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cobweb

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About cobweb

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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 had the same thought (as I suspect many others have as well). I count on my fellow BA members to post the news ASAP if there is a replacement, so that I can get a ticket.
  2. My partner and I attended the Friday evening performance of Dances at a Gathering / Everywhere We Go. My partner, a retired musician who had not seen these pieces before, was particularly impressed with how the Chopin pieces were cobbled together into an epic, coherent whole. I found DAAG beautiful overall, as always. Russell Janzen has impressed all season. He seems to have gotten taller over the past few years, if that's even possible, or maybe it's just that the span of his arms is breathtaking. Jovani Furlan also continues to impress after seeing him a few times now. I assume they hired him with the intent of sooner or later making him a principal, and it looks like that might not be too far off. After the poetic beauty of DAAG, at intermission I was dreading Everywere We Go, wishing they could just do DAAG all over again. But, it intrigued me more than I remembered. Yes, I find it overly busy and repetitious with too much frenetic running around, and if there's a point of view in there I missed it, but Peck does have a lot of interesting choreographic ideas. It's disappointing not to get the excitement of seeing our favorites promoted (I'm on Team Emilie), but I wonder if there's not room at the top now, especially for female principals. While it seems like one or two retirements could be coming within the next few years (or sooner?), that still leaves a whole cohort of robust, versatile female principals.
  3. Totally boffo performance of Symphony in C to close the season. Sterling Hyltin better than expected in the second movement. Megan le Crone appeared as an unannounced replacement for Ashley Hod in the first movement though.
  4. Thanks for the report tutu! He is a very handsome dark-haired Italian.
  5. For yesterday's TPC#2, I see that Davide Riccardo was subbed in as one of the demisoloist men. Did anyone note how he did? He really stood out to me at the SAB workshop I think it was 2 years ago, and this seems to be one of his first featured roles.
  6. Thanks for the report. Glad to hear she looked good. Expansiveness in particular is such a great quality in a dancer. Hopefully I'll get to see her next time this piece comes back (in the spring, I believe).
  7. I was hoping to get to another performance of the Serenade-Summerspace-Ballet Imperial program, but it's not going to happen. I would love to hear reports on Olivia MacKinnon's debut in the soloist role of Ballet Imperial.
  8. See the NYPL Performing Arts library website, where there is an "events" link. I think you can filter it by subject (such as dance), time of day (lots of them occur during the workday, which is another reason to look forward to retirement!). I recently sent the Performing Arts Library a donation, which probably is why I got a flyer with early notice of the presentations, however, you can easily find them online.
  9. I kind of like the pleated dresses. There was a fascinating presentation at the Performing Arts Library last night, on the history of Apollo including various productions and costumes. These dresses are very sedate compared to some of the old productions. Last night's presentation got me interested to see the ABT production (which otherwise I hadn't been planning to see), in order to see the prologue and apotheosis. Off topic from ABT, but at last night's presentation I was most impressed with the old footage of Ib Andersen's Apollo. So intensely human and musical. Really compelling.
  10. I would go rather in the direction of the Kammermusik corps guys not getting a front of curtain bow, to make it consistent with most other pieces. Front of curtain bows are for the principals. MHO.
  11. I also noticed Knight's hair. Not only was it puffed up, there seemed to be a two-toned dye job, platinum blond on top and darker on the bottom. He is a showboat, which makes him compelling to watch, but sometimes it goes overboard to the point of detracting from his dynamic dancing. And I have often wished Joseph Gordon would get a haircut, his hair flops around a lot. I was intrigued by Summerspace, which is entirely new to me. I can't exactly say I like it, and the music was difficult to appreciate. Still, I loved the Rauschenberg backdrop and unitards, and overall I would like to see this again. I had the feeling that it represents a coherent, thought-out concept, making me admire it more than I did, say, the new Lovette and Liang pieces from last week, which didn't seem as intelligent. On the topic of promotions, I agree that Phelan may not be ready. She would benefit from more time to grow into her talents, although doubtless she is on her way to the top. I would like to see Gerrity and Woodward promoted to principal. And Kikta and Mejia to soloist. Any official word on what is up with Harrison Coll? He has been out, I think a year now. Btw, did anyone see the Symphony in C the other night with Sterling Hyltin and Amar Ramasar in the second movement? I was wondering if Hyltin had added any depth or mystery to her interpretation from last time she did it.
