NYCB at SPAC
Posted 11 July 2001 - 06:58 AM
No surprises here: the standouts for me were Jennie Simogyi (Hippolyta), Albert Evans (Puck) and Peter Boal (Oberon).
Jennie is an amazing dancer. To be completely picky, her fouettes traveled a bit more than I would like to see, but her legs are steel and her grand jetes are huge!And she is able to make the transition to lyricism in the second act.
Albert Evans--well what can you say? He is a devil in this part. And Peter Boal has the cleanest and purest technique. He soared across the stage. He is an absolute joy to watch.
Tonight is a repertory program. See you later or tomorrow morning!
Posted 12 July 2001 - 07:23 AM
It was a repertory evening. I thought the programming was ingenious, in that it was comprised of a lovely, elegant opener, a complex middle piece, and a rousing finale. Parenthetically, the way the program currently stands, Saturday evening begins with 4T's. I don't know about that....
Divert #15: After all the talk here I was eager to have a look at Carla Korbes and was I ever NOT disappointed! In the turning sequence where she is paired with Yvonne Borree, well, let's just say that if one didn;t know who the principal was, one would likely guess Carla. I am sorry, I hate to be mean, but I enjoyed Yvonne as a soloist, and feel that she has become lazy and unmotivated as a principal. And I BEG that Carla not be overused this season so that she can stay uninjured. We have seen this happen so many, many times.
Divert is so sparkling and elegant. It is perfect to raise the curtain and last night was a lovely interpretation of the Mozart music. I felt it got off to a bit of a sluggish start, but quickly picked up and built to a magnificent andante and finale. I noticed some unusual tempi, though--some variations seemed v-e-r-y slow, and others were a bit fast. It was Hugo on the podium.
Four T's. I adore this music, keep the CD in my car player, and was eager to see the ballet after several years absence. Again I was not disappointed. For me, the standout was Peter Boal, who gets better each year! At the end of his variation I was almost in tears, he conveys a broken heart to me. And Albert Evans, who I have seen in this role so many times, never stops amazing me. It is as if there are no bones in his body, only stretchy sinew. I would also like to single out Jennifer Tinsley in the third theme. I thought she was magnificent. Could we PLEASE see Jennie Somogyi in Choleric?
And the Four Seasons: it is just so much fun, how can you not love it? In Winter, I thought Janie Taylor gave a controlled performance, I know that she can be a bit wild. To pun, though, it left me a bit cold. And Rachel Rutherford in Summer, was on fire. Please, a promotion for Rachel. This is overdue and very deserved. She is one of the most giving dancers: everything she has is offered to the audience.
Spring: I can not do justice in words to Jenifer Ringer. She is my current favorite. The joy that she expresses in her dancing cannot be measured. To think we almost lost her to ballet!
and Fall: When I saw Seasons in NY in May, Damian was completely out of control. He was sliding all over the stage (in fairness, I think it was very slippery that night, there was a lot of slipping going on), traveling in his spins, wild. Last night he was wonderful. He did come down hard on his knee and I hope he was not injured. He was very steady and did all his usual tricks. Ben Millepied was a perfect foil for him, and in my husband's words "they stole the show".
Today a double bill of Misdummer. I'll be back tomorrow to compare casts.
Posted 12 July 2001 - 01:38 PM
Posted 12 July 2001 - 03:26 PM
Posted 12 July 2001 - 04:47 PM
So Juliet- oh yes we will have four Titanias, one for each of our Midsummers. We had Darci Tuesday night, Carla this afternoon, Maria tonight and Wendy tomorrow night.
Darci was radiant. I was thinking about how Titania is so much an adagio role--she was perfect in those s-l-o-w, stretching passages. Her back is beautiful. I loved watching her.
Carla is a very young and impetuous Titania. I thought she was gorgeous, too. I have to add here that because matinees at SPAC are very hectic, due to my job I wasn;t able to watch every minute. I did make sure to see my favorite sections though.
The Act II divertissment, surely among the most lovely choreography and music in the world was danced beautifully both times, today by Miranda and Philip and Tuesday by Wendy and Jock.
Back tomorrow with more stuff--I'm now running late, as usual. Thanks for reading!
Posted 14 July 2001 - 10:04 AM
As I expected, I am busy enough with my two jobs so that it is difficult to post after every performance. I will keep trying though.
