britomart

Having finally made it to my first performance of the season (thank you, old friend w/a membership to 4th Ring society) I agree w/the general opinion that it was a pleasure to see the all-Balanchine evening so well-danced in general. I think it's pretty much been unanimously stated that Kammermusik, despite wonderful performances, needs to be more thoughtfully placed on a program. It's simply does not ease one into the evening, nor does it get one's receptors charged up and ready to open up to more. I found myself tuning out much of the piece, despite repeated efforts to try and get my mind off what I wanted to have for dinner later that night. I'd also second Leigh's opinion that Meunier is ill-cast in this particular role. She dances it with her trademark kineticism and attack but looks as though she's not quite sure what else the part calls for, unlike her approach to Cortege, which she understands body and soul. I still haven't figured out why they cast her in such a scattershot way; it's easy for weeks to go by, w/o seeing her once. Tchai Pas was a debut, and it showed, but I think that both these dancers are very well-suited to these roles. They were much more at ease in the solos than in the pas--they don't seem very familiar w/one another as partners. Taylor seems to need someone more experienced. She had no problems in Morgen, which has far more difficult partnering; however, there she was partnered by Soto, Martins and Fayette. Whelan turned in a lovely, nuanced performance in Mozartiana, despite a very few, very minor technical glitches. I continue to be amazed at her ability to reshape herself and evolve as a dancer; I can hardly count the number of times I have seen her in roles where she has made me look at her anew. Damien--well, he partnered her well. As Leigh said, his double tour to the knee--well, actually to both knees turned in, which then turned into a scooch around on both knees, ass to the audience, and finally coming back around to the front, grinning and opening his arms in a finishing gesture which basically said: "Hey, well folks, that's showbiz." It wears a little thin. Stravinsky Violin Concerto was the highlight of the evening for me. I had seen this ballet only once before, with Whelan and Borree, and while both gave excellent performances, I think I was too amazed by the contortionistic aspect of both the choreography and Wendy's phsyique to really look at the choreography. Somogyi surprised me in the pas; I actually didn't realize it was her for about five minutes. She has such a command of the stage, almost an animal ferocity. I am usually competely mesmerized by her, and her debut here was no exception. While the force of her presence and dancing doesn't work in every instance, I thought it was perfectly employed here. She did not make any attempt to sell the ballet or the part, but the power behind even the simplest arm gesture spoke volumes. In the finale, the exactness of her musicality extended even through her fingertips. I used to have a dance teacher who siad "Think of how you change the space when you move." Watching Somogyi, that phrase makes more sense to me now than ever before. I unfortunately will not be able to attend Helene's farewell performance tonight, so those going, please do tell!

First of all, I'd like to thank everyone who's responded to this post, and especially, those who have contacted Carol Landers. I am going to email the larger Columbia community as well--it may actually intrigue enough people that NYCB ends up with more viewers, rather than less! Ms. Landers also reminded me about Fourth Ring Society. It certainly is a good alternative to student rush, but that still does not mitigate the fact that one's student status is "taken away" in the eyes of NYCB because of one's age. I thought Leigh's response was very well-said--many, if not most dancers spend their careers making ends meet, and then take out a huge amount of money to attain a college education. As already stated, an equal concern of mine is the larger student community. It's rather amazing how many graduate students are over thirty for various compelling reasons. Among those I know, one is grand master--not very wealthy, but the subject of the film "Searching for Bobby Fisher"--another was an EMT for years, and is now in medical school at Columbia--a huge commitment both in terms of time and money. Should either of these people be denied student tickets? The world has changed a great deal. People change careers and pursue postgraduate degrees at every age. This is to everyone's advantage: it represents an increase in possibilities and in flexibility for us all. I understand that the arts community is trying to survive in a post-9/11 world, but it, like all of us, must be ready for its changes. One of these is the reality that people have more than one career (even, in many cases more than two) in their lifetime--sometimes out of desire, sometimes out of necessity. Ideally, I would want ballet (or, more accurately, ballet administrations) to have the flexibility to survive this world as well. To do this, it must be aware of what those changes are. That is why your responses and opinions are so important. If nothing else, it's informing the company's administrators of the existence of changes against which it might otherwise be insulated. In short, it's about more than the extra $2!!!java script:smilie(';)') wink Thanks again to all, and I'll keep you posted!! (hopefully about performances too!) britomart

