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DC Export

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About DC Export

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    balletomane
  • City**
    Washington
  • State (US only)**, Country (Outside US only)**
    DC
  1. So sad to hear when anyone, famous parents or not, has an addiction.
  2. Krohn Retiring On Oct 7, 2017

    Fingers crossed that they decide otherwise. I truly think she has the talent and the attitude.
  3. Spotify has access to a ton of the music that NYCB programs are choreographed to. Happy to share the playlists I've compiled over the years. (Though I don't have playlists for In the Night or In Creases.) My user name is MayRea if anyone would like to use them!
  4. 2017 Fall Season

    Would love to see her in that role.
  5. Thank you Canbelto! Not sure how I missed that.
  6. Has anyone noticed that Tiler Peck's instagram has been out for the past week? Twitter is still up though.
  7. NYCB @ KenCen DC, June 6-11, 2017

    I attended last night. It was first impressions for all three ballets on the program. American Rhapsody: They ditched the costumes the ballet premiered in, (probably for the best) but the alternative bordered on ice-skating costumes. You can definitely see Wheeldon's Broadway showiness, truthfully some of the choreography would have translated pretty well to figure staking too. I was surprised this was Stanley's debut. He looked like he's been dancing the role for years. The corps was incredible though and I thought the set and lighting was smartly used. The moment I really thought had some punch was during those big moments of the full orchestra playing the RIB theme, especially in the end. The corps, in a line downstage, quickly formed into still architectural formation. I wish more had been done with that motif- it seemed out of place, but it said something. 4Ts: This was, I assume, a pretty standard performance of this ballet. Gonzo Garcia in Melancholic, Mearns and J. Angle in Sanguinic, La Cour in Phlematic, and Reichlen in Choleric. I really loved the phlematic variation, though there were points where la Cour looked like he was just marking, and others where he was living the role. It seemed wrong and right-- suppose that fits in with the undecided nature of phlematic, but I didn't feel it was intended to be inconsistent. Reichlen was a little shaky at points in Choleric, but power power all the way through. The ensemble was strong, especially enjoyed Ashley Laracey in the themes section. Times are Racing: All the energy that 4Ts lacked was made up for ten fold here. It showed and the ballet was magnificent. I was disappointed when I opened by program and found that Ashly Isaacs would not be performing the Robbie Fairchild role as planned. Instead Justin Peck filled in. I find it a bit ironic when J. Peck is not able to fully articulate the steps that he, himself, created. Something I also noticed in Rodeo on Tuesday night. That's not to disparage his dancing-- seeing him perform the part enriched my understanding of the aesthetic and point of view. (What would we have learned from watching Mr. B?) The big standout here was Claire Kretzchmar- she was absolutely wild with energy and seemed to dance apart from her costume. (Which was difficult, her outfit was extremely billowy and distracting.) Tiler Peck dazzled as well. I know many BAers have said that this piece was just noise. I have never been one for this kind of music, but I try and spend time with the music ahead of time (helps me "hear the dance" much better). When I started listening ahead of the January premiere, the score started out as "noise" became a much more complex landscape that I really appreciate today. Highly suggest spending some time with the music. Overall, I found the sense of community (standard Peck) a huge comfort. I left feeling that there is hope-- maybe for ballet, maybe for my community, society, life, etc. But it was exhilarating. As an aside, Indiana Woodward was in all three of these ballets and my eyes would naturally zero in on her, even if she was back row of the corps. Looking forward to seeing more and hearing about her Tarantella debut this weekend.
  8. NYCB @ KenCen DC, June 6-11, 2017

    He hit the tambourine with so much gusto, one set of the symbols flew off.
  9. NYCB @ KenCen DC, June 6-11, 2017