Met the first Ballet Alerter last evening, and as it turns out, I know his parents. The rest of you, don't be shy! If you're here, introduce yourselves.
So after four Midsummers:
Hippolyta: Monique is incomparable. I enjoyed Jennie both times, found Jenny Blascovich was just not "enough" (big enough, attacking enough, fierce enough), but Monique was stunning. She is not my favorite dancer, but in this part no one can touch her right now.
Titania: Darci was radiant and regal, Carla was youthful and delightful, and Maria (twice: a sub for Wendy last night, hope everything is OK) was, in my opinion, perfect. She was all of the above and more. Every time I see her, I think of what Balanchine would have thought of this wonder.
Oberon: Peter Boal continues to knock me out with his perfection of technique but here he is a master of characterization as well. Last night Damian was well-controlled and really fun to watch. I don't always enjoy his tendency to wildness and showing off.
The divertissment: Wendy and Jock were from another world in the first performance,a nd they took us there with them. After that, no other performance quite took me to that level, although I found Miranda and Philip very lovely and Darci was beautiful--although as her partner, Nilas, left much to be desired, as usual. He just looks so miserable up there. And, again I don't like to be mean but Margaret (not a favorite of mine) and Nikolaj (yes a favorite of mine)were flat and, frankly, boring. The music is sublime and the choreography is so lovely that it is painful when this pas is not given full justice.
Puck: I liked all of 'em and saw positives from everyone, but just let me say: ALBERT.
My favorite part, even more than the Act II divertissment, is the pas between Titania and her cavalier. special words for Charles Askegard who was perfect. And special words for James Fayette as Bottom, too.
Now I am late again. Off to the matinee. I'll be back.
Posted 14 July 2001 - 10:22 AM
Posted 14 July 2001 - 05:45 PM
So--Divert with the same cast as Wednesday except Abi Stafford for Jennie S. It was fine. I love the music and the choreography fits it nicely, but the only part that I truly love is the Andante. Divert is another ballet, I think, like La Source, that is much much harder to pull off than it looks. I will say that stylistically it was done very well.
4Ts with Alexander Ritter for Peter Boal and Jennie for Miranda. Every time I see this ballet I love it more, and every time I hear the music I long to see it. If you don't have a recording, I highly recommend the NYCB Orchestra recording made years ago with Robert Irving conducting. I bought it at the Tower in Lincoln Center as a CD reissue.
Anyway Peter Boal is much superior to Alexander, but Alexander was fine. As much as I like Jennie (and I do, very much) I didn't think was a good performance for her. The three themes at the beginning were outstanding, as they were Wednesday nights. No complaints about any of them, only kudos.
Brandenburg: I know this music very well and thought the orchestra sounded just wonderful. I had seen it in NY in January and thought the orchestra sounded ragged and unrehearsed--even unprofessional in spots. I also thought the dancing was much better than in NY, and especially liked the ensemble in Concerto #1 (the third section). All currently corps members, although some are on the way up I think, and rightly so, they pulled this section off wonderfully, and each couple shone in their solo moments.
Heading back to SPAC now. Later!
Posted 15 July 2001 - 07:27 AM
rkoretzky has already indicated beautifully many of the details of the Friday evening and Saturday matinee performances. Just to re-enforce her perspective, Evans is pure JOY to watch!! His movement is what I think of in picturing perfection of human movement. Such a contrast in his emotional involvement and his own obvious enjoyment in his movement and his expression of feeling compared to Nilas. "Dream" was a pleasure to watch, the Mendelssohn perfect for a dream-like summer's evening in Saratoga, and the dancers adding on the spectacular layer of beauty for the eye. Evans's Puck was definitely out of this world, Damian was ok as Oberon (in my opinion), but there is always some detachment (?, can't find the right word) I sense in his perfomances, though I like his "pyrotechnical" dancing generally. I also agree that Meunier danced Hippolyta to perfection. I have never been a big fan of Wendy Whelan, and I am a big fan of Kowroski so was not too disappointed in the Titania role on Friday. For the first time seeing "Dream" it's a bit of work to keep couples and dancers straight in the opening parts of the first Act, particularly not knowing NYCB dancers by sight that well. But I guess that's what Shakespeare had in mind.
Unfortunate I didn't get to see Whelan however, since I think I need to watch her dancing from a different mind-set than I have in the past, and I was gearing up to be more attentive to her.
Corps was lovely in everything over the weekend.
