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Live streaming of NYCB in Paris

naomikage

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macnellie

macnellie

Posted
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I've watched Walpurgistnacht 3 or 4 times! What a wonderful company!! I've seen Sara in it live and it whooshed by--but now I'm watching it over and over. She is brilliant and unique. And I've come to love Lauren Lovette! she is secure and exudes such joy!!

When I say "what a wonderful company" I'm lucky I live here--in New York-- and see the company often--but being fully present as an audience, I watch them with wonder anew!!

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Emma

Emma

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Where can we see Walpurgistnatch ballet?

http://concert.arte....tre-du-chatelet. Zobeide's Cloak VPN suggestion worked well for me (setting the network to France).

Also I didn't note earlier, but I was so impressed with Lovette's Faust performance and her overall growth this past year. I saw her and Mearns in their respective Faust rolls a few years ago and thought both had very charismatic stage presences, but Lovette seems even stronger and more technically secure now. Mearns is always exceptional. I feel like that goes without saying.

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volcanohunter

volcanohunter

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Posted

Where can we see Walpurgistnatch ballet?

Unfortunately the stream was taken down today. It varies a great deal on Arte. Sometimes a stream is available for only a matter of days, sometimes for a month, or three, or most often six months. Perhaps PBS caught wind of us getting a preview of the performance from this side of the Atlantic and asked that it be taken down. :(

However, if your geo-block work-around is working, the stream of Manuel Legris' production of Le Corsaire from Vienna, filmed at the beginning of April, is still available. (From the sublime to the ridiculous...)

http://concert.arte.tv/fr/le-corsaire-de-manuel-legris-lopera-de-vienne

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meunier fan

meunier fan

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Posted

Just wanted to say that - living in London as I do - I frequently feel starved for NYCB (in truth the ONLY thing I really miss about NYC - after living there for 17.5 years .. but then it was a very different city at that time.) (The last time I saw them was in NYC in February.) When I found out that NYCB was to have three weeks in Paris (a city I used to dislike - at the time I was living in NYC - but now have grown to adore) I arranged a work project in Paris for that time frame. I'm so glad I did.

I went to all the performances and it was such a treat. I kept a journal for British readers on their forum and you can see that here:

http://www.balletcoforum.com/index.php?/topic/12934-nycb-paris-2016-theatre-du-chatelet/#entry178752

Please remember these are but the jottings of an old - and more than middling dyslexic - man - but one who is now - and I have a feeling FOREVER MORE - passionate about the glory that is NYCB.

I have to say the French audiences - and they were largely French - was magnificent in showing their passionate joy in response to the works. I'm so pleased I was at that performance when Justin Peck's Everywhere We Go premiered in Paris. At the 12th adoring curtain call he was pulled onto the stage - replete with baseball cap - and the roar was deafening. Here I thought was the true canonisation of the 21st Century's master dance maker. Time will tell of course ... but there is ... after 28 ballets ... and a 29th premiere in Saratoga today ... JUST SO, SO VERY MUCH TO CELEBRATE.

Bless you all.

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pherank

pherank

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Posted

Just wanted to say that - living in London as I do - I frequently feel starved for NYCB (in truth the ONLY thing I really miss about NYC - after living there for 17.5 years .. but then it was a very different city at that time.) (The last time I saw them was in NYC in February.) When I found out that NYCB was to have three weeks in Paris (a city I used to dislike - at the time I was living in NYC - but now have grown to adore) I arranged a work project in Paris for that time frame. I'm so glad I did.

I went to all the performances and it was such a treat. I kept a journal for British readers on their forum and you can see that here:

http://www.balletcoforum.com/index.php?/topic/12934-nycb-paris-2016-theatre-du-chatelet/#entry178752

A great read, thank you Meunier Fan. I've been able to watch Walpurgisnacht, La Valse and Symphony in C (but Sonatine wasn't available). The Walpurgisnacht performance is really enjoyable, and Symphony in C is solid too. The only things that rubbed me the wrong way were the overall tempo of La Valse (too hurried), and the treatment of the Three Fates - the dancers weren't quite synced properly, imo, and the hand and arm "flicks" seemed much too fast and mechanical. It reminded me of the movement of insects and didn't have enough of the old "orientalism" feel of the older interpretations. It does make me wonder who is doing the coaching for LV these days.