    Just returned from opening night of the tour at the Kennedy Center. Few thoughts from the performance: Square Dance -Megan Fairchild's port de bras was lovely, she brought out interesting bits of music with her arms that I would not have otherwise noticed. -Chase Finley always comes across the debonair, but I can understand the notes I've seen in recent reviews regarding a lower aptitude in partnering. My husband didn't notice anything, but I saw little fumbles during the quick steps -Corps stand outs: Sarah Villwock, and Christopher Grant. Apprentice Kennard Henson had some missteps. Tarantella -I've never seen this one before and it was a small joy. Erica Pereria was darling. -Spartak Hoxha brought so much character and life for those eight minutes. Is the male part normally so virile and lively, or was this just a particularly good performance? Odessa -This one is still settling in for me -I can appreciate how the play of shadow and light via the corps' movements was almost used as extension of the scenery (A la the second movement of Robbins's Glass Pieces), but the lighting was so dark I wasn't able to see the corps, whom I always enjoy watching. -Even though I've been listing to the music for this piece for the past several weeks on spotify (I make playlists for all the NYCB programs I can find music to-- feel free to follow me @MayRea), I didn't expect what I felt was a bit of an abrupt ending. -I think most of us come up with stories in our minds about what is occurring. I could easily follow the in-the-moment plot, but I found it difficult to string together. My husband had a poetic thought: the three principal men and three principal women are just one man and one woman at different stages of their relationship. Interested to hear what it mean to other NYCB fans who have seen this ballet since its premiere last month. Rodeo -Everything I could ever want in a ballet. I have been waiting since its premiere to see this piece and it exceeded all my expectations. -Justin Peck danced the male lead for the pas, he had some missteps, but with Here/Now over, I'm not sure there were many options to assume the role originated by Amar Ramasar. -Tiler Peck, as always was 10/10 -The whole ballet was meaningful while being very lighthearted. Hope and humanity was the core of how I saw this piece, I look forward to seeing it again. -High five to Andrew Litton and the NYCB Orchestra on their own performance -Corps Standouts: Harrison Coll, Peter Walker, Russel Janzen (not corps, but I wish he had a larger role in this one!) I'll be at Thursday's performance of American Rhapsody, 4Ts, and Times are Racing and am looking forward to seeing more.
  10. Wondering about A.S.Scheller

    Any official word from NYCB? Company member for 13 years, five as a principal. Odd to leave without a hail from the organization.
  11. 2017 Spring Season

    Website is a little cryptic: June 8 & 9 at 7:30 p.m. | June 10 at 1:30 p.m.A new work by Justin Peck D.C. PREMIERETo be announced, one of Justin Peck’s newest ballets created this season will begin the program. I wouldn't mind Times are Racing-- I find the concept of unisex roles to be intriguing. Would like to see it in practice-- especially since the opportunity to see the company is so rare for me.
  12. 2017 Spring Season

    I can't wait! I have tickets to both programs and am crossing my fingers I can get cheap tickets the rest of the week through MyTix.
  13. 2017 Spring Season

    I find this conversation particularly relevant after reading the NYT profile of Ratmansky, Wheeldon, and Peck, Ratmansky mentioned the impact of the shadowy criticism at the end of "Apollo's Angels": Ballet is dead. There is naturally a fundamental difference in the way the public sees a company post-founder: is it a living museum for the founder's creation? Or an incubator to support the creation of works that build on his foundation? Can it be both? The see-saw is undoubtedly tilting to one side with the Here/Now Festival, and I agree with many of you in saying that it's just too much. NYCB needs these bursts of energy to enrich the repertory, but Here/Now is a bit of an over-correction. They’ve packed the schedule so it’s impossible for regular ticket-holders to get the opportunity to appreciate the nuances of the works being presented with multiple viewings. That said, I don't think anyone can doubt the strength of NYCB and Balanchine has been variety. Balanchine worked on Broadway, in Hollywood, he created Stars and Stripes (campy and frivolous) a month before Agon (harsh rawness). He liked variety and the company should continue to honor that part of his legacy. If we stop with the masters, then ballet is dead. Let’s just watch Peter and Suzanne on youtube and call it a day. If I had one wish for the leadership in the company, it would be to restore and revive shelved Balanchine works while those he created them on are still with us. The Balanchine Foundation may be the official caretaker of his work, but NYCB is where it takes life. They need to expand that legacy with the wealth of talent SAB has fostered and create programs that go beyond the signature works. I want to see Tzigane in the State/Koch Theater where it belongs.
  14. 2017 Spring Season

    Casting for week three is up: http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_May-2-7-2017_lobby.pdf A little surprised that there are two casts for the new Ratmansky. Suppose it's to give some of more seasoned principals a break during Here/Now?
  15. 2017 Spring Season

    New promo out today for the Here and Now Festival
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