SWAN LAKE 1/31 matinee

[oberon]

This afternoon's SWAN LAKE was a great success for Maria Kowroski...she has always danced the part very well but now she has found a greater depth, a more poetic quality as Odette. The first lakeside scene was a revelation for me as the elements of fear and desire which Odette must convey were perfectly portrayed by Kowroski. The Black Swan adagio was likewise mesmerizing and though she didn't get thru all the fouettes, it hardly mattered. It is always a thrill to see a great dancer raise her level and that's what I felt Kowroski accomplished today.

The other singular triumph of the afternoon was Hendrickson's Jester...I've always enjoyed his dancing but he too seemed to reach another level today, the various progressions of steps clearly and musically delivered while not overdoing the "cute" qualities built into the part. His buoyant leaps and dazzling turns had the audience cheering him all afternoon.

Ringer, van Kipnis and Tinsley were especially fine in the Pas de Quatre, their synchronized turns making the coda another applause-winner. Ringer is an especially lovely dancer. Jon Stafford replaced Neal in the Pas de Quatre and had a good go at it. Seth Orza was a handsome Benno without quite the bravura technique the role requires (wasn't it made on Benj. Millepied?)...Fairchild and Riggins were very fine in the Pas de Trois; Borree excellent in Russian and Edge a brilliant Neopolitan girl. The would-be Brides were Bar, Reichlin, Krohn, Arthurs, the exotic Golbin and a luscious Carla Korbes, holding her balances to fine effect.

The Swan corps were notably "on" today, the Cygnets (Edge, Walker, Fairchild, Riggins) well-applauded, and Fayette has darkened his portrayal of Rotbart a little but still he is not as sinister as the perfect Henry Seth.

The house was nearly full...the many small children were for the most part very quiet. Some of the adults were less so.

[underdog]

eom

[Michael]

Kowroski has definitely and quietly progressed to another level -- principle of benign neglect at it again, company and critics looking the other direction while she finds her own way. Isn't that the way it's done at NYCB these days, a la Somogyi? Kowroski's style seems something fuller to me, right now, her upper body motions richer, the gestures and impulses carried further through to completion, with an awareness, perhaps even an overawareness of "classical" shape, besides which her expressions are more committed and intense in a dramatic role. Was it you, Oberon, who said something about her wrists? She could indeed watch not only Nichols' arms, but Nichols' wrists. Last night, during her Dark Angel in Serenade (a role which Kowroski excels in and which she has definitely made her own), the crowd spontaneously applauded an arabesque! Not since Sylvie Guillem brought her Giselle here two summers ago have I seen that. (And oh what an arabesque it was, well worth the applause).

Perhaps Benno, in NY, was first danced by Arch Higgins? Someone in Copenhagen will have danced it first.

[jimmattimore]

Brava for those reviews of 1/31. As my wife said, "That's the best 'Swan Lake' I've ever seen. "(and I defer to the truly knowledgable balletomanes on this site.)Maria Kowroski danced brilliantly and I can't believe anyone could outdance her in that role. Her arms are magnificent, and we all love her legs. Wow, it turned a cold NYC day into a blazing fire.

Edited February 1, 2004 by jimmattimore

[oberon]

I've been at SERENADEs in the last few years when Kowroski's arabesque got applause and appreciative murmurs from the audience. Once a woman behind me whispered: "Gorgeous" under her breath. I turned and smiled at her.

[rkoretzky]

Oh dear. I think I am going to sound witch-y now.

I've also been at performances where the arabesque in Serenade received applause. Ditto the Apollo swim. Ditto the Bizet penchee. I can't abide it.

These (and many others) are moments of sublime beauty. The ballet is not a circus act where something catches one's eye and is rewarded by applause or cheers. I love the fact that the audience would be so moved by something magnificent...but I hate the thought of hearing applause at those times.

I may well have been the woman who muttered "gorgeous"--I've been known to do that..but I cringe at the thought of clapping, or hearing clapping....

Interesting that an opera stops for well-loved and beautifully performed aria, but a symphonic performance is not usually halted by applause (except between movements, but that is another issue for discussion).

I wonder how the dancers feel about this.

[Thalictum]

I saw Kowrowski's NYCB Swan Lake last spring and it was much improved from a year earlier. Let's give credit where it's probably due: the coaching she received from Kurgapkina and Lopatkina when she danced Swan Lake with the Kirov last March.

