013 - 12:00 PM

I saw the 'stories' program Friday night...In La Sonnambula Hyltin's performance lacked the depth of character which is necessary for the part....lovely bourres, thoughinnocent.gif There was not much mystery. Faye Arthur's coquette was quite good -- seductive and resentful. 

 

Sorry to chime in late.

 

I agree with atm711 exactly. Somebody suggested Whelan as the sleepwalker -- I wasn't a big fan of her in this role. The sleepwalker isn't a "lighter than light" role. She's not a Sylph. She's a real woman. I was surprised Hyltin, who does have pretty burres, didn't have the balance to lift her leg higher to the side or in arabesque. Dancers in this role have been cheating the overall shapes of this part. I liked Robert Fairchild and Arthur's dancing was beautiful. Hall and Lovette stood out in the exotic pas de deux.

 

This was my first time seeing Reichlen as the Siren in Prodigal. Wow. She was icy and seductive. Serpentine. Her solo and pas deux sizzled.



#72 cobweb

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Posted 21 October 2013 - 03:54 PM

I too am chiming in late. 

In Sonnambula, I found Hyltin a little flat and kept wishing I could see Ashley Laracey as the sleepwalker. 

I saw both casts of Prodigal Son. Reichlen was "wow" indeed. The night I saw Kowroski she seemed not at her most dazzling -- but she had been replaced by Reichlen the night before, so I'm guessing she may have been sick?

Daniel Ulbricht in Prodigal -- he is a virtuoso dancer who has no real peer in the company in that department. But he's not deep as an actor, and I didn't find him at all convincing in this role. There is something about his demeanor that I find stiff and unappealing at times.I saw all three casts of Swan Lake -- so I saw Ulbricht, Troy Schumacher, and Harrison Ball as the Jester. Again, no one can compare to Ulbricht in sheer feats, but both Schumacher and Ball brought more elegance of line, and more relaxed humor and appeal to the role.



#73 California

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Posted 11 November 2013 - 04:48 AM

The NYCB Calendar just added some extra events for the Balanchine's Birthday celebration on Saturday, January 25, 2014:

Adult Movement Workshop - 11:00-12:15 - Rose Bldg. - $15 (+$3 facility fee):

NYCB dancers will lead this special movement workshop intended for adults with little or no prior dance training. The workshop will begin with a ballet warm up and then participants will learn movement combinations with choreography inspired by George Balanchine’s Concerto Barocco and Jewels.
Running time: 1 Hr. 15 Min.


On-stage demo - 4:15-5:15 - Theater - free:

Enjoy a rare, inside look at the training of a NYCB dancer during this special onstage demonstration. NYCB alumni and current artists will explore the various levels and distinct technique taught at the School of American Ballet, highlighting the audition process, pointe work, men’s class, and partnering. The program will also feature a coaching session led by NYCB’s Ballet Master in Chief Peter Martins, demonstrating how the Balanchine legacy is passed from one generation to the next.


They also list two children's workshops at 12:45 p.m. that day.


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