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About erpollock

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    audience member, love ballet
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
  1. I saw Bouder/Veyette and Hylton/Fairchild in Swan Lake in the past week. Bouder can do anything technically, but she is still callow as a girl, and I don't mean that at all maliciously. I mean she did not convey the pathos of the role, she seemed a young girl who has never known true heartbreak. Veyette, while certainly an authoritative dancer, also did not convey the emotional depth I was seeking. I found it in the performances of Hylton/Fairchild. Sterling Hylton, though so young, had the pathetic quality that permeates Swan Lake, she suffers like a Russian, yet is always natural, never cloy
  2. Ashley was excellent in white, though in my opinion she lacked vulnerability. In black she lacked arrogance, viperishness. She is a swan in the making. I look forward to seeing Sterling Hylton on Saturday and will deliver my report.
  3. I just saw Black Swan, or the first hour of it - after that I knew exactly what was going to happen and I had a good enough impression of Natalie Portman's acting and dancing, which is what interested me. Despite all the publicity given her training and weight loss, I see New York City Ballet several times a week in season and there is no way she is going to make me think she's a dancer. The director wisely shows her mostly from the waist up, and even utilizing only a truncated version, she is awkward. Her back is stiff, she never shows a backbend which Swan Lake often calls for, and her arms
  4. Adrian Danchig-Waring for Apollo. Ashley Bouder as Terpsichore.
  5. I thought this was charming! You really see how youthful and spontaneous they are, underneath all the precision and discipline of Balanchine's choreography.
  6. I'm glad to hear he's been accepted into the arts management program. I hope he will have a successful new career. It's very difficult to be the son of a famous father.
  7. I should say it's official, based on the listing of principals in the subscription brochure I received yesterday. Nilas Martins' name was not among the principal dancers listed for 2010-11. Amid the honoring of retirees, bouquets at Saratoga, etc., his name is omitted. It's as if he has become a nonperson.
  8. The audience was very enthusiastic and gave the performers and choreographer a standing ovation. I saw Wheeldon's theatrical sense, his talent for movement flow, the way he told the story through dance, not mime and acting. He was able to display "horizontal vertigo" (characteristic of the pampas) through horizontally focused dance. He deploys props effectively - ropes, bridles, sticks representing I think fencing. The "wild horses" stole the show. The two "Ti/ylers" - Peck and Angle - in the leads were superb. Tiler Peck is a force of nature. That said, I think she is more Broadway in spirit
  9. I regret that I had some harsh words for Darci Kistler in a previous post about her role in Stabat Mater. I saw Darci last week in Davidsbundlertanze and she was quite lovely, and within her comfort level in terms of technique. There are certain Balanchine roles that seem to be made for the mature dancer, such as Davidsbundlertanze and Vienna Waltzes. I remember Kira Nichols graduated to those types of ballets at the end of her tenure with NYCB, when she had retired the more exacting roles. I think a lot of the criticism of Darci, both my own and that of others, stems from our perception that
  10. It is ineffably sad to me, having seen this past Tuesday's NYC Ballet performance of Stabat Mater, that Darci Kistler, so wonderous a dancer in the 1980's and 90's, is still dancing. The comparison of her remaining technique and that of the dewy Kathryn Morgan in the same ballet was to me, cruel. Kathryn Morgan is the essence of springtime, flexible, swift, surprising, and - essential on the stage - bursting with watchability. It was painful to watch Darci's dancing, I felt worried with each of her solos. She should not be dancing in roles that place her in comparison with 18 year olds. In 19
  11. I saw the first third of this matinee, the sublime Divertimento No. 15, Balanchine at his most spiritually romantic. The piece displays his amazing ability to arrange to perfection irregular groupings of male and female dancers, as in Serenade. I thought as I watched, superb dancers may come and go, but this repertoire must live forever. Unfortunately, though I had a wonderful mid-orchestra seat and perfect unobstructed view, I was afflicted that afternoon with a cold and coughing, struggling against, and had to leave at intermission. Please elucidate, if possible, the finer points of Diver
  12. Are these still available? I am interested. Please send me a message. Eileen
  13. I attended the All Robbins program Tuesday night. Was blown away by Wendy Whelan's creepy, man-stomping Novice in The Cage. She is utterly plastic, or rubber, or spandex. There is no one like her, and I suspect there will not be again. Although preternaturally thin, she is a force of nature, and I rush to catch her performances now, before the eventual autumn of a ballerina's career sets in. For now, she is an insect grotesque. Rebecca Krohn as the Queen and the ensemble of creepy crawlers were superb. The nervy Stravinsky, led by Music Director Faysal Karoui, stays in my mind and I restrain m
  14. I saw the Sunday, January 11 Coppelia with Tiler Peck, Andrew Veyette and Adam Hendrickson (as Dr. Coppelius), and also the Tuesday, January 13 Coppelia with Megan Fairchild, Joaquin de Luz and Robert LaFosse as Dr. Coppelius. I preferred Megan, de Luz and La Fosse. Tiler Peck was superb, but somehow, to me, she is wanting that girlish quality, a certain appeal, that Megan possesses. It's not so much a question of dancing, as an air of charm, vivacity, and cuteness that Megan naturally gives off. She has what I call "lovability" which pervades her dancing. As to de Luz versus Veyette, while Ve
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