[oberon]

I agree...I don't really like applause during SERENADE at all. A murmur of delight passing thru the audience is nice, though.

However, during things like Oberon's scherzo or Dewdrop, when the various "solo" segments are applauded as the dancer flies offstage, applause is fine.

Sometimes people see something so beautiful or exciting and they just react spontaneously...I guess it's a nice tribute to the dancer at the moment. I wonder how Mr. B felt about mid-ballet applause?

At the opera, there have been individual phrases or even single notes that have caused eruptions of Bravos at basically inappopriate moments. These reactions (to people like Corelli, Callas & Caballe) are now operatic legend.

[rkoretzky]

Quite right, Oberon. I have been known to start applause at the end of the MND scherzo, especially if Peter Boal is dancing....or the end of a brilliant variation in Ballo or Square Dance....

Is the difference tempo? Something that is fast and bravura is rewarded with applause while something that is slow and lyrical doesn't create that same mood?

Or is it timing? You applaud at the END of something...but again not if it's slow?

No answers here, just the questions. Other opinions eagerly sought.

[Alexandra]

Re applause: I think sometimes people clap because they think they should. (I don't mean to imply that they don't appreciate or admire what they're applauding, but that they think it's proper to express it. I'm of the "don't applaud until the end" school, too.

Re Thalictum's observation:

I saw Kowrowski's NYCB Swan Lake last spring and it was much improved from a year earlier. Let's give credit where it's probably due: the coaching she received from Kurgapkina and Lopatkina when she danced Swan Lake with the Kirov last March

I think you've got a point. She's spoken about how important that coaching was for her. (There was a brief interview with her, by Dale Brauner, in a recent Ballet Alert! newsletter about this.)

This kind of guest artist exchange is one of the positive things happening today in ballet. 20 years ago, it wouldn't have been possible.

[cargill]

I have noticed that Kowroski tends to get applause from her arabesque in Serenade, and to me it is wrong--she is just exaggerating the shape of the movement rather than commanding the man or the mood, and flowing on to the next movement. Sylve's much more traditionally shaped arabesque has much more power I think, because she seems to be aiming at something. If done well, that moment is quite mysterious, rather than applause getting. I did notice that the last Serenade I saw Kowroski do, she had toned down the exaggeration and seemed much more powerful. I also, to get back on topic!, thought her Swan was much better than it was a few years ago. A lot less flapping (Odette is not a swan!), and much more eye contact. Though how her partner could look at that Tweety-Bird headress and not laugh, I don't know.

[The Uncrossed Fifth]

I do enjoy Maria's Swan Lake, her acting skills seem to only really come out in this part. However, contrary to the popular belief, a high arabesque is no ballet, nor is it dancing. In addition, City Ballet audiences have tended to have a more refined taste; i feel that people who clap for the arabesque might feel more at home when the MET is turned into SHAY Stadium for ABT's SPring season. One of the reasons that i love NYCB so much is that they dance with their bodies, not just flaunt them into tasteless bravura. I do agree that the arabesque is amazing physically, but it makes her neither a better or worse dancer. It can be looked at as a wow! But it is not an applause break, unless of course this is the summer olympics....and it's not.

Oh yeah, and isn't ABT hiring an organist to warm the crowd during all of those uninteresting ballet breaks?

Dah-na-na-na-NA-TA-DA CHARGE!

[oberon]

I think it is the MOOD of SERENADE that makes applause intrusive. The orchestration (no winds or Percussion) has a very transparent texture so and applause during it comes as a jolt.

I do not think it is the "height" or angle of Kowroski's arabesque that elicits the response (in fact, her arabeque at that moment is not especially high...at least not for her). I think it is the beauty of the line she is able to create.

In other ballets, where the orchestration is fuller and the tempo swifter and the mood less "reverential" a burst of applause can be fun and doubtless inspires the dancers. I can't imagine that Balanchine would disapprove.

There is a famous story of Wagner, at Bayreuth, yelling "Bravo" after the Rhinemaidens trio in RHEINGOLD and being shushed by the audience. Today, no one would dream of making a peep DURING a Wagner opera...

