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BalanchineFan

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid ballet goer, particularly NYCB, former modern dancer, teaches dance
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY

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  1. BalanchineFan

    2018 Spring Season

    I saw Craig Hall's final NYC performance. He didn't get a bouquet, but they added After the Rain ppd to the program so that he could perform and NYCB posted online that he would be retiring and becoming a ballet master, so most of the audience knew. I don't think he got a solo bow, but it was very moving to see him perform that piece one last time. I wish they would do one solo bow for departing soloists. What could it hurt?
  2. BalanchineFan

    Roster Changes Announced Spring 2018

    I was there for the final performance and I have to say Lowery was just ravishing. I've been watching NYCB since 1979 and it was such a special afternoon at the ballet. I can't think of when I've seen her look so good, expansive, musical dancing, everything completely fulfilled. She looks in excellent shape and like she was relishing every moment, master of her elements, particularly in Concerto Barocco. Agon isn't quite the "joyous" ballet, but it was also finely done. It's great to see someone that tall who dances that big. "You can see more," Balanchine said (of tall dancers in general).
  3. BalanchineFan

    Washington, DC - Spring 2018

    Lauren Lovette has been working with an injury. At one point over the winter she had pictures of herself in a boot (soft cast) on IG. She may also have been at an onstage lec-dem wearing a boot. Was it the Apollo event? Tiler Peck is somewhat shorter than Sterling Hyltin. I've heard that Tiler is under 5' tall. I've seen her in person on the street, but I couldn't say for sure. Sterling is someone I've spoken to and (best guess) she's in the 5'3"-5'6" range, roughly my height. Anthony Huxley is not a big guy.
  4. BalanchineFan

    Winter 2018

    I was at that performance and I don't remember a thing about Neverwhere. Just sayin.
  5. BalanchineFan

    Winter 2018

    I think Tiler has great chemistry with Amar. They brought me to tears a few times in Liebeslieder Waltzer. She's such a brilliant technician I think she dances better when the choreography is difficult. She understands what to do. When I saw her in SL it was a bit like, bourrees (check) swan arms (check), fouette├ęs (double check!) but the story didn't sing. The audience loves her though. And rightly so. Her debut in Piano Concerto #2 was a thing of historic beauty. The woman doesn't have many shortcomings.
  6. BalanchineFan

    Winter 2018

    In many ways I prefer Apollo with some of the earlier scenes; Apollo being unwrapped by the two muses in particular. ON the other hand, I can see why NYCB would want to preserve Balanchine's last iterations of his ballets. Who else's judgement should win the day? I don't, however, feel a need to see Square Dance with a caller again after seeing it on youtube. The caller seems redundant, and it's easier to hear than to see, so it's distracting. Patricia Wilde is amazing, tho!
  7. BalanchineFan

    Winter 2018

    I am not a ballerina, but I was so into Balanchine as a student that I learned Labanotation and one of my teachers found Balanchine choreography for me to learn. In the end I taught myself that second ballerina Bransle Gay. A metrical thicket is a good way to describe it! The notation was excellent, attitude wasn't just "leg bent to the back." It was a true Balanchine attitude, with the knee directly behind the hip and the lower leg crossing over at an angle. I've noticed the NYCB dancers do a few steps differently from what was notated; from what I've read Balanchine probably changed a step or two for a particular dancer, or had a Melissa Hayden version alongside a Violette Verdy version (for example). I missed Jennie Somogyi's entire career, sad to say. Sofiane Syle, too. I'm just starting to notice Claire Kretzschmar and Isabella LaFreniere.
  8. BalanchineFan