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jsmu

jsmu

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Thanks mussel! Can some of you compare the Sonatine of old (i.e., 1970's original GB-supervised production) with the contemporary version as seen here?

Many thanks.

Yes. The word most often used for the kind of ballet Sonatine is--the genre--is 'perfume' and in fact Balanchine often gave his ballerinas perfumes....he would say 'ah, Arpege--Kay is here (Kay Mazzo.) He made at least two ballets for Verdy in this vein (this one and 'La Source') and unfortunately, Verdy is gone now (she was one of the greatest coaches on earth in addition to having been an unforgettable ballerina and artist.) The sensibility Verdy brought to every instant she danced--the unbelievable musicality, the responsivity, the charm, the piquancy, the sudden seriousness, the drama, the acuity--is deader than a doornail now (with Martins having owned the company for decades now, this is not surprising)...Fairchild is a fine technician and a conscientious dancer--I admire her for her cleanliness and exactitude--but this ballet is completely and utterly beyond her: Tiler Peck is better (I have not seen Ashley Bouder dance the role--she is still out on maternity leave) but still not close to what Verdy was. It is true that no one can ever be what the creator of a role was--and it is useless to attempt to imitate directly in art--but sadly the divine sensibility which Verdy had, and for which this role was created, is no more. (The usual pig-dog piano playing of one of Ravel's great masterpieces does not help a bit either.) I wish you could have seen this with Verdy and Jean-Pierre Bonnefous (a great dancer as well, married to Patricia McBride.) It was a different continuum.

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abatt

abatt

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Re Sonatine, I never saw the originators of the role, but it is clear that Martins is now casting the soubrette technicians in this ballet. Like Megan Fairchild, Bouder is similarly lost in this ballet. I agree that Tiler Peck is far better in the role than either Fairchild or Bouder. I think there are ballerinas currently at NYCB who could do the role justice (Mearns, Laracey), but alas, they have not been cast.

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abatt

abatt

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I think that now is Laracey's time. She is being given many important debuts - the lead in Emeralds last season, her debut in Concerto Bar. in Saratoga. She also debuted in an important role in Liebeslieder (last season?). If she can stay injury free for the 16-17 season, I suspect there may be many exciting debuts in her future. If she does well, I think she will be promoted.

The casting of leads in SB in Feb will tell us much about which soloists are on the path to promotion.

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jsmu

jsmu

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Martins does not arouse the casting bitterness Mckenzie does, but I have sometimes wondered why Laracey doesn't get cast more.

I'd say far, far more bitterness of various sorts, not just casting. At least McKenzie finally promoted Abrera. Laracey, who should have been a principal years ago, is only the most egregious of Martins' sins in the department of neglect: King, Pazcoguin (now leaving--and who blames her?), Segin, just to name obvious examples. Then there are the Dancers Who Never Should Have Been Principals (Stafford....!!) Dancers Who Never Should Have Been Soloists (Lowery, Pereira) etc. Why was Craig Hall never made principal? Why weren't we seeing Laracey in the Bizet adagio, in Diamonds, in Swan Lake, in Agon pas de deux, as Aurora, ages ago?

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vipa

vipa

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Martins does not arouse the casting bitterness Mckenzie does, but I have sometimes wondered why Laracey doesn't get cast more.

I think one reason for this is that Martins has successfully developed and promoted talent - Mearns, Bouder, T. Peck, Vedette, Huxley, the Fairchilds etc. He sometimes throws apprentices or new corps members into a principal role, which makes for a certain kind of excitement. While we can each complain that our that personal favorite is being ignored or under utilized, there are plenty of dancers being given opportunities. Meanwhile our favorites are out there dancing, even if they are not doing the exact roles we'd like to see them in. Personally I don't get Pereira and think Daniel Ulbricht vastly underused, but overall I think Martins tries to give dancers opportunities and does a good job of bringing up talent.

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