  12. In recent years I think they were using a pony, but this time it was definitely a donkey.
  13. Mearns, Janzen, and King were all magnificent in tonight’s Ballet Imperial. A grand and memorable performance of a truly beautiful piece.
  14. I do too. I'm hoping they will name a new female principal soon, and she certainly seems in the running. To me the most likely candidates for promotion to principal are Gerrity, Woodward, and Phelan. I would not want to be the one to choose among these, but it's a good problem for a company to have. (Or promote more than one?) I wonder if there are other candidates though. God knows Laracey deserves it, but I suspect she's not in the running. Georgina Pazcoguin and Sara Adams do not seem to be favored. Megan LeCrone and Erica Pereira do seem to be favored, but I don't see either of them as principal material. (LeCrone doesn't have enough range, with her harsh facial expressions, and I find Pereira bland.) Kretzschmar was just promoted to soloist. Maybe the radiant Lauren King?
  15. Just back from the final of my marathon of all five performances of the Union Jack program... which also included Valse-Fantaisie and Kammermusik, but my real reason for being there was Union Jack. A few notes on the performance. During the tattoo, on the fourth regiment's entrance the horns totally missed the entrance, tootling along awkwardly for a few seconds before finally catching up with where they should be. Y'know, if you're not sure of where you should be, maybe hold off blowing the horn till you're sure of your place. Unity Phelan had a big fall just a few seconds into MacDonald of Sleat, but she recovered nicely... and the conductor (Clotilde Otranto) got an extra roll of two of the drums to hold off the music while Unity got up and back into place. Ashley Bouder drives me nuts by always being a millisecond ahead of everyone else. Her regiment was pretty in unison with each other during RCAF and WRENS, but Ashley was always ahead of them. This starts from the very beginning of RCAF, when the girls walk out on stage, pause, then all move their hands down to their waist. She's noticeably ahead. It was so annoying that I finally gave up watching her and just zoomed in with the binos on her regiment. Miriam Miller, Isabella LaFreniere, and Laine Habony all seemed to be having a grand, grand time with WRENS. Bouder was noticeably ahead even when she's with her fellow principals. For example - the moment at the end of the first section where the entire company is dancing to "Amazing Grace," then stop with their hand over their heart - the drumbeat starts up again - and the company brings their hand sharply down to the side. Bouder's hand is ahead of everyone. Or at the very end of Royal Navy when everyone stops, then salutes - again, her hand is solidly up on her head while everyone else is still moving. Anyway, the audience went nuts for the performance, and even gave a raucous, demanding applause for the Costermonger pas de deux. A terrific performance of Valse-Fantaisie from Indiana Woodward and Roman Mejia, backed up by four fleet and lovely corps. Promote this couple now! Kammermusik... Russell Janzen was beautiful and spiky, with a breathtaking span of arms. Otherwise, I can't believe I'm saying this about a Balanchine piece, but I dozed off. Union Jack can be appreciated as a spectacle, and I do appreciate it that way. But for me it also exists on a spiritual plane. They are otherworldly creatures, stopped in their solemn march to do some sweet Scottish dancing. They never acknowledge the audience, they only acknowledge each other - sweetly, gently. Then the relentless drumbeat starts up and they resume their journey, beyond our grasp. They have a perfection that they take with them, leaving us behind in a flawed and mortal world. The formality and nobility of their posture is contrasted with the down-low real-world bickering couple of the Costermonger pdd; and the tension and constraint of their march contrasts beautifully with the good humor and warm generous spirits of Royal Navy. As I've often said: Thanks Mr. B.
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