    Winter 2018

    They may not be your cup of tea, but both Savannah and Megan LeCrone dance Agon quite well. I think it's the best thing I've seen Savannah dance, (aside from Hippolyta or Peck's Times Are Racing). I've never seen her as Coffee, though. LeCrone is also well suited to the Agon second woman role with all her angularity. There's a short video of her rehearsing it and talking about it on the NYCB website. She seems like a Stravinsky ballerina to me. All the women's roles in that ballet tend to go to the taller women. It's such a leg festival. And yes, Unity and Calvin are well paired. It's like they come from the same long-legged tribe. Somewhere there's an instagram clip of them doing the opening.
  9. BalanchineFan

    Winter 2018

    I've only seen Unity dance the ppd with Calvin Royal III. I'm not sure who she'd do it with at NYCB. I don't know who Miriam dances it with either, though she apparently performed the entire ballet shortly after she joined NYCB. Does anyone know who she danced with? There was a new Peck ballet a season or two back, horizontal stripes, lots of corps de ballet. Silas Farley and Miriam danced together for a hot second and I thought they were well paired. He's certainly tall enough. Is there someone you'd like to see in the MWM pas de trois? Unity may already perform that. She's done one of the pas de trois in the piece, but somehow I think it's the WMW. Heather Watts gave a talk on the ballet last fall and that's where I saw Unity and Calvin dance. They had done it at Vail.
  10. BalanchineFan

    Winter 2018

    In addition to Maria and Tess, both Unity Phelan and Miriam Miller also know the Agon ppd. I've seen Savannah Lowery and Megan LeCrone in the MWM trio. It's been in the rep in the past two or three years. I saw Tess Reichlen and Adrian D-W in a rehearsal for the ppd, but I never saw them perform it. Maria and Amar are amazing in it.
  11. BalanchineFan

    Winter 2018

    I was under the impression that See the Music only adds time to the performance. I saw one (heard one?) before Midsummer and thought it was such a great idea. The music is so lovely and the conductor highlighted all the different musical themes and connected them to the characters. It added to my enjoyment and understanding of the ballet. I made a point to buy another ticket when they're doing See the Music. It probably helps build the audience. I wish they'd do one with Stravinsky. When Litton spoke at the Apollo talk he gave the audience a few things to think over in that realm. Abatt, you're absolutely right! If I were hired as director of NYCB I wouldn't spend MONEY on new SL costumes when the current ones are wearable. I just want to see them as an audience member.
  12. BalanchineFan

    Winter 2018

    I think it was Bournonville that helped out with Magic Flute. Wasn't Bournonville the original choreographer and Martins was supposed to be restaging it "in the style of"? Honestly, I'd be happy to see this SL go. It looks like the swans are dancing in someone's old abstract bed sheet. I think it's been quite successful with audiences, though, so they'll probably keep it for a few years more.
  13. BalanchineFan

    Winter 2018

    I don't care for the first few movements of Suite No. 3, but in my 30 years of ballet going I've only seen NYCB perform the Suite in its entirety. What an interesting idea. It would make it more like ABT, though. Though I NEVER tire of Tschai Pas, I've also never seen Sylvia ppd. I thought the Trust gave the company the rights to perform any Balanchine work. Someone on here certainly knows. And yes, Balanchine as balm for the soul. More Balanchine in the programming please. I'd love to see Tschaikovsky Piano Concerto No 2 (aka Ballet Imperial) and Liebeslieder Waltzer, which were performed a few years ago. Tiler Peck made her Piano Concerto 2 debut with Amar (beautiful, both of them, bringing tears to your eyes). That woman really has nerves of steel. Liebeslieder too. What a beautiful, cultured ballet.
  14. BalanchineFan

    Winter 2018

    Lauren Lovett's Not Our Fate is now listed on the NYCB website for four performances in May! I don't think I missed it before. It must be new information. It's part of the Classic NYCB program. I'm so glad this lovely ballet is getting additional performances. I thought it was one of the real winners from the costume gala, in terms of dancing, choreography and costumes. I've seen Martins' R&J several more times than I need to. The bright costumes remind me of the jerseys for football teams. Capulets on the right in red, Montagues squaring off on the left in blue.
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