Spring 2015

[mimsyb]

Last night was one of those nights when I was grateful to be a New Yorker and to have access to performances by the NYCB. Mearns was brilliant in Walpurgisnacht. She danced with complete abandon, but yet was in total control. This has become one of her signature roles. And who is this wonderful dancer Alexa Maxwell. Sparkling footwork, high jumps. More of her please!

I have only cloudy memories of Sonatine. I think it might have been one of those ballets that was regularly assigned to Y. Borree, so that its charms never made any impression. Well, last night w. Tiler Peck and DeLuz it made a wonderful impression.

As Amour noted, Hyltin has improved a great deal in La Valse.

I didn't notice the problems in the 2nd movement that Amour did. The only issue I noticed was in the 1st movement, with demi soloist Megan LeCrone (subbing for Krechmar). There is a portion where the demisolist must move back and the other demi moves forward. LeCrone was somehow backing up into the line of 4 corps girls behind her, who had to spread out to avoid a crash with LeCrone. Spacing/timing issue. I always smile when I hear gasps from the audience when Maria does her fully stretched arabesque penche in the second movement. I think it should be included in those tour guide books listing must see/must do events in NYC: see the Statue of Liberty, buy a deli sandwich at Carnegie deli and go see Maria K's arabesque penche at NYCB.

A great evening of dance where everyone excelled. So unlike Thursday night, where many of the dancers looked like they were trying on new clothes that just didn't fit.

Totally agree about "glad to be a New Yorker" at evenings such as this. Simply splendid in almost all respects. What can anyone say about Mearns in this role in "Walpurgisnacht"? She is beyond belief. The minute she had completed the super swift turns down the diagonal I longed to see them again! Her speed and quick silver definitions of the steps are beyond compare. And her musicality throughout made me want to get inside her lungs just to feel the exuberance of her breath! And also kudos to Alexa Maxwell who more than held up her own throughout. Brava! "Sonatine" is one of those little jewels that creeps up on you and then totally captures your heart. Both Tiler and Joaquin, simply delicious. Also loved "La Valse". Such music! And I felt Sterling had found new maturity in this role from the last time I saw her. Yes, Amar is a bit wasted here, still......

Last up "Symphony in C" was, as always, a rush of pleasure. I've sort of come to expect that Bouder will be a tad off at times musically. It's how she gets back on that's the fun! Veyette looks back to full strength. Maria, in Second, looked a bit stronger than when I saw her last season when she actually went off point during the "switch". Yes, her arabesque penches are some of the most luxurious ever! I felt Erica Pereira not totally right for Third. She's not a great jumper and her movements always looked a bit diminished to my eye. Gonzalo better than I've seen him in the past. Fourth carried the day, and the Finale was energetic and glistening. All in all a wonderful night of dance. Being an evening of "Dance France", I couldn't help but think as the evening progressed how incredible it would have been if Balanchine could have choreographed the recent "American in Paris" on Broadway. His understanding of the sex and jazz, the wit and style necessary to carry the day is what is sorely lacking in Wheeldon's work for the show. Balanchine understood the underlying "perfume" of a dance's character. Wheeldon barely scratches the surface. Balanchine would have made the world of Paris come alive and given us an emotional center.

[cobweb]

Another great night at NYCB. Square Dance with Erica Pereira and Anthony Huxley. Pereira seems lightweight, and I don't just mean her body type. She is reliable, cheery, and competent. But doesn't own and command the stage. Huxley though - wow. I used to feel resigned to his never making principal because of his size limitations. But after tonight and so many performances of great form, elegance, commitment, and musicality I will feel it's a great injustice if he doesn't become principal.

Tombeau de Couperin shows off the high level of the corps. I feel like I haven't been seeing enough of Gwyneth Muller, so it was good to see her, and others!

Stravinsky violin concerto. Amar Ramasar and Maria Kowroski looking so great this season. !!! I feel Sterling Hyltin and Ask la Cour are mismatched height wise. He keeps looking down at her and that ruins his line. In general he's not as stretched out as he should be.

No word on the matinee and Catazaro's second outing as Apollo??

[Helene]

I would have guessed that the Hyltin/la Cour heights would be similar to the Mazzo/Martins, but I've only seen Hyltin and la Cour separately.

[nysusan]

I was at the Saturday matinee. Catazaro's second performance was much better than the first - no mishaps this time and the music was played to tempo - but it was still far from a good Apollo. My friend Leena characterized it as a "Prozac Apollo" and I agree completely. Noodley, throwaway arms, blurred positions, unstretched lines and he simply does not radiate strength or authority. Not a complete disaster this time, but not a good Apollo.

I guess we've been lucky here in NY with a string of great Apollos - Hubbe and Boal were spectacular for so long, Craig Hall was great in the glimpse we got of him at a "Dancer's Choice" program, Fairchild & Finlay both made strong showings in their debuts and continued to develop the role. Then this season Danchig - Waring hit the ball out of the park on his first outings. Guess it takes a clunker to make you appreciate the great ones.

