Jump to content


Jewels: September 26-27; October 2-6


  • Please log in to reply
35 replies to this topic

#31 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,248 posts

Posted 17 September 2014 - 11:16 AM

Casting is up for both weekends (as always, subject to change):

http://www.pnb.org/S...Jewels/#Casting

 

There are a lot of major debuts, more than dancers reprising their roles:

 

In Emeralds:

  • Elizabeth Murphy, Margaret Mullin, and Leah Merchant in the Verdy role  (and Carla Korbes)
  • William Lin-Yee, Joshua Grant, and Steven Loch in the Ludlow role

 

  • Margaret Mullin, Amanda Clark, Kyle Davis, Jahna Frantziskonis, Leta Biasucci, Price Suddarth, Brittany Reid, Eric Hipolito Jr., and Carli Samuelson in the Pas de Trois

 

  • Lindsi Dec, Laura Tisserand, and Elizabeth Murphy in the Paul role
  • Charles McCall and Eric Hipolito Jr in the Moncion role (and Karel Cruz)

 

In Rubies:

  • Leta Biasucci, Angelica Generosa, and Jahna Franziskonis in the McBride role (and Lesley Rausch)
  • Jerome Tisserand and Matthew Renko in the Villella role (and Jonathan Porretta and James Moore)

 

In Diamonds:

  • Lesley Rausch in the Farrell role (with Carla Korbes, Carrie Imler, and Laura Tisserand)
  • William Lin-Yee and Jerome Tisserand in the d'Amboise role (and Batkhurel Bold and Karel Cruz)

 

MIA: Seth Orza (knee surgery), Rachel Foster (having a baby), Kylee Kitchens (having a baby).  Maria Chapman had a daughter in July, but won't be back in time to reprise her radiant "Emeralds" (Paul role) sad.png

 

Benjamin Griffiths, Kiyon Gaines, and Sarah Orza are the Soloists who aren't listed for featured roles.

 

Attached File  PNB Jewels Sep-Oct 2014.xls   35KB   3 downloads



#32 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,575 posts

Posted 17 September 2014 - 03:41 PM

Oh this is a lot to think about!



#33 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,575 posts

Posted 17 September 2014 - 04:15 PM

I had to miss the Diamonds coaching session with Jacques d’Amboise, so was very glad that I could make it to the session on Emeralds.  Violette Verdy and Mimi Paul were here a few years ago, and I got to see them in action back then, so it was a particular treat to see their work again.

 

The studio was pretty crowded, both with dancers and observers.  When PNB first started offering these kind of events, attendance was erratic, but they’ve really started to catch on in the past few years.  We saw (no particular order) Carla Korbes, Joshua Grant, Elizabeth Murphy, Lindsi Dec, Eric Hipolito, Stephan Loch, Price Suddarth, Margaret Mullin, William Lin-Yee, Jerome Tisserand, and Karel Cruz at various times, with several other company members watching from the balcony upstairs.

 

They started with Mimi Paul, working with Lindsi Dec on her solo, with Elizabeth Murphy doubling behind.  Paul is very soft-spoken – we really cannot hear her comments at all, but instead have to infer what she says based on Dec’s responses.  It’s an interesting kind of detective assignment.  Paul seems to be asking for more torque all around, in the torso, in total body shapes, and particularly in open positions.  She’s also asking for more pliancy in plié, especially articulating the waltz tempo – a couple of balances got very lush in the process.  Paul also seems to be concerned about the specifics of timing (no surprise in a Balanchine work) – she claps the uneven rhythm of a precipite, and Dec starts to make a much more nuanced phrase out of what had been more undifferentiated waltzing.  In general, Dec is a very sunny dancer – even when she’s doing something more harsh or fierce (like her Myrtha) she has a fundamental equilibrium.  Her challenge is to take the longer way around, and find the subtle variations in the work.

