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      2018 Joint Fundraiser for Ballet Alert! and Ballet Talk for Dancers   02/03/2018

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About bobbi

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    Bronze Circle
  • Birthday October 17
  1. Winter 2018

    Vipa, this is just to say "ditto" to your post about last night. I just want to add an extra "shout out" to Taylor Stanley who gave some particularly exquisite dancing in the Summer role.
  2. Peter Martins Retired; Succession Discussion

    DC Export, I was too thinking about Meditation, which Suzanne also owns. I think its over-the-top display of emotion just might appeal to today's audience. It was met by much squeamishness "back in the day." Glad you enjoyed it, and I also wish it would come to New York as well. And, by the way, I think Means would "eat up the stage" in Tzigane along with Amar as her partner. Alas and alack, it doesn't hurt to fantasize about casting....
  3. Peter Martins Retired; Succession Discussion

    Suzanne owns the rights to Tzigane, which was always great fun and I'd love to see it again in New York.
  4. Nutcracker 2017

    Ivy, I would call Ashly and Sean's effort a nice first effort together. He was an attentive partner. During the first two variations which, post-McBride -- the turns into arabesque penchees -- are now taken so you can see the mechanics -- were taken at an extremely glacial pace. Sean was a bit too far from Ashly, She did not come to grief but it was more on the side of "white knuckle" than "great drama." But Ashly has lots to her dancing that I like, that is, musicality, good attack, and she knows she is performing. At the very end of the entire variation she almost ended up face down but Sean made it right.
  5. Nutcracker 2017

    BalanchineFan, I was at yesterday's matinee with my family and am happy to report that Roman Mejia did indeed "kill" it as Tea. His jumps were spectacular and garnered a hearty round of applause. We have much to look forward to in his future performances. And Teresa Reichlen was a lovely Dewdrop.
  6. 2017 Spring Season

    All of the dancers in last night's program were just fabulous and a joy to watch. The program was Wheeldon's Carousel; Binet's The Blue of Distance; Martins' The Infernal Machine; Ratmansky's Pictures at an Exhibition; and Peck's Year of the Rabbit. All of these ballets had the same thing in common: in addition to using some of the standard ballet canon, all the ballets had the dancers on the floor and/or using gymnastics moves. In Peck's piece, there were even yoga's one-legged chaturangas (gorgeously executed by the way). In Carousel, dancers were used as pieces of furniture. Dancers were often used as props. Tastes change of course. Story ballets were the norm in pre-Balanchine days. Tudor's angst ballets were the "in" thing in the last mid-century. Is the future of ballet the mix of genres? I have to say I missed dancers soaring through the air last night. Looking forward to any comments.
  7. NYCB 2017-2018 Season

    I'm hoping to see Robbins' Piano Pieces which he did for the Tschaikovsky Festival. It hasn't been done in years and is, IMO, a delightful ballet.
  8. Roster changes

    Yes, over the decades, NYCB has seen lots of family members dancing at the same time. Many of you long-time NYCB goers can probably add to my list: Neary sisters D'Anboise (father and son) Frame brothers Borne sisters Otto brothers Stafford siblings (brother now at SAB) Any others you can remember?
  9. NYCB Spring 2016 Spring Season

    Any comments on the new (refurbished?) Vienna Waltzes costumes? The pink dresses in the first Tales of the Vienna Woods are shorter (you can now easily see the shoes) and have a fuller cut and seem to swirl more; the Voices of Spring tutus seem to me to be darker than the originals; the Polka costumes seem much brighter; and, finally, the white gowns in Rosenkavalier are really, really white (as opposed to a light cream originally). I too thoroughly enjoyed Huxley's dancing. Brought back memories of that pure classic dancing of Helgi. And Tiler was just wonderful in Ballo. Those pique turns ending in arabesque were right on the money musically. And, yes, what a company this is that it can field two completely different casts (both principals and soloists) for such a virtuoso work.
  10. 2016 Winter Season

    Interesting point, Abatt. "Back in the day" Allegra Kent and Kay Mazzo did second movement Bizet.
  11. 2016 Winter Season

    Last night's All-Balanchine program (Ballo della Regina, Kammermusik No. 2 and Tchaikovsky Suite No. 3) was the perfect antidote to the very disappointing Tuesday evening. And I agree with the Times' review with the exception of the costumes. I actually liked them; I thought they were creative and beautifully executed. Anyway, about last night.... Megan and Joaquin were fabulous in two killer roles, as were Ashly Isaacs (doing Debra Austin's great jumping part), Erica Pereira (doing crystalline diamond pas de chats in Sheryl Ware's part), Lauren King (in Stephanie Saland's part) and Ashley Laracey (in Bonnie Borne's soaring part). It was pure joy from start to finish. I'm a big fan of Kammermusik and it was just terrifically done by Mearns, Reichlen, Jared Angle and Amar Ramasar. The mens' corps was also spot on. Tiler Peck and Andy Veyette turned in an exquisite T&V performance.
  12. Nutcracker week 1 casting is up

    Thank you so much, Canbelto, for unearthing that video. To my eyes, Diana Adams -- probably dancing on a concrete floor -- does do that pique turn into a lunge much more quickly than any of today's Sugar Plums. And I do remember that McBride, Verdy and Farrell also did that turn quickly. I guess I just like dancing where you don't see the mechanics -- just the magic.
  13. Nutcracker week 1 casting is up

    Kaysta, I can report that Georgina Pazcoguin's Dewdrop was terrific this afternoon. She was technically secure and had lots of flair. Also, the debuts of Claire Kretzschmar and Silas Farley in the Sugar Plum variation went very well indeed. Silas was a very good partner and did his own variations with confidence and style. You would never have guessed that this was Claire's debut as Sugar Plum; she was both radiant and gracious. Bravo to all.
  14. Nutcracker week 1 casting is up

    Yes, Canbelto, that is definitely one of the "hazard spots." And I remember with great pleasure and awe that when Patricia McBride did that very sequence you mention she did it with the speed of summer lightening so you never saw the mechanics. A Magical Sugar Plum indeed.
  15. Natalia, I'm so glad you posted that you too enjoyed Boylston's Aurora. For me, she was everything an Aurora should be: spot-on technically, charming and -- most of all -- totally in sync with the music. And Gorak was a delight in his wedding pas variation. I really like this "less is more" variation, as it's so perfect for the music. And, yes, Gomes was the best Carabosse I've ever seen -- definitely a must-see. All in all, a very nice evening at the ballet.