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cobweb

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About cobweb

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    Gold Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan & avid balletgoer
  • City**
    NEW YORK
  • State (US only)**, Country (Outside US only)**
    New York

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  1. I was there on Tuesday night and was mostly underwhelmed. I would want to see Danses Concertantes a few more times, with some different casting, to really decide what I think of it, but on first view I found it overly cute. It was great to see Harrison Ball back onstage, but the partnering was awkward and Pereira was, to use a phrase from up-thread, competent but bland. Stravinsky Violin Concerto was good enough, and what a masterpiece it is, but it lacked sharpness and didn't crackle with tension like it should. The highlight was Monumentum/Movements for Piano and Orchestra, with Teresa Reichlen looking incredibly fine. On to Saturday night. The video up-thread of the Allegro Brillante rehearsal makes me so eager to see Anthony Huxley I can hardly bear it! And I look forward to seeing La Source, new to me, I'm only sorry that I'm not getting the cast with Emma von Enck, after hearing reports of her performance a few nights ago. Maybe I can squeeze in another show to see her.
  2. If Balanchine himself shows up to give a speech or share a few memories, I promise you won't hear a peep of complaint (or any peep at all, really) from me. Otherwise, how about celebrating his birthday by handing out shots of vodka at intermission?
  3. I’m glad to hear it was mercifully short, but opening two performances in a row with speeches rather than dance is not a good trend. Please - let’s stamp this out now!
  4. Nadon has unique and beautiful qualities, but I fear it's too fast for her. When I saw her do the Tall Girl in Rubies, I felt she is lacking in control of her limbs, and short in command and authority as well. Mejia, on the other hand, appears ready to handle the increased demands, dancing and otherwise, of being a soloist. I'm just judging from what I see on the stage, of course, but he seems utterly poised and comfortable with himself.
  5. Thanks for the perspective, ABT Fan. Sometimes I think the same thing!
  6. I don't know whether to chalk it up to the new management or the old, but I find myself very disappointed about the stagnation in the career of Emily Kikta. To me she is one of the most interesting and commanding dancers in the company. I finally had to accept that Ashley Laracey will never be a principal and we'll never see her in the great ballerina roles that she seems so obviously suited for. But now I'm disappointed about Kikta. Maybe that's just part of being a ballet fan, the AD's choices will never entirely overlap with one's own.
  7. I didn't think Stafford's description of Jones was all that flattering, it didn't make her sound like a special dancer. She's speedy, athletic, has good attack. Great, that describes almost all the corps dancers. If he gives a correction, he knows she'll work on it and keep improving. Really, this is what it takes to win the award?
  8. Before the performance started last night, Jon Stafford came out and introduced the Levin Award for this year, and then Baily Jones came out and gave a short speech. Has this been done in past years, and I just missed it? Jones was charming, but my feeling is I don't need the talk - let's get on with the performance! I am also wondering about the idea behind the Levin Award. Looking at past awardees, obviously for many years it went to those they saw as future principals, which almost all of them eventually became. Last year it went to Kristen Segin and this year to Baily Jones. Both of these are, to me, the very epitome of excellence in corps dancing, and very capable soloists as well. I'm not sure I see either as principal material. And for two years now they have overlooked the single most promising member of the corps - Roman Mejia. He is, IMHO, the most obvious future principal, and is already doing principal roles. All making me wonder if the idea behind the award has changed.
  9. I wound up with an extra ticket for tonight's performance and am happy to give it away. If you're interested and can pick it up from my doorman near Columbus Circle, PM me. The brochure that NYCB sent out for the winter and spring seasons has an amazing photo of Taylor Stanley and Sara Mearns in Stravinsky Violin Concerto. It really highlights the otherworldly shapes that Balanchine created. (Mr. Cobweb said it was like hieroglyphics.) While I'm not excited about the season as a whole, I do look forward to SVC, especially Emilie Gerrity's debut in a few weeks.
  10. It would be a real bummer if Mearns doesn't dance Firebird... although I could be happy with it if they put in Isabella LaFreniere. What a shame that after missing her debut, a few years ago now, she is not getting the chance to do it again.
  11. Thank you Lynette H! I only heard about this at the last minute and already had some weekend plans, so I wound up not going to see this. But I would love to hear reports from anyone who saw it.
  12. And THANKS ALSO to those who put in their time to keep this site running and moderated with such wisdom and care.
  13. I’m intrigued to see 48 swans, but has anyone seen this production? I’d appreciate any info at all on whether this is worth seeing.
  14. FPF, you should make it with no problem. As nanushka suggested above, once you exit through the lobby, take a sharp right and then another quick right, to the niche that houses the down escalator. (If you come to the end of the theatre, you've missed the escalator.) Once at the bottom of the escalator, go left. This will take you through the passageway that delivers you straight to the downtown 1 platform.
  15. Exactly. These are very speedy routes, and one out the orchestra left doors is especially unobstructed. You won't see many people going through these doors, but just be fearless and go on through the two sets of doors.
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