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2016 Winter Season


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Looking at the "Agon" video with Diana Adams, it becomes clear that big extensions in the role, particularly the pdd, were not part of the original but developed over time.

It seems that certain individual flourishes get baked into a role over time and are eventually assumed to be de riguer -- such as touching the head to the knee in penchée in the "Symphony in C" Adagio, for instance, which is something Allegra Kent didn't bother with in this performance, at least.

The same thing happens in opera; someone interpolates a high note or two into an aria and a decade later singers who don't include them are deemed inadequate.

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And ugh, if they cast Miller in Diamonds instead of someone like Laracey then there must be something weird in the water there. :(

Please no Miriam Miller in Diamonds! I was wondering about that too. She is just *too young* and *not ready.* They're not doing her any favors by throwing her into these super high profile roles before she is even close to ready.

I forgot to say how much I enjoyed the good humor, charm, and verve that Troy Schumacher brought to Gigue in Mozartiana. (Not sure, but I think it was his debut.) I wish Anthony Huxley would relax more in the lead.

Almost time for next year's programming to be announced. My requests: Ballet Imperial (please!), Mozartiana, Liebeslieder Walzer.

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It seems that certain individual flourishes get baked into a role over time and are eventually assumed to be de riguer -- such as touching the head to the knee in penchée in the "Symphony in C" Adagio, for instance, which is something Allegra Kent didn't bother with in this performance, at least.

The same thing happens in opera; someone interpolates a high note or two into an aria and a decade later singers who don't include them are deemed inadequate.

I believe the touching the head thing in Symphony in C started with Suzanne. She mentioned it in her autobiography. I don't remember exactly how it happened but Balanchine was rehearsing it and wanted something to fill out the music and she put her head to her leg. It got the Balanchine seal of approval!! I don't know if anyone can be more exact. I can't find my copy of the book.

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Well while we're on City Ballet wrap-up I was shocked at how out of shape Robert Fairchild looked yesterday in Agon.

Yes, I thought that also. A bit "chunky" perhaps. And stylistically he seemed out of sorts with others on stage. Still, for me anyway, it was a lot better to see him dancing Balanchine than in that dreadful "American in Paris".

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I'm not really an Ashley Isaacs fan, either -- she has a habit of scrunching up her shoulders and looking like she has no neck. Her Choleric was disappointing -- first, I don't like short girls in that role (even the amazing Ashley Bouder). Not only do they not stand out from the rest of the dancers, but the part where the guys have to duck under their arabesque is just awkward with a shorter girl. Ask la Cour had to really try hard to scrunch down to get under Isaacs's leg, and he still managed to bang his arm into it. I understand if it was her debut but to me it just destroys the effect when the dancer has to put her hand down on the stage to steady herself -- not once, but twice -- on that whirlwind Choleric entrance. Tess was amazing as Choleric on Saturday -- AND she has the most breathtaking, flying gargouillades across the stage I've ever seen in that role. (Isaacs barely did them).

totally agree

Tess was even better on Friday

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Forgot to mention Sara Mearns in Symphony in C second movement at the Saturday matinee. Beautiful and ardent. The quality I most value in a ballerina is the ability to convey a sense of inner depth, something otherworldly, transcendent, transporting... ??? Obviously, I can't fully describe this quality in words. If anyone else knows what I'm talking about it and can describe or define it, I'd love to hear it. I see this quality in Mearns, Kowroski, and Veronika Part. It is the quality that I most hope they can develop in the younger dancers.

Yes the three adjectives you used--otherworldly, transcendent, transporting--are what I look for too and seldom find. But those ballerinas who convey these qualities in a particular performance leave the viewer with an indelible memory that can last for many years. And that's why we go to the ballet--to hopefully be transported to the realm of art and forget about the everyday world. It's the same in great music and literature. This season's posts on this board tell me that many of you found that moment in a number of spectacular performances by NYCB ballerinas.

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It seems that certain individual flourishes get baked into a role over time and are eventually assumed to be de riguer -- such as touching the head to the knee in penchée in the "Symphony in C" Adagio, for instance, which is something Allegra Kent didn't bother with in this performance, at least.

