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jerryb

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Everything posted by jerryb

  1. California, thanks for the link to Bouree Fantasque. I've known this music for probably 70 years. When I was a teenager I had a vynl recording of Bouree on one side and Western Symphony on the other. It was NYCB Orchestra and I believe Robert Irving conducting. So while they may not be Balanchine mastserpieces they both have a very, very strong hold on my heart.. Of course over the years I've seen Western Symphony many times but Bouree Fantasque probably only twice as it is very rarel;y programmed. On one of the SAB seminars Patricia McBride said is was fun to dance but she couldn't remember any of it. Tanaquil Leclerq and Jerome Robbins were two of the leads, It's a fun closing ballet and you'll leave the theater happy. I look forward to seeing it again.
  2. Copeland Dances 1/28/23, Liked the front curtain's brilliant colors, the costumes (a nice change from black and white) and the lighting. The company danced beatifuilly. Rodeo was wonderful. Liked it even more than when I first saw it. However, the work as a whole goes on way too long and becomes boring. Agree with Gia Kourlas that the pas de deux get tedious. And I don't like or understand Peck's constant repetition of poses. Not steps but poses. I had a problem with the use of Copeland's music which has nothing to do with Peck's work. I've seen Graham's Appalachian Spring and Lorings's Billy the Kid many times and too often found that I was drifting away thinking about how the music was used in these narrative works. Didn't happen with Rodeo I suspect because while DeMille's work tells a story it is less heaviily narrative.
  3. You're right cobweb, Demetrius and Lysander did used to wear pageboy wigs. The last time they did Midsummer pre covid they wore them. IMHO a change for the better.
  4. Saturday evenings performance of Midsummer was superb. The whole production looked well rehearsed and everyone dancing with terrific energy. Ball's Puck danced with wonderful athleticism. Phelan, Huxley, Walker, Hyltin, Furlan, Pazcoguin all excellent. The lovers Kretzschmar, Perira, Nelson, Villarini-Velez, committed to the comedy. Clear but not overdone. The word that keeps coming to mind is "neat". Preston Chamblee elegant and noble as Theseus (a role I will always associate with Francisco Moncion). As noted above the children beautifully prepared and a joy to watch. And a shout out to Hippolyta's hounds four of whom were apprentices. The orchestra played beautifully. Karinska's recently refurbished costumes are stunning. A night to cherish. Thank you New York City Ballet.
  5. I couldn't agree with you more. The programming can be really bad. For starters on 9/25/21 I attended a program consisting of: Opus 19/The Dreamer, AMaria and Russian Seasons. I'm not commenting on the quality of the works but it was a very dreary program and a real downer. I longed for a rousing Balanchine closer after months of the pandemic. Then there is the program Visionary Voices which I detested. Again it's the program not necessarily the works. I know there has to be new work and I support it and know that it is important and part of the legacy of NYCB. But why all new on one program? I really questioned whether it was worth the hassle driving in from NJ for the next performance on my subscription. Then to give credit where it is due: The next was 4/23/22 Divertimento No. 15, Afternoon of a Faun, Allegro Brillante and The Four Temperaments. All beautifully danced. And after that 4/30/22 Pulcinella Variations, Scherzo a la Russe, Architects of Time and Stravinsky Violin Concerto (a true masterpiece) all beautifully danced to wonderful music. As I believe Balanchine said "If you don't like my ballets close your eyes and listen to the music." No Midsummer in 2023 is ridiculous.
  6. Saturday evening same program as Saturday matinee and although different dancers I agree with vipa "start to finish the show was a joy". I noticed that the orchestra section was fuller than for the program of new works (which for me was a disaster) so maybe people are voting with their feet. The casts were excellent throughout. Peter Walker in Divertimento growing into a wonderful principal. Christopher Grant sensual yet innocent in Faun. Tiler Peck superb in Allegro Brilliante with Tyler Angle's secure and attentive partnering. Four Temperaments very well danced. Emilie Gerrity and Gilbert Boland III eating up space in Sanquinic. Adiran Danchig--Waring sleek and smooth in Phlematic. Megan LeCrone excellent in Choleric. A really joyous and restorative evening. The directors should have planned more programs like this coming out of the COVID crisis.
  7. I agree. I refer to After the Rain as a "Pretzel" ballet or "How many ways can I twist Wendy Whalen?" I wish NYB would drop it.
  8. Actually, IMHO Watermill IS a work of genius. Particularly if one was luck enough to see Villella in it. But a fantastic theater/dance pieces no matter who dances the lead. It was booed at the premiere mostly because I think the NYCB audience was looking for another Dances at a Gathering. If IIRC New York Magazines review had an illustration of an audience with pig heads sitting on their hands.
  9. I'm I'm sorry Megan didn't ask Mr. Villella about Watermill. IMHO regardless of what one thinks of the ballet he was superb in it. And as I recall hearing him say he came back to NYCB to dance it because he didn't have a "proper farewell". Would have loved to hear about his feelings about the role.
  10. Watched it last night and I agree. Very enjoyable. I only wish, as I'm sure all of us do, that I could have attended a performance this year.
  11. I got as far as the ballroom scene and stopped. Maybe I'll pick it up again at some point but to me it was neither a good "film" nor good "filmed dance". Too many close ups. the background murmuring in some scenes, the repeated use of flower pots or planters to give an illusion of depth, the sound of Romeo knocking on the apothecary door yet no sound when crockery and wine bottles are swept from a table, Tybalt pushing a sword into Romeo's chest which surely would have drawn blood just a few examples of pretentious film making. Trying to twist something into something else and failing badly.