[rkoretzky]

I LOVE Maria's Dark Angel. She is my current favorite to see in the role, and the Dark Angel is my favorite role in Serenade, and Serenade is (at least in the top three) my favorite ballet.

For me it is not the height of the arabesque (although the height is awe-inspiring, and I am one who is impressed by that), it is the time that Maria takes--nothing is rushed--and the bit at the very end of the downward scale in the music as her leg is raised just a bit more, just as that gorgeous last chord (which the orchestra seems to hit right on the money) sounds.

I feel so inarticulate, as if I am fumbling for the right words--because words do not convey the swelling in my chest when I see that bit of choregraphy and hear that bit of music.

Cargill--I am a great fan of Sofiane Sylve. I was at the ballet on Jan 18--the Midsummer performance where she devoured the stage in the first act and didn't reappear. I've never seen a Hippolyta quite like her--and am very concerned about what she might have done to herself. Any word about her? Dale?

Anyway I digress. I found Sofiane's Dark Angel unsatisfying. I had the sensation that she was rushing it. For me, it wasn't in sync with the glorious music. But if she will only please not be badly injured, I relish the thought of seeing her in it again.

[oberon]

rkoretzky,

Yes, I know exactly what you are trying to say about SERENADE and especially that moment. I cannot put it into words either. I feel like crying just thinking about it!

I loved Helene in the part, and was lucky to see Kathleen Tracey do it...one of her

last roles with the company. And I agree, Maria is perfect. I saw Sylve, it's a whole different feeling but I liked her...and hope to see her again...soon! It's good to see many different interpretations and savour the variety...

I'd like to see Wendy try the Angel role, I saw her once in the main role which she seems never to have repeated. I also saw Ashley in a rare appearance.

I know these roles have names: Dark Angel, Russian Girl, Waltz Girl. Were they given these titles by Balachine or just by fans to identify the different "characters"?

[carbro]

I was at the ballet on Jan 18--the Midsummer performance where [sylve] devoured the stage in the first act and didn't reappear. . . .  Any word about her?

I was there, too. Didn't that Act I Hippolyta leave you happily breathless? For whatever it's worth, I have since seen Sofiane in the audience sans cane, crutches or cast.

Regarding mid-variation applause, I, too, often find it intrusive, disruptive and uncalled for at moments like DA's big promenade. :angry: When the audience is truly, deeply moved, they are more likely to be stonily silent, as was the case when the curtain fell on one of Alonso's final full-length Giselles here. There was something almost sacred about that pause before the response. It gave us all an extra moment to drink in what we'd just seen.

[rkoretzky]

Happily breathless? Oh my yes. Until the sickening feeling upon realization that something BAD had happened. Truly, I've seen many Hippolytas who have been thrilling (and some less so), but I had never seen a woman tear the stage up the way that she did. Rock solid fouttes, standing leg riveted in place, soaring grand jetes, the straightest legs I have ever seen in a ballerina, all with a lovely port de bras and queenly carriage. Fabulous! I was eagerly waiting for the second act. Poor Pascale van Kipnis--having to jump into that role under those circumstances. She handled herself well, as did Jennifer Tinsley taking over for her--but the whole incident cast such a pall that the magnificence of the first act was sadly diminished.

I'm done now with winter season, not by choice, but by family obligations and, well, work. Have to show up there sometimes! The times that I managed to get to the state theater were last minute decisions, based on a lucky set of circumstances. What I am saying is that I didn't really plan much, therefore missed out on connecting with BA people. I'd like to try to change that for spring season, and Carbro--I'd love to meet you. It seems that we have some common perspectives. Let's give it a try. And--I'll start my annual rant now. Everyone--come to Saratoga! It's fantastic.

[kfw]

rkoretzky, you were anything but inarticulate. Thanks for your careful observation, which gives me a thrill of beauty as I sit here at home, far from the New York State Theater.

[Michael]

If she hadn't been injured I would have hoped to see La Sylve get an Odette/Odile or two. When and if recovered, perhaps we may see a Princess Aurora? In Holland she certainly had much experience in dramatic roles -- a potential strength in some of the current repertory, I would think. She has a great deal of range. In Jewels she could have danced any of the roles -- Emeralds, Rubies or Diamonds. I fear, though, that she will be cast at NYCB more as an Amazon and nothing else -- a mistake in my view.