[nysusan]

I was at the Saturday matinee. Catazaro's second performance was much better than the first - no mishaps this time and the music was played to tempo - but it was still far from a good Apollo. My friend Leena characterized it as a "Prozac Apollo" and I agree completely. Noodley, throwaway arms, blurred positions, unstretched lines and he simply does not radiate strength or authority. Not a complete disaster this time, but not a good Apollo.

I guess we've been lucky here in NY with a string of great Apollos - Hubbe and Boal were spectacular for so long, Craig Hall was great in the glimpse we got of him at a "Dancer's Choice" program, Fairchild & Finlay both made strong showings in their debuts and continued to develop the role. Then this season Danchig - Waring hit the ball out of the park on his first outings. Guess it takes a clunker to make you appreciate the great ones.

Correction: my friend referred to him as a Xanax Apollo. Either way, for my money he could have used some Red Bull!

[Amour]

I think he should feel very lucky they didn't pull him after that disastrous Tuesday. Maybe Peter is an ok guy after all.

[abatt]

The only time i can ever recall Martins pulling somebody from a ballet was when his new SL was being broadcast on PBS. Darci Kistler was advertised as playing O/O. However, at the last second he pulled Darci and gave the broadcast to Miranda Weese.

It's very damaging to a person's self confidence to pull them from a role.

[rkoretzky]

Yes, but isn't it also very damaging to be given a golden opportunity and waste it? I'm very torn about this.

The only Apollo I could see this season was Saturday matinee. No Saratoga, none in the next seasons. As soon as I saw the casting I knew I had made a bad choice. I am very much a supporter of Adrian and I was thrilled that he had this opportunity, hoped and sensed that he would make the most of it. Sadly I had the 180 reaction to Zachary's casting.

After seeing the debut reviews I almost cancelled my matinee plans. Zachary must have worked very hard between Tuesday and Saturday to bring his performance to a minimally acceptable level, which is what I saw, based on the reports of a total meltdown on Tuesday. Perhaps he will further grow in the role, let's hope so, I don't think any of us wants to see someone crushed. But the growth work should be done in the studio with careful coaching so the dancer moves beyond knowing the steps, which he did, for the most part. There's a lack of partnering skills, no development between Apollo's two solos and no clear character.

For sure Mr. Balanchine frequently gave opportunities before dancers might have been ready. But this was way premature and should have been spotted before the guy was thrown onto the stage in such an iconic role. It's not fair to him, or his colleagues, or to the audience who want to see new faces, want to see our dancers succeed, but are entitled to a beyond bare bones performance.

[canbelto]

I saw yesterday afternoon's performance and I think Maria K. needs to drop the Symphony in C second movement. Her constant shakiness (including when she almost wobbled backwards) is a major distraction. Symphony in C actually IMO is a ballet that perhaps needs more vigorous coaching from NYCB. There was a lot of unexpected sloppiness from everyone.

Walpurgisnacht was great, as was Sonatine. I really also liked Sterling Hyltin in La Valse.

[rkoretzky]

Saw that program Friday night and concur on all. Did a veyette dance? There was a big bobble on Friday that looked like another injury--hoping not. Time for some new casting in second movement.

Sara can do Faust all by herself. No partner needed! And I'm adding kudos to Alexa maxwell.

[abatt]

Veyette danced on Friday night and Sunday afternoon in Symphony in C.

Both Reichlin and Mearns know the 2nd movement of Symphony in C. Still love Maria K in this role. Despite some faults, she is still breathtaking.

[rkoretzky]

Wish I could agree on that. I've loved her for years. Time to give that role up though.

[abatt]

Garcia was replaced in the thrid moviement of "C" by Carmena on Sunday

[cobweb]

I enjoyed Kowroski very much yesterday despite the wobbles. I don't really understand why she had trouble with the "switchover" when she handled the dramatic penchee in Agon so well (where her partner suddenly lies down on the floor). Unless she can beef up her technique, she's going to have to relinquish this role before too long. That got me thinking about who would replace her, and who could come close to matching her. The only current dancer who can match her for intensity and conveying a sense of interiority (can't think of a better term) is Sara Mearns. Who else? I believe Ashley Laracey would be good in the role, but I'm not clear if the company sees her as principal material, and she's not getting any younger. In general, IMHO, they should be looking to develop dancers with the ability to convey a sense of inner drama to the audience.

Re Catazaro, I am wondering how this happened. Staff must have known he was not fully prepared. As noted above, it's not fair to him, or to the audience, to expose him like this when he's not ready.

[Kathleen O'Connell]

That got me thinking about who would replace her, and who could come close to matching her. The only current dancer who can match her for intensity and conveying a sense of interiority (can't think of a better term) is Sara Mearns. Who else?

I like Teresa Reichlen in the role very much, especially when partnered by Tyler Angle. I know she's a touch too tall for him, but I think their partnership -- which appears to have been shelved for now, alas -- was among NYCB's best in terms of rapport and drama.

I didn't think this would turn out to be the case, but Reichlen has become my all around go-to NYCB Balanchine ballerina. I've come to prefer her in just about every Balanchine role she shares with someone else. I prefer a cooler style in general, however, so your mileage may vary.

