jerryb

Has anybody read this? If so, would appreciate comments. It's still unavailable on Amazon. I'm thinking that it never will be since the publisher seems to be a small academic house.

It is listed on Amazon as out of stock. Google search found it listed at WH Smith (English bookseller I believe) with a release date of 3/31/24.

California, thanks for the link to Bouree Fantasque. I've known this music for probably 70 years. When I was a teenager I had a vynl recording of Bouree on one side and Western Symphony on the other. It was NYCB Orchestra and I believe Robert Irving conducting. So while they may not be Balanchine mastserpieces they both have a very, very strong hold on my heart.. Of course over the years I've seen Western Symphony many times but Bouree Fantasque probably only twice as it is very rarel;y programmed. On one of the SAB seminars Patricia McBride said is was fun to dance but she couldn't remember any of it. Tanaquil Leclerq and Jerome Robbins were two of the leads, It's a fun closing ballet and you'll leave the theater happy. I look forward to seeing it again.

Copeland Dances 1/28/23, Liked the front curtain's brilliant colors, the costumes (a nice change from black and white) and the lighting. The company danced beatifuilly. Rodeo was wonderful. Liked it even more than when I first saw it. However, the work as a whole goes on way too long and becomes boring. Agree with Gia Kourlas that the pas de deux get tedious. And I don't like or understand Peck's constant repetition of poses. Not steps but poses. I had a problem with the use of Copeland's music which has nothing to do with Peck's work. I've seen Graham's Appalachian Spring and Lorings's Billy the Kid many times and too often found that I was drifting away thinking about how the music was used in these narrative works. Didn't happen with Rodeo I suspect because while DeMille's work tells a story it is less heaviily narrative.

You're right cobweb, Demetrius and Lysander did used to wear pageboy wigs. The last time they did Midsummer pre covid they wore them. IMHO a change for the better.

Saturday evenings performance of Midsummer was superb. The whole production looked well rehearsed and everyone dancing with terrific energy. Ball's Puck danced with wonderful athleticism. Phelan, Huxley, Walker, Hyltin, Furlan, Pazcoguin all excellent. The lovers Kretzschmar, Perira, Nelson, Villarini-Velez, committed to the comedy. Clear but not overdone. The word that keeps coming to mind is "neat". Preston Chamblee elegant and noble as Theseus (a role I will always associate with Francisco Moncion). As noted above the children beautifully prepared and a joy to watch. And a shout out to Hippolyta's hounds four of whom were apprentices. The orchestra played beautifully. Karinska's recently refurbished costumes are stunning. A night to cherish. Thank you New York City Ballet.

I couldn't agree with you more. The programming can be really bad. For starters on 9/25/21 I attended a program consisting of: Opus 19/The Dreamer, AMaria and Russian Seasons. I'm not commenting on the quality of the works but it was a very dreary program and a real downer. I longed for a rousing Balanchine closer after months of the pandemic. Then there is the program Visionary Voices which I detested. Again it's the program not necessarily the works. I know there has to be new work and I support it and know that it is important and part of the legacy of NYCB. But why all new on one program? I really questioned whether it was worth the hassle driving in from NJ for the next performance on my subscription. Then to give credit where it is due: The next was 4/23/22 Divertimento No. 15, Afternoon of a Faun, Allegro Brillante and The Four Temperaments. All beautifully danced. And after that 4/30/22 Pulcinella Variations, Scherzo a la Russe, Architects of Time and Stravinsky Violin Concerto (a true masterpiece) all beautifully danced to wonderful music. As I believe Balanchine said "If you don't like my ballets close your eyes and listen to the music." No Midsummer in 2023 is ridiculous.

Saturday evening same program as Saturday matinee and although different dancers I agree with vipa "start to finish the show was a joy". I noticed that the orchestra section was fuller than for the program of new works (which for me was a disaster) so maybe people are voting with their feet. The casts were excellent throughout. Peter Walker in Divertimento growing into a wonderful principal. Christopher Grant sensual yet innocent in Faun. Tiler Peck superb in Allegro Brilliante with Tyler Angle's secure and attentive partnering. Four Temperaments very well danced. Emilie Gerrity and Gilbert Boland III eating up space in Sanquinic. Adiran Danchig--Waring sleek and smooth in Phlematic. Megan LeCrone excellent in Choleric. A really joyous and restorative evening. The directors should have planned more programs like this coming out of the COVID crisis.

I agree. I refer to After the Rain as a "Pretzel" ballet or "How many ways can I twist Wendy Whalen?" I wish NYB would drop it.

Actually, IMHO Watermill IS a work of genius. Particularly if one was luck enough to see Villella in it. But a fantastic theater/dance pieces no matter who dances the lead. It was booed at the premiere mostly because I think the NYCB audience was looking for another Dances at a Gathering. If IIRC New York Magazines review had an illustration of an audience with pig heads sitting on their hands.

I'm I'm sorry Megan didn't ask Mr. Villella about Watermill. IMHO regardless of what one thinks of the ballet he was superb in it. And as I recall hearing him say he came back to NYCB to dance it because he didn't have a "proper farewell". Would have loved to hear about his feelings about the role.

Watched it last night and I agree. Very enjoyable. I only wish, as I'm sure all of us do, that I could have attended a performance this year.

I got as far as the ballroom scene and stopped. Maybe I'll pick it up again at some point but to me it was neither a good "film" nor good "filmed dance". Too many close ups. the background murmuring in some scenes, the repeated use of flower pots or planters to give an illusion of depth, the sound of Romeo knocking on the apothecary door yet no sound when crockery and wine bottles are swept from a table, Tybalt pushing a sword into Romeo's chest which surely would have drawn blood just a few examples of pretentious film making. Trying to twist something into something else and failing badly.

I remember well the NYCB version with the caller. Saw it many times. I'll never forget "Come on Nick, Come on Pat. Make those feet go wickety wack." Quote it to my friends from time to time - they have no idea what I'm talking about.

I agree Kathleen. I've been telling friends and family for years that this Sleeping Beauty doesn't breathe. I call it Sleeping Beauty on "speed" and I don't mean metronome markings. The first Sleeping Beauty I saw was the Royal Ballet's at the Met many years ago. It was a prologue and plus three or four acts (I've forgotten). I'm not advocating that for NYCB but a breath here and there would be welcome.