That is exactly why I will not see NYCB dance Barocco. It breaks my heart, then makes me angry. It was the first, but I suspect not the last, that I will boycott. Part of what is missing is the musicality -- the response to what the music is saying. I suspect, too, that there is no joy in the studio work that the dancers can then naturally carry with them onto the stage.
Originally posted by rkoretzky
I want to see one last Bizet before it leaves the rep for a while, I felt compelled to see Barocco and Chaconne. Now I am scared to see them.
Winter Season, Week One
Posted 14 January 2003 - 07:02 PM
Posted 14 January 2003 - 08:05 PM
Posted 15 January 2003 - 07:55 AM
Bar, Hall, Beskow, Hanna, Edge, Stafford, Golbin, Crenshaw, Abergel, Froman (Kyle), Ash, Fowler, Hanson, Seth, McBrearty, and Boehmer.
I am always interested to hear others describe Taylor as uncontrolled in her dancing. Not that I don’t see it, but that the thing that bothers me about her is that she seems unaware of anything going on around her (or else unconcerned) - other dancers, the audience, etc. She appears to be dancing for herself only.
Posted 15 January 2003 - 01:36 PM
Posted 15 January 2003 - 04:42 PM
I'd just like to add that I heard through the grapevine that the Sunday matinee of Serenade very good, and Kistler with it. Perhaps the Saturday performances were just another instance of NYCB's time-honored tradition of using the first performance of an old ballet in a repertory season as the dress rehearsal.
Grrrr. I feel that I have to erase the memory of that Serenade. Did you all see the casting for next week???? Sylve and Nichols, in various castings along with Kowroski, who can be a spectacular Dark Angel, but certainly wasn't on Saturday. Oh what to do? What to do?
I am planning a trip with a Saratoga friend--Friday night and Saturday mat, Jan 24 and 25. Carefully chosen to see "In the Night" and "Slaughter" (twice actually) and my first ever viewing of "Davids...." (so excited to see that), but bookended on both sides by Serenade with wonderful casting. Add performances?
Stay yet another night? Which way to do it? Again---GRRRRR.
Oh...and how could I forget? Somogyi is part of those dream castings too. One more time---GRRRR.
Posted 15 January 2003 - 08:20 PM
As balletos, we will always hear thus. It's probably not always true (although given the reports on that first "Serenade," in this case it probably was).
I'm sorry, rkoretzky. Wish I had a crystal ball for both of us!
Posted 15 January 2003 - 09:48 PM
Posted 20 January 2003 - 04:43 AM
First and above all, I should say I am very fond of the NYCB, a lot of it having to do with my love of the city which in my little universe so encapsulates the dance scene. It’s the whole proximity thing with the dancers and their visibility, everywhere else they seem secluded behind the walls of the opera house, whilst in NY, you just keep bumping into them and one can easily get under the candid impression that voilà, this is it and you are part of the whole thing! Needless to say that I get a great buzz each time I cross the imaginary border of 63rd. Unfortunately disappointment was part of the ride this time and I am saying this only after having convinced myself that I shall not take blame for (extra ?) high expectations. I caught (pardon me for the inventory) 2 Serenades (yes the Sunday one had nothing to do with what had been served on Saturday), 3 Morphoses (dreaded the third time round, not because I didn’t like the piece -there are moments of sheer strange beauty such as the entrancing Whelan spiderlike leftwing exit (enface en plié à la seconde en pointe, pushing herself away with one hand) but it’s not it is not an easy one to take in. Luckily the last time I was sitting on a higher level and rediscovered the whole ballet anew ; as with everything it can sometimes just be a matter of perspectives.) Then in for the single takes :Raymonda, Symphonic dances, G Major, Infernal Machine (how terrible of me, I somehow blanked this one out completely- a mystery why), Symphony in three, Le Tombeau, Pavane, Western Symphony and Fancy Free. Save a few truly enthralling performances, I found the dancing -and it obviously pains me to say so- lacking in life. Missed the vitality, energy and high spirits I usually associate with the company. Saturday’s Serenade was dull (all has been said above and personally I found myself more listening to the music and interested in how Kistler would manage to get her layers of tulle down after the portées) and yet on Sunday the same cast simply spelled magic. By the time Kistler was carried away like a some statue/object of sacrifice, I had trouble swallowing. Luckily that Saturday had an extraordinarily moving Pavane with a splendid Nichols. It all ended with a real treat : Western Symphony. Prior to that matinee I had only seen the excerpt on the Balanchine celebration tapes and was not expecting much: cowboys, saloon gals, bit of square dance on pointe to tunes from the Far West… The first bit augured ill for the rest, courtesy of the male performance, but it all picked up with the dashing entrance of Evans and the delightful Ansanelli. They were a dream-in-heaven-duo, him outrageously camp in a black velvet diamante outfit and pink scarf, a perfect self absorbed Narcissus in a cowboy hat to whom Ansanelli responded with an out-of-this-world goof doll act . Evans’ driving his chariot -composed of four corps girls- and her fearless, actually come to think of it scary, fishdives are indelebile. And did they ever play it to the public who in turn rewarded them plenty. The last couple, Sylve and Hubbe, certainly knew how to put on a show on! Full attack, perfect timing, awesome technique for all the extreme rapidity and trickiness of those steps, good chemistry : sparks were flying all the way to the pirouetting grand finale ….what more to ask for ? Those guys and dolls from the Eldorado sent me back home on a high and a note of incredible lightness, humming Hershy Kay.
Fancy free, which closed the following matinée, on other hand did not have the same effect. Probably because once you know the basic plot and have seen a few photos, you can very much figure what to expect (though the chewing gum wrapper competition had me break a grin.) The boys were endearing (Millepied, Higgins and Ulbricht), the horseplay sweet but I somehow resisted the comedy of it all.
Martins’ Symphonic Dances were, how to put this…rather overwhelming ? A sudden explosion of notes, dancers galore : wow, was I ever rather taken aback by the overly romantic profusion of sounds, colours and abundance of people one can fit on that stage ! Yet bizarrely, I liked it, something about the grandeur and enthusiasm that was put into it, notably by Hubbe. Honestly, the costumes are hideous, the music certainly a challenge, but it was the commitment and endeavour put into it that created the whole difference. If this had been the case of all the pieces I saw, I probably would have given this one much less credit but one can only take from what is offered. Sadly, the rest of the performances I saw were nice, but bland-ish. Probably not enough to catch a plane. Thankfully there were also joyful discoveries of corps members such as Glenn Keenan, Ask La Cour... and side perks of being in the city (Boal solos, but I suppose I ought to switch threads for that one) .
Posted 20 January 2003 - 05:11 AM
The public of Family Fanfare is as much a spectacle as the presentation itself. Imagine 4-6 year olds wearing tiaras, tutus attached to their winter gear co-ordinated with demi-pointes and a larger than life Louis-I-am-ballet- XIV as the master of ceremonies who teaches them glissade, changement… The lecture demonstration is illustrated with various videos and live excerpts from the Sleeping Beauty, Jewels, …Who Cares performed by two couples of advanced SAB dancers, all promising especially Tyler Angle ( brother of Jared) and Ana Sophia Scheller, who then answer graciously and articulately any questions. It was a sweet experience, I would definitely reiterate it, with a child this time – but worry not, adults have no time to get bored!
The Ballet Insight was more of a pre-performance talk- mainly attended this time by a senior public- in so far as it was devoted to the music of the matinee performance. Both a lovely introduction and keys to read the works in the repertory with the wonderful Alan Moverman playing excerpts to illustrate the theory. Very inspiring, makes you head across the plaza with much anticipation .
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