Hello all, and I hope this is the right spot for this post.. I am writing to let BalletAlerters know that NYCB has changed their policy about student tickets. Rather than simply presenting proof that one is a full-time student, one now needs to show proof of age. Student tickets will only be sold to people 29 and younger. As a Columbia University student who just turned thirty and a former professional dancer, I am concerned about what appears to be a very prejudicial decision, especially considering the fact that many dancers do not have the opportunity to attend college until their late twenties or thirties. We have a very large population of former dancers at Columbia, many of whom are over 29. Besides this section of the student population, many of the people pursuing their graduate education are also over 29, and living on reduced budgets. I would think that NYCB would want to encourage this population to attend the ballet, but this new policy communicates exactly the opposite message. I have contacted several people at the NYCB administration to attempt to find out why this new requirement was instituted, and unfortunately, they did not know. In fairness, they were extremely helpful, and also indicated surprise that an age restriction had been implemented. I was told that they would welcome feedback about the new policy, and that this feedback could be emailed to clanders@nycballet.com. I believe I speak for many when I say that the support of dedicated, intelligent ballet viewers and supporters like yourselves would mean a great deal both to students who already love the ballet, and those who have yet to be exposed to it. Ballet companies continuously try to distance themselves from the art form's reputation as an elitist one, and I believe that NYCB's decision on this matter is a bad one for the company as well as for its viewers. Sincerely, britomart (amy rodgers)

Um, just wanted to clarify, Jeannie, the last post with your name on it is from Catlady, right? And welcome Catlady! I see myself as a catlady too. Am looking forward to tonight's competition, and moving past the bitterness of the last several days. I believe Yagudin will win; he skated so beautifully the other night. What a great moment for him! I too was terribly sorry to see Plushenko fall, but he is so young, and still has plenty of room and time to grow. In some ways, I think it's difficult to win the Olympics "too young". Undoubtedly it's tough to win something so prestigious very early on, like "Where do I go from here?" Still, I hope Plushenko skates well tonight. What do the rest of you predict? [ February 14, 2002: Message edited by: britomart ]

Hello all: This is such a controversial topic! Like many of you, I watched the long pairs program w/baited breath, but unlike many (Dirac and Jeannie excepted it seems) I felt that the right, if unexpected decision was made. While the Canadians did a beautiful program--more consistent, perhaps, than the Russians--the Russians were so much more beautiful (to me) transitionally--they made the "in between" moments into something magical, while the Candians were better at the tricks. Maybe this is also my ballet background coming in too heavily, but I thought the Russians DID win the evening artistically, and the Canadians technically--the rest is for the judges to decide, and they did. All the challenges frustrate me. It seems unfitting for the Olympics--a time when all nations (yes, I know this is unrealistically idealistic) come together, not further the chasms that separate us. I wish that this decision could be accepted, regardless of the perceived flaws. Skating is more than a sport, despite its presence in the Olympic games, and therefore is subjective, not absolute.

Thanks Juliet, for the prompt reply. I'd like to second best wishes to her and hopes that it is nothing serious. Scotch is a role I want to see her in; I've thought in the past that she'd be well-suited to it. She did do Morgen on Friday, which makes me think the injury is not too serious. [ February 10, 2002: Message edited by: britomart ]

Does anyone know what happened to Jenifer Ringer?

I too, could not agree more. Ansanelii's performance was a truimph indeed. To see her come back from her horrific injury and patiently work her way back to the strength and physical control she exhibited last night has been truly joyous, and it shines through in her dancing. There is something gracious in her demeanor--Leigh I remember that same moment you mentioned--and when she was called out for a third curtain call, she dropped to one knee, bowed her head and put her hand to her heart. Rather than seeming a ballerina contrivance, it read as a genuine gesture that clearly communicated what that moment must have been for her. Dumb as it sounds, I felt proud of her and shared her joy. What is amazing to me at this point in her dancing is that she has developed such a lovely maturity in her dancing while still so young. Initially I think people saw her simply as the next Martins wunderkind, but she has become something far different. Her presence conveys a certain sweetness but one that has a great deal of texture and range. I would love to see her Aurora.