Re: "Polyphonia", it's too bad again that this was not done at Sat. matinee, I was interested in broadening my experience of choreographers. But 4T's was not at all difficult to accept in substitution. This really must have been greeted with amazement in 1946!! Particularly liked Evans again in Phlegmatic !!, Somogyi and Askegard worked very well for me, and I always like Meunier's dancing (Choleric). 4T's, for what it represented at the time it was made and for how it still resonates, will surely be in repertory forever.
"Brandenburg" makes me a Robbins admirer (not real familiar with his work)!! In particular, I am first drawn in to real appreciation of this ballet by the Bach music, especially the tempo, the allegro sections are really enjoyable and the flow of dancers was spectacular. Hubbe and Weese in the Concerto 2 Andante were my favorite duo in this. Agree again too that the third part "Menuetto - Polacca" was very beautifully danced by the ensemble group, all of whom are lovely young dancers. This one held my undivided attention throughout.
Saratoga in summer is a GREAT place to see GREAT ballet!!
Posted 18 July 2001 - 07:14 AM
Cortege Hongrois is a rousing and attractive closer. All four of the principals looked good - strong, graceful Albert Evans, Kathleen Tracey, Charles Askegard and Monique Meunier. The same cast will be back Thursday and I'll be happy to see it again
Posted 19 July 2001 - 08:16 AM
Posted 19 July 2001 - 09:03 AM
Thanks so much for coming over to chat--please do so again today or tomorrow, and I do hope you've enjoyed your visit to Saratoga.
Thanks even more for the compliment re: technical expertise. I don't consider myself to be an expert in any fashion--just a long-time watcher. I enjoy reading your comments as well.
Now--as to Tuesday night. From my perspective as a SPAC house supervisor, it was a BAD night. There was a medical emergency, which is always upsetting (and sirens are LOUD)during Ash, and I had problems with a group of rowdy kids (ballet students, no less) during Dances. By Cortege, I was pretty exhausted. But I'll give a few impressions.
Dances at a Gathering is, if not my favorite ballet, certainly on my short list--top 3 anyway. Sadly, the fact that I was sitting with this group of kids really detracted from my pleasure. During Cortege, I don't know that it would have mattered so much, but Dances is so quiet and introspective that, for me, once I lost my concentration I wasn't able to fully regain it. I was able to see sections of it yesterday afternoon at an open rehearsal for SPAC members (a great perk if there ever was one)and I hope to be able to give it more attention this afternoon and tomorrow night. I will say though, about Tuesday evening, and I have said this before, Peter Boal is the consummate danseur. The opening sequence took my breath away. Any time that the stage is graced by Helene is a time to celebrate. Maria is darling in green--I think she is perfectly suited to the part, but I so wish that there was more to it than the two little solos. More Maria, please! Bobsey, I know you enjoyed Yvonne in pink--I am sorry, I can still see Patty McBride there and the comparison is very sad.
Cortege Hongrois--Monique was a fantastic haughty princess in the tutu role, but I would prefer to see her in the character part. I think it is more suited to her. In my opinion, the dancer who may have grown the most over the past year, is Charles Askegard. Last summer, I had a sense of unease watching him--he always seemed a little goofy--not a very technical word but it is the best I can come up with. Now I would describe him as "noble". Bravo! Albert Evans was wonderful as usual, and Kathleen Tracey (not a favorite of mine) showed more fire than I would have expected.
So, because I came home Tuesday night feeling somewhat out-of-sorts, I was worried that I wouldn't enjoy the rest of the ballet season. A very stupid and neurotic worry, I might add, chalk it up to being tired.
Because Wednesday night made up for Tuesday. It was a "night off" for me, meaning that I wasn't working at SPAC. So where was I? WATCHING at SPAC, of course! We only have three weeks! My daughter and I had excellent seats.
The evening did not get off to an auspicious start, beginning with a lackluster performance of Stravinsky Violin Concerto. Because my daughter is a violist and I am a viola-mom (my handle on another bulletin board, fyi), we contented ourselves with listening to and watching Guillermo Figueroa play the concerto--a masterpiece of composition and played beautifully.
Yvonne, again. I do wish the powers that be would realize that Yvonne's resemblance to Kay Mazzo is all on the surface. Yes, when she comes forward in the opening sequence, you can almost imagine for a moment, that lovely Kay is back with us. Those of us who saw her in that role know of what I speak. But once Yvonne begins to dance, you realize that she is all wrong for the part--she has no sharpness and attack in the parts that require that edge, and she has no softness and sweetness in the gorgeous Aria II. She just looks floppy.
