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cobweb

Senior Member
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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 haven't read Pazcoguin's book, but I wanted to weigh in on the artistic merits of Nutcracker. I love it. Sure, the overall narrative arc is lopsided and lacking. But Snowflakes, Waltz of the Flowers, and the variations for Sugarplum and her Cavalier are beautiful. I enjoy all of the divertissements, really all of them, the exception being that after many viewings Arabian gets tedious (shoutout to Emily Kikta, who brings it back to life). The party scene does get long, but I find it to be a beautiful vision of a happy family life. Today few of us choose to live our lives in this very traditional fashion, but it's a beautiful and poignant vision nonetheless. And I enjoy seeing the generational shift in action, both in the narrative of child and parent, as well as the actuality of child and adult dancers, where you can see the children gradually and awkwardly taking on the steps shown to perfection by the adults. But, for me the part I love most and one of my favorite pieces of Balanchine ballet is the whole section after the party scene, the battle scene, and up to the end of the first act. There is a beautiful and plaintive violin solo (really beautiful!). Mother comes looking for Marie with a candle in the dark house. You can feel the cold of the snowy winter outside. The music swells with mystery, everything becomes something that it wasn't just a minute ago, and the stage fills with shadowy combatants. A brutal battle ensues, with a mix of adorable children, proud and noble mice, a heroine saving her own prince, and a glorious ride through gathering snowflakes. And the incredible music carrying everything along. I find this whole narrative completely beautiful and compelling, and thank you Mr. B!
  2. I am glad to see this too! It puts my mind a lot more at ease about being in a crowded theatre.
  3. OMG yes. Honestly I was in an existential crisis for a couple of hours, thinking I had missed out on Kowroski tickets. Why am I living in NYC, do I even want to return to the city (since I've spent most of the pandemic away), is the whole season going to be like this with pent-up demand, what will my life be like if I can't attend ballet performances easily the way I used to, etc, etc. Now I'm all set with tickets THANK GOD.
  4. I was unable to get Kowroski tickets at all and now it appears to be sold out. It kept telling me that I had exceeded the ticket limit, even though I only had two in my cart - then it wouldn't let me click through to complete my purchase. I did manage to get two tickets to opening night, but that also looks like it's selling fast.
  5. Thank you KarenAG for the blow-by-blow reports! Much enjoyed. Thanks also to FPF and Caesaritus for the reports. Especially glad to hear Emily Kikta was suitably sassy and bodacious as the "Chapeau Girl" (great moniker by the way!) in Western Symphony. I would love to see her in this.
  6. So that's five upcoming retirements - Kowroski, Lovette, Garcia, la Cour, and Ramasar. Probably Jared Angle, and possibly Andrew Veyette and Abi Stafford, are not far behind. Time to think about promotions. For men, Jovani Furlan and Harrison Ball would seem no-brainer for principal. Not sure Peter Walker, Aaron Sanz, or Sebastian Villarini-Velez are ready for principal status, but they are all needed. When Daniel Applebaum was promoted to soloist I envisioned him as a "flagship soloist," but now I could see him as a principal. Harrison Coll was out for so long, even before the pandemic, that I have no idea what his readiness might be. I could see Andrew Scordato and Alec Knight to soloist. Too bad Silas Farley left, this would be an obvious choice. For women, I think the main candidates for principal are Phelan, Gerrity, and Woodward. There are quite a number of choices of women who could go from corps to soloist, my top choice is Emily Kikta.
  7. There is some interesting casting here. Please, please - anyone who attends, detailed reports greatly appreciated. Glad to see Emily Kikta and the under-used Sara Adams getting some opportunities. Has Kikta done Apollo before? But I'm most intrigued by Meaghan Dutton-O'Hara in the Rose Adagio. I could see her potentially being very good in this. Reports please.
  8. If this is true, I don't see how she could come back at all. How old is she? I have loved her charm and musicality, but last few times I saw her I couldn't help but think it looked bad on the AD to have his sister dancing on that level... and that was a year and a half ago.
  9. Has anyone heard anything about the continuation of Society NYCB? I believe that last summer they sent out a notice saying it was of course suspended for the year but that we would hear from them at some point about renewals. I have been away from NYC for months and having serious problems with USPS forwarding my mail, so I'm wondering if I missed anything about this.
  10. Thanks for posting this, pherank! I would love to attend. But, looking at photos of the Frost Amphitheater leaves me doubtful about it as a venue for ballet. Can anyone who has been there weigh in on what it's like, seating options, sight lines, and so on? Maybe it's worth it in any case, just for the return to live performance.
  11. cobweb

    Sarah Lane

    After reading this interview, I conclude that we still have no idea of the whole story. The only thing that seems clear to me is that the partnership between Lane and Cornejo broke down for some reason that remains unknown, and for the audience that was very unfortunate because they were great together. Also I conclude that she had an illustrious career that could have been even more successful but was mismanaged, probably both by herself (i.e., refusing to dance with the company's main star) and by management. I loved the fleetness and delicacy of her dancing but found myself often distracted by her being too smiley, as vipa noted above, and/or with a flat and frozen facial expression, like the feedback she says she got. She says she took that feedback "to heart." Does that mean she understood the issue and worked on it? Or that she rejected the feedback? I find myself dubious about other implications she makes. Was the offer of a final performance of R&J really connected with the promise that she not speak publicly about her departure from the company? Ultimately, I just agree with canbelto.
  12. So I did manage to watch part of the von Aroldingen coaching sessions last night before it went offline. We're treated to von Aroldingen working with Teresa Reichlen and Robert Fairchild on Who Cares? Reichlen looked stunning, impossibly lithe and with incredible expressive legs, while Fairchild's form and charisma made me miss him badly. Then onto the "Elegie" section of Tschai Suite #3, with Sara Mearns and Ask LaCour. Here I only watched a few minutes, so can't really comment. I enjoyed seeing von Aroldingen. But as someone new to the "ballet coaching" genre, the one I found most illuminating was Merrill Ashley with Tiler Peck in last summer's City Center Studio 5 series. The more specific and hands-on the coach is, the more illuminating I find it.
  13. I was sent access to the von Aroldingen coaching session and would like to watch it, but it was only up for like 48 hours and unfortunately I've been traveling this weekend so I can't get it in. Wish it was available for just a tad longer, that's not really enough! The Ballet Connoisseurship program is run by SAB. I sprang for a program this spring, on Walpurgisnacht Ballet, with James Steichen as the speaker and Kyra Nichols too. There were some interesting nuggets but I was not inspired to attend again unfortunately. I think coaching sessions are a lot more engaging than hearing dancers reminisce about Mr. B. Coaching is alive and fresh, whereas at this point dancers who knew Mr. B have probably rehashed their reminiscences a thousand times, and it gets a little stale.
  14. I'm just getting around to watching the Gala. I like the concept and certainly, as filmed dance goes, I've seen a lot worse. I thought the Liebeslieder Walzer excerpt fared the best, beautiful in that setting. And it was just delightful to see the Divertimento segment, chock-full of my favorite dancers, looking terrific. But I just can't work up much enthusiasm for more ballet on video. Bring on the season! But why, after that teaser, is Divertimento No. 15 not on the schedule until the spring?
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