The same thing happens in opera; someone interpolates a high note or two into an aria and a decade later singers who don't include them are deemed inadequate.

Farrell started the head-to-knee thing. Like many other little idiosyncrasies, it is by no means compulsory, ESPECIALLY in Balanchine (Balanchine had different versions of many of his ballets for different principals, as they have all stated in various interviews.) Balanchine had so many different versions of the danseur role in First Movement Bizet it was unreal, for example. Verdy did a line of jumps/pas de chats/brisees in Raymonda second variation rather than the double pirouette/pas de chat sequence. Even Ashley modified Marnee Morris' impossible 'turning variation' in Who Cares? , and Balanchine approved.

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I don't get Miriam Miller, sorry. She doesn't seem to have the necessary extension for these kinds of roles, particularly in Agon, leaving aside her obvious "greenness." I didn't like her as Titania, and I thought the Agon pdd was so amateur looking that it brought down the rest of the ballet. In contrast, Tess Reichlen and Adrian Danchig-Waring were riveting in the Agon pdd. Although no-one really comes close to Maria K in that. I totally agree Unity Phelan would have been a better choice if they were looking for someone new -- she does have the extension and flexibility (and how) and is just beautiful to watch.

I'm not really an Ashley Isaacs fan, either -- she has a habit of scrunching up her shoulders and looking like she has no neck. Her Choleric was disappointing -- first, I don't like short girls in that role (even the amazing Ashley Bouder). Not only do they not stand out from the rest of the dancers, but the part where the guys have to duck under their arabesque is just awkward with a shorter girl. Ask la Cour had to really try hard to scrunch down to get under Isaacs's leg, and he still managed to bang his arm into it. I understand if it was her debut but to me it just destroys the effect when the dancer has to put her hand down on the stage to steady herself -- not once, but twice -- on that whirlwind Choleric entrance. Tess was amazing as Choleric on Saturday -- AND she has the most breathtaking, flying gargouillades across the stage I've ever seen in that role. (Isaacs barely did them). I'm not a fan of Martins's recent penchant for casting shorter girls in the Balanchine tall girl roles. How about trying out LeCrone, Phelan, or Kikta in some of these as opposed to Isaacs?? And ugh, if they cast Miller in Diamonds instead of someone like Laracey then there must be something weird in the water there. :(

Other standouts for me in the Black & White program were Veyette, Alberda and Applebaum in Agon; Ashley Laracey (such a beautiful dancer, wish I'd seen a lot more of her in the Balanchine ballets this season and a lot less Sterling Hyltin); Phelan and LeCrone in Episodes, and Sara Mearns in the Ricercata section -- gorgeous and moving (they should take Krohn out of that role, period).

Amen to that about Hyltin and Laracey. SIGH. Laracey is the most unjustly neglected and underused dancer in the entire NYCB and should have been a principal five years ago AT LEAST.

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My feeling has always been that all the praise I have heaped on Tiler Peck in my posts, most prominently in this thread, was well-earned. Her performance as Odette/Odile in last evening's Swan Lake--a performance brimming with life and distinction--merely further justifies it. Although I lack eloquence, I am at least very proud and honored to be able to recognize and appreciate what a marvelous artist she is; and I cherish dearly all her accomplishments.

Edited by Royal Blue
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Earlier in this thread there was mention of Tiler Peck’s “range,” her capacity to perform compellingly in divergent roles. Her exceptional debut as Odette/Odile during fall in Swan Lake—a work which requires a ballerina (while dancing exquisitely) to portray persuasively two sharply contrasting characters, one of whom has to plausibly appear at the same time being the other!—provided meritorious evidence of this. There was further proof, however, in the last week of the recent season. Within the space of seven days—from Sunday afternoon to Saturday evening—she gave estimable renditions of varying featured roles (three of which she originated this year) in no less than four ballets: The Times Are Racing, In Memory Of… (twice, in a deeply affecting debut), Odessa, and Pulcinella Variations. Although such distinguished work by Ms. Peck is nothing new for many of us who follow NYCB closely, it remains nevertheless notable and impressive. Peculiarly, eight days from the start elapsed before her first appearance of the season; but the wait was worth it: the Fall 2017 season was another splendid one for her and NYCB.

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