  12. I remember well the NYCB version with the caller. Saw it many times. I'll never forget "Come on Nick, Come on Pat. Make those feet go wickety wack." Quote it to my friends from time to time - they have no idea what I'm talking about.
  13. I agree Kathleen. I've been telling friends and family for years that this Sleeping Beauty doesn't breathe. I call it Sleeping Beauty on "speed" and I don't mean metronome markings. The first Sleeping Beauty I saw was the Royal Ballet's at the Met many years ago. It was a prologue and plus three or four acts (I've forgotten). I'm not advocating that for NYCB but a breath here and there would be welcome.
  14. Saw the Saturday evening 5/19 performance. While DAG was decently danced what was missing for me was the feeling of dances at a gathering. The dancers seemed to have no relationship to each other or a particular place (with the exception of Tyler Angle, Joseph Gordon and Lauren Lovette). It doesn’t matter specifically where that place is or who these people are because each of us will bring our own perception of that. “Who am I and why am I here.” Most of today’s DAG dancers have no sense of that and it has been so for a few years with DAG. Ballet Alert old timers will remember Villela and Verdy as examples of what I mean. As Anna Kisselgoff said in the NY Times June 14, 1994 “No matter how plotless, a Robbins ballet is about relationships.” I agree that Taylor Stanley was excellent in Opus 19/The Dreamer as were Russell Janzen and Maria Kowroski in Glass Pieces. What fun to have seen Stanley and Janzen develop. I remember Joseph Gordon in class at SAB and it is wonderful to see what a fine, fine dancer (and principal soon I hope) he has become. Bravo.
  15. Saturday May 5, 2018 standing ovation at NYCB for "Something to Dance About" which is a pleasant but mediocre work. Well danced but very poorly sung (the person who did the amplification really did the singer no favors) but hardly worth anything but polite applause. However, great work by the corps, Sara Mearns, and Andrew Veyette.
  16. Saturday Evening February 25th. Neverwhere, Mothership, The Decalogue, Namouna. Martins and those responsible for programming must have thought that this program would be good for the $30 ticket night which attracts a full house and a younger demographic. Well I think they made a huge mistake. I half expected wild cheers and huge applause but all the works were greeted very, very tepidly. It seems even the uninitiated know garbage when they see it. I doubt that a single additional ticket will be sold as a consequence of viewing this program. The saving grace was the dancers. From corps to principals they were wonderful. Kudos to the interim team and the dancers for weathering a difficult time and looking better than ever. Mothership at least provided roles for 8 dancers we don't often get to see solo. Namouna is admired by many but for me it is too cute and waaay too long. Although there are moments of very interesting and musical choreography there are bits like the smoking business where I just say to myself "OK. I got that now let's get on with it." Tyler Angle was a joy as the sailor and his solo early on was just great. A twist on Vipa's words above - Lousy show - what a wonderful company.
  17. Both Applebaum and Scordato were very good in Divertimento and I agree worthy of promotion.
  18. Kathleen - I feel much the same. For me it's been 60 years going back to City Center and like you I still feel "Oh wow!" and thankful that NYCB continues to exist.
  19. I was at the Saturday evening performance of MSND. I thought Ulbricht was terrific. Of course, one expects virtuosity (and got it in spades) but I was very impressed with his presence, authority and command when he wasn't dancing. IMHO one of the best Oberons I've seen since Villela. I like Ramasar very much but I don't think the divertissement PDD is his cup of tea. I agree with Amour that there didn't seem to be mush chemistry between him and Hyltin. Schumacher's puck was perfect. Fun without going over the top. Overall, a good performance. I look forward to the magic of MSND every year and Saturday did not disappoint. P.S. I was totally unaware that Kate Moss was on the promenade.
  20. Thanks Drew and rg. I must have seen a version of Fokine's choreography somewhere along the way. As you said rg, I remember the tossing of balls the size of apples.
  21. I was at the Saturday evening performance of Donizetti Variations, La Sonambula and Firebird. It was more enjoyable than I thought it would be since like many others I'm not a big fan of either La Sonambula or Firebird. For me the evening was rescued by the dancers. Tyler Peck, Joaquin de Luz, Wendy Whalen, Robert Fairchild and Ashley Bouder were wonderful. Can someone help me with some small questions regarding Firebird. I may be getting my productions mixed up or having a senior moment but didn't the women used to roll a ball around? And didn't the men in the beginning of the wedding scene in front of the front cloth come out from either side carrying banners? I know Firebird has been revised many times and the questions are a probably inane but any help the members can give is greatly appreciated.
  22. Where did Adrian Clay come from? Googled the name and only found Facebook page which I can't access. He's not listed on NYCB website. Congratulations to all.
  23. Canbelto - Thanks for posting that Lauren Lovettee was the purple girl in Les Carillons. She was outstanding. I don't like Les Carillons very much. The music is too heavy and it goes on for too long. I had a thought while watching that it sounds like music for a bad story ballet. I too found the cast of Year of the Rabitt excellent. I like the ballet and look forward to more from Jusin Peck.
  24. I am also in the "lost for words" category. I saw the Saturday evening performance with TDF seats in the second row to the right and at first thought that the bad viewing angle was coloring my opinion. Alas, that was not the case. Things quickly went downhill. I think what bothered me most was the complete lack of respect for the score. Not only chopping it up but the terribly unmusical choreography. Very sad that the powers that be chose to present the Australian Ballet's dancers in a work that is not worthy of them. I left after the second act. Was surprised the read that . I thought the audience response was pretty tepid except after the dance of the four swans which I think was something they recognized and could grab onto. I said to my companion after the first act "I forgive Peter Martins".
  25. You hit the nail on the head. As a long time NYCB fan I totally agree.
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