[kfw]

I didn't think this would turn out to be the case, but Reichlen has become my all around go-to NYCB Balanchine ballerina. I've come to prefer her in just about every Balanchine role she shares with someone else.

She’s become my favorite NYCB dancer, although not living in New York I only see the company a few times a year and certainly don’t see each alternate cast. However she betrayed little or no “interiority,” or relationship with her partner, in Agon at the Kennedy Center a few weeks ago. Kowroski’s Symphony in C, on the other hand, was beautiful and secure.

Many thanks to everyone for all the reports.;

[Helene]

I didn't think this would turn out to be the case, but Reichlen has become my all around go-to NYCB Balanchine ballerina. I've come to prefer her in just about every Balanchine role she shares with someone else. I prefer a cooler style in general, however, so your mileage may vary.

It's funny: if you asked me in the '80's or early '90's for a list of my favorite NYCB dancers, I would not have had Stephanie Saland on my list. Until the day I realized that except for "Episodes," I can't say that I saw anyone surpass her in any of the roles I saw her dance. Equal, yes, but surpass, no. I didn't see her in some of the early experiments -- Arlene Croce said Balanchine cast her in "Square Dance" -- but I did see her a lot when she was still a Soloist and was cast prominently, like Joseph Duell and Maria Calegari, at Saturday matinees.

I haven't seen a lot of Reichlen, but I remember being impressed with her Lilac Fairy. Carabosse was going on and on and on, and she stood there, still, until she gave that little bow that cleared away the fire and dust, and I loved her Titania when I saw it in 2009.

[Razor]

Correction: my friend referred to him as a Xanax Apollo. Either way, for my money he could have used some Red Bull!

Oh MY. Poor Zach - guess he really flaked this opportunity. Good to know Adrian DW rocked it.

[vipa]

I saw Catazaro's first performance of Apollo, which was thoroughly trashed on this site, and even though I understood everyone's points I saw in Catazaro the idea of who Apollo was. I would actually go see it again to watch it develop because I truly think it will.

[DanielBenton]

Ditto Vipa. If he improves from one performance to the next as he did from the first to the second it will be quite interesting to see his development. Watching the performance on Saturday May 9, it struck me that much of Stravinsky's score is sublime, not unlike listening to Schubert. Someone once asked Stravinsky what he thought of those who said Schubert's Great C Major Symphony was too long. He replied, to paraphrase, "what difference does it make how long it is? You listen to it, then it ends, and you realize you've been in heaven". That Balanchine could put the visual gestures and movements to this as he did is, well, astonishing.

[Kathleen O'Connell]

Twenty five years from now, Catazaro will be regaling an interviewer, or a table full of donors at a benefit, or a class full of aspiring danseurs with tales from his epic fail of an Apollo debut -- what went wrong, how it felt, what he learned, how it made him a better dancer (as it surely will) etc etc etc -- and everyone will go home well pleased with a story about a fine dancer whose artistry was tempered in the fire of a very public crisis.

[canbelto]

Peter Martins always tells the story about how the first time he danced Apollo for Mr. B he got ripped a new one by Mr. B for being "wrong wrong wrong." Jacque d'Amboise has a similar story ... he says Mr. B didn't even talk to him after the performance.

[kfw]

Catazaro may have made a dumb mistake and then all but hung his head through the rest of the ballet, but it was his first shot at the ballet, and judging by people's interest beforehand, he'd earned his chance at it. It's too soon to be fundamentally disappointed in his growth.

[Helene]

As always, critics' opinions belong in the "Writings on Ballet" forum or individual dancer threads, where applicable.

Company forums are for what you think.

[choriamb]

It's funny: if you asked me in the '80's or early '90's for a list of my favorite NYCB dancers, I would not have had Stephanie Saland on my list. Until the day I realized that except for "Episodes," I can't say that I saw anyone surpass her in any of the roles I saw her dance. Equal, yes, but surpass, no. I didn't see her in some of the early experiments -- Arlene Croce said Balanchine cast her in "Square Dance" -- but I did see her a lot when she was still a Soloist and was cast prominently, like Joseph Duell and Maria Calegari, at Saturday matinees.

I haven't seen a lot of Reichlen, but I remember being impressed with her Lilac Fairy. Carabosse was going on and on and on, and she stood there, still, until she gave that little bow that cleared away the fire and dust, and I loved her Titania when I saw it in 2009.

It's funny how a dancer's bio colors your estimation, too. Neither Kowroski nor Reichlen immediately came to grips with their shared slice of "muse who refuses" Farrell roles. But as I've watched them slowly grow into them, I think I favor Kowroski simply because she had the harder journey. Reichlen is a shy dramatic presence, but her impassivity reads as a kind of contained, disdainful control: it worked as a projection of authority in both her early abstract rep and the present day. Kowroski, on the other hand, has had to turn herself from a playful or contemplative Robbins dancer into a figure of command...in more technically difficult roles, no less.

It's just fascinating that such dissimilar dancers occupy the same rep. One warm, one cool. One progressively less interesting the further you get away from her marvellous head, the other progressively less interesting the further you get away from her marvellous ankles. And on and on...