You're right, Manhattanik, when you say Martins did show loyalty to her. What I mean when I say he lost interest would more correctly be termed as he didn't have any interest in developing Borree when she reached the principal level. He is a sink or swim kind of director it appears, but during borre's corps and soloist years, he seemed to have an eye for developing her through careful casting. I have heard others say "I enjoyed her so much as a soloist, but now..." As I have said before, however, she seems newly confident onstage (when I have seen her) this season, and I hope it continues. And thanks, rg for the info!

Leigh and all Balletalerters: I noticed that Borree was orginally supposed to debut on Tuesday evening. Did she? Is she injured? i have been rooting for Borree this season as one of the principal "underdogs" of the company; it seems Peter lost interest in her when she reached the rank of principal. Although I have never been a Borree fan, I have seen in the past what she is capable of, and have been happy to see her begin to live up to it this season. As much as I admire Abby's imperturbability, I am surprised at Peter's push--surely Theme was enough, a challenge she handled admirably. I think the constant "testing" or the throwing her into principal roles in unfair of the administration, regardless of her ability and sangfroid. She is so young; there is no need to put her in EVERY killer principal role the repetory has to offer. [ February 08, 2002: Message edited by: britomart ]

I too attended last Thursday's performance, and, like Leigh was wowed by Somogyi. She has a depth to her power that is formidable. I have seen many people in the lead, not just at City Ballet, and Somogyi is the only person I have ever seen who did the double/triple pirouette combinations both times. Now, while this does not make the ballet, it is a testament to her onstage confidence and plain ol' "guts". I wish she were getting more to do; I feel that she's been passed over for a few roles that I would love to see her in, such as the aforementioned Theme. I agree with your assessment of Wendy's performance, Amanda. She did indeed project much farther back than the orchestra. I was in the second ring, and I was amazed at how moved I was by her performance, especially at the end. There was a moment when she touched Nilas' face just before the diagonal bourree backwards just before the final exit. It was so small, but it summed up so much of the role, even in the condensed version. I'd also like to mention Yvonne Borree's lovely performance in the R&J pas. I am pleased to say that she seems to be moving out of her trouble phase. I didn't see her Raymonda, however. I hope she continues to define herself as a principal. She did the pas with the abandon one expects from her, and none of the tension and/or technical "hiccups" we've seen a lot of since her promotion.

This is a great topic, especially for the memories it revives! Like several of you, my "vision" of Theme was formed by Gelsey Kirkland, but unfortuntately I only saw her on video. How many times I watched that "Dance in America" series video of her and Barishnikov at the Performing Arts Library in NYC. There is one moment especially that I remember, early in the pas, where the couple is doing the low, carried saut de chat lifts downstage from side to side. In all of the live performances I have seen, the ballerina either looks directly ahead or at the audience, but Gelsey looked at her partner, giving the moment a delicious intimacy. I find the pas so oddly romantic. It's as though now that both partners have displyed their public faces, or technical sides--balletically speaking--we are given a moment of insight into a connection so briefly glimpsed at the very beginning of the ballet. That's the genius of Balanchine though, isn't it--the attention to form, detail and technique while simultaneously managing to encompass something much more emotionally profound. As to others in Theme, I have to admit they've been few and far between in terms of impression. Of those I've seen live, the two who left a lasting impression were Cynthia Harvey, for her crystalline,technical brilliance and Miranda Weese for her musical fearlessness and absolute commitment to the energy the role demands. As for men, I've seen Damian do it several times, and while it probably takes all the effort of a shower for him, he's never disappointed me, and Angel Corella did a beautiful job with it the last time I saw it performed at ABT. [ January 24, 2002: Message edited by: britomart ]

As a long-time reader of Ballet Alert, and an even longer NYCB attendee, this news made me come out of my shell to try a post! While I agree wholeheartedly that it is time and past for Rachel Rutherford's promotion, this does not in any way diminish Ms. Stafford's achievement of attaining the rank of soloist at such a young age. Having seen Abi at twelve, I remember thinking "This one is definitely going to be a ballerina," and I am thrilled to see her proving me right! She does have things to work on--projection, as Leigh Witchel noted, and texture, but to give credit where credit is due, she has an impeccable technique--something she works very hard for, despite the ease which she projects--and remarkable aplomb. I congratulate her, and, like many, look forward to seeing her develop in this wonderful repertoire. [ January 22, 2002: Message edited by: britomart ]