 

Verdy doesn’t seem to be able to keep from working – she sneaks around behind Paul and Dec, and keeps tinkering with Korbes’ hand gestures, with Mullin and Murphy doubling.  Finally it’s her turn to work in the big space, and it’s still all about the hands – they initiate, they lead, they articulate the main timing and the filigree.  She’s louder, and she’s working with more than one person, so we can hear what she’s saying.  In a funny way, she seems to be almost separated from the hands – it’s like she’s flirting with them.  I used to think that Louise Nadeau had extra joints in her arms in this solo, and I can see where that came from here – people like to say that Balanchine didn’t really like big port de bras, but they sure weren’t thinking of this solo. 

 

She’s very specific about the tilt of the torso – it looks like a true Romantic silhouette with the cantilever affect from the hips.  And indeed, with one moment where the hands are both at the small of the back, it looks just like Giselle or Sylphide.  She tells them to really “lean away from your jiggling leg (in a ronde de jambe a la second).  Interestingly, she encourages them to speed up some preparations in order to take the main action more slowly – “more mellow,” “you can really splurge on this port de bras.”  And back to the flirting image from above “you don’t do it to your arm, you arm does it to you.”  I ask “what is my arm doing?”  “You don’t make it happen – let it become.”

 

Paul worked with Dec and Cruz on the walking duet – they seemed to be having some trouble with handholds, but I don’t think it was serious – Dec said a couple of time “but this worked earlier today.”  Paul seemed to be asking for more torque and tilt, as earlier with Dec alone. 

 

Verdy had another turn, this time with Korbes and Grant on the duet (with Loch/Merchant and Lin Ye/Murphy behind them)  One of her first comments was “don’t clutch hands” – she’s really interested in the lightness of it.  Korbes was fully involved as a performer – the rest seemed to split their attention between doing and listening to Verdy.  Even though there’s no “official” story in the work, Verdy sees it as full of relationship – “make an escape and stop” before “a little situation.”  “It’s yes, no, yes, not – and then a completely different mood – he has turned you.”

 

There was time for a short Q/A at the end of the session n—Paul and Verdy talked about first meeting (Paul was only 12). 

 

Q – what has changed in the work?

A – (Verdy) Balanchine was “adaptable” – he wanted dancers to be comfortable, and so was open to changes.

(Paul) described the changes he made in the her solo that she put back in the last time she was here.

(Peter Boal) reminded us that the second duet was added later, along with the final scene which “ends on a brighter note”

(Verdy)  commented that Balanchine had the music for that duet “in his pocket” since his time with Diaghilev – it just took until the 1960s to make something with it.

Q – how are dancers different?

A – (Verdy)  they are dedicated, but more knowing (I think she meant more aware of the world altogether) know what they are doing, making decisions for themselves (rather than guidance from director)

And later, Verdy commented that Balanchine was not possessive about his work – he thought he was at the service of the dancer’s skills.



#34 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,248 posts

Posted 20 September 2014 - 08:32 AM

Thank you so much for the description, sandik! I wish I could have been there.

 

PNB just tweeted a link to Jessika Anspach's blog entry about being in the corps for all three ballets:

 

http://www.4dancers....faceted-ballet/



#35 sandik

sandik

    Rubies Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 4,575 posts

Posted 20 September 2014 - 10:31 AM

Thanks so much for the link -- I thought this comment

 

"All the costumes are designed by the same woman – the fabulous Karinska, and thankfully there’s not a single hair change during the performance… I think."

 

was great.  We hear lots of discussion about the travails of shifting from pointe to flat to bare feet and back again, but we don't think as much about the challenges of costumes.



#36 Helene

Helene

    Administrator

  • Administrators
  • PipPipPipPipPipPipPipPip
  • 11,248 posts

Posted 24 September 2014 - 03:09 PM

I remember Francia Russell once describing having to do two (or three?) roles in "Symphony in C" and having to tear out the headpiece between movements.

 

PNB is having a 48-hour sale -- since it was dated today, through Friday:  20% off tickets to the first five performances of "Jewels" (Friday and two Saturday performances first weekend and Thursday and Friday second weekend):

 

https://www.pnb.org/promo/diamonddeals

(Use this link or call 206-441-2424 and mention "DiamondDeals")




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):