At intermission, we met up with some friends and decided to play the "let's recast" game. So tonight we will compare notes on our ideal casting for Violin Concerto, and I'll fill you all in tomorrow.
After the so-so Stravinsky, the evening took a marked turn for the better. I just loved Soiree, although it looked considerably under-rehearsed, especially in the last section and especially by the men, none of whom impressed me. Janie Taylor, not my favorite, dazzled in her part and Carla Korbes was exquisite. It was not a good evening for Ashley Bouder; she started out beautifully but there was a minor disaster with the strap of her costume, and then perhaps an injury? she didn't come out for the last section or the curtain call. I was anxious to have a close look at her since she exploded on the NY season, and didn't really have the opportunity. I certainly hope she is not injured.
My favorite aspect of Soiree was those delicious tutus for the girls. Brava Carole Divet! They looked like rainbow sherbet. The choreography is reminiscent of Robbins--youthful, exuberant.
The evening closed with the best Four Seasons of our season. The first three sections had identical casting to previous performances, with Rachel subbing for Helene in summer. Fall was incredible. I love Miranda (I love Wendy, but in this part I love Miranda more). Benjamin M. seems to be in a one-ups-man-ship contest with Damian. Last night Benjamin was the clear winner. He did not include the "Baryshnikov" hops, but he did an ADDITIONAL sequence of double turns that I have never never seen before. Perfectly. Antonio Carmena repeated the great performance in New York that I saw in May.
All in all, a wonderfully satisfying evening. Back later--two shows today!
Posted 24 July 2001 - 05:56 AM
Posted 24 July 2001 - 06:54 AM
It was interesting rummaging through programs my folks had saved of NYCB's first season at SPAC. Hippolyta that season was Gloria Govrin. I wonder if Meunier gets tired of being compared to her?
Anyway, the two performances of Cortege I saw were heavenly. Yes, it's a bit of a large and messy ballet in some ways, but the music is divine, and the Karinska costumes (white and green like the Hungarian flag) are delights. Notice the coins sewn into the bodices and headpieces of the "classical" ballerinas?
For a corps with a reputation of being sloppy, NYCB's corps was not only remarkably together here, but did a fine job with the folk-dancing steps. Clearly they've benefited from some serious coaching. It's hard to single out individual corps dancers, but I found myself appreciating Darius Crenshaw (a fine and underrated dancer) more than ever before.
Leading the folk-dancing contingent in the czardas, Kathleen Tracey and Albert Evans were wonderful, high-kicking, high-flying and looking as if they were having the times of their lives. Tracey continues to look rejuvenated and energized here -- just give her boots, bells and ribbons and get out of the way! Evans, as always, threw himself into his part with joy and passion, especially in those killer drops to the knee.
I'm not sure I'd rather see Monique Meunier in the character part here. We already know she's dynamite in this sort of thing (she rather owns the last movement of Brahms-Schoenberg these days). What I loved here was just how grandly she made this grandest of all ballerina roles. I don't think any other City Ballet ballerina uses her upper body as well as Meunier, as shown in her regal carriage, especially the dramatic "I-am-a-princess" poses, and revolving, circular bourrees with arms outstretched before her. It's interesting how Balanchine first shows us a wealth of character steps in the czardas, then uses them as the building blocks for Meunier's brilliant classical solo. The leg-kicks, heel-clicks, grand posturing and pacing, it's all there. It's part exposition, part playfulness, part boasting, as if he's saying "Look what I can make of this!"
Again, Charles Askegard partnered Meunier magnificently, and was equally sensational in his own solos, especially a combination where he must repeatedly complete a big cabriole to the front by landing in a deep plie with his working leg remaining raised far above horizontal, and holding the pose for a beat, in perfect time to the music (it's that czardas leg-kick, transformed yet again). I also loved the way, in one of the fast bits near the end (this ballet has about a half-dozen codas, it seems) he finished a brilliant serious of pirouettes a la seconde by immediately rocketing offstage with a big, booming glissade-assemble combination. No time to pose prettily, as the corps guys were thundering down on him, and it was either lead or get trampled (you gotta love the way Balanchine tossed masses of dancers around the stage).
More later, if I can.
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