cobweb

Thanks for the info on Bouree Fantasque, @California. Kathryn Morgan certainly looks beautiful in that picture from SAB! I watched the first movement of the Boston Ballet performance, and skipped around the rest. The first movement looked very cutesy... too cutesy. The other movements look like a mishmash melange of styles. Interesting. I'm not sure how I'm going to like this. Since it apparently hasn't been done for some time (someone correct me if I'm wrong here, I'm very curious about when NYCB last performed it), I imagine there might be an article in the New York Times talking about it coming back to the stage and why. It will be interesting to see the casting. For the first movement, it needs a ballerina and partner who can be goofy... Tiler Peck and Roman Mejia? Indiana Woodward? Daniel Ulbricht?

4 hours ago, abatt said:

 

There are mediocre people of all backgrounds at ABT who are principals - Asian, African American and Caucasian. 

 

LOL. This is so true, but I don’t know whether to laugh or cry!

Studying the Fall schedule, I am wondering about Bourree Fantasque. This piece is completely unknown to me. Does anyone know if this was considered a successful piece, and/or know the last time the company performed it? Does anyone have any recollections or impressions they can share? I looked at the info on the Repertory section of the website, and it looks ambitious, and the original cast (and Karinska as costume designer) certainly inspires my confidence. But I'm baffled as to why I can't remember even hearing about this piece before. It would be nice if the Repertory section of the website would give a little more info as to performance history. I wish NYCB would have a thorough, detailed, searchable archive like the Metropolitan Opera does, but that must be an expensive undertaking. 

There have been seasons when Janzen was a real MVP, beautiful and versatile. More recently it seems like he's been injured a lot and even when he's dancing does not seem totally comfortable. I wish him well, I have enjoyed his dancing a lot. Echo @abatt's memory of him in Davidsbundlertanze; I would love to be able to see him in that (and the ballet generally) again. Interesting idea about recruiting Aran Bell! Might be a more solid job for Bell...

I think Gerrity, and Woodward too, would look great in the first movement of Symphony in C. My first choices for the second movement are unlikely to happen because they're soloists, but I would love to see Emily Kikta or Ashley Laracey. 

Yes to Alexa Maxwell in Rubies! Also von Enck. 

1 hour ago, Susu_nyc said:

It's not LaFreniere on the cover.  Emilie Gerrity posted a photo on Instagram of herself and the campaign imaged and expressed her delight.

Thank you, Susu_nyc! I kept thinking it didn't quite look like LaFreniere but it never occurred to me it was actually Emilie Gerrity. I would love to see Gerrity take on the first movement of Symphony in C. 

2 hours ago, Papagena said:

Not sure if anyone saw The Met's Don Giovanni, but there were zero bells and whistles / special effects until the end, when the hellfire scene used a projection tactic that was shockingly effective - I can't stop thinking about it.

Agree, Papagena! I was very impressed with the Don's destruction into hellfire.

P.S. I'm sure you must have enjoyed Zauberflote too!

I wanted to add, that I also found Homans' descriptions of the ballets to be tedious. I tried to read, but wound up doing a lot of skipping, the sections where she dissects Agon, Serenade, Don Quixote, etc. Maybe it's just that dance is hard to write about, I don't know, but I found her analyses ponderous and not adding anything to what I already know of these pieces. Balanchine Variations is way better as an introduction to the ballets. 

It happens that the next book on my pile of books to read was Witold Rybczynski's biography of Frederick Law Olmsted, A Clearing in the Distance. Totally excellent. He has control of the material, is easy to read, and makes the past come alive. In And rather than write "Olmsted knew he wasn't coming back," he makes it clear this is his impression -- he writes, "Olmsted knew -- so I believe -- that he wasn't coming back." Highly recommend this book!

After delaying for months and months, I finally forced myself to get through the entirety of Mr. B. Given my intense interest in the subject matter, and the fact that I'm a reader in general, it was striking how difficult I found this book to get through. On the positive side, it was informative about Balanchine and New York City Ballet, and I appreciate that. That's what got me through, the feeling that I was learning about someone important to me. There were many down sides. I found the tone uneven and baffling. She never finds her particular voice, or a consistent stance toward her subject. There were endless statements like (I paraphrase): "Balanchine's artistic integrity was in danger, and he knew it." "He knew that Tanny was the only real wife he ever had." "Jerry knew..." & etc. Since these are not footnoted (from a letter or interview or something), I assume it's Homans' interpolation. Endless referring to people by their first name: "George," "Georgi," "Tanny," "Jerry," "Milly," even "Jack" for President Kennedy! What in the world. Someone up-thread said she mainly did this to women, but I don't think that's so. Instead, I wonder (haven't read enough current biography to know) if it's mainly women authors who refer to people by their first name. More generally, I had the feeling that Homans didn't entirely have control of the material, but that she was including topics or incidents because she happened to have the material at hand. A difficult book. She's more a historian than a writer. 

12 minutes ago, Papagena said:

A one-act classical/neoclassical adaptation of 'Giovanni's Room' might drum up more public interest than LWFC, because James Baldwin is eternally relevant and is still on everyone 'must read' list (also, put Calvin Royal III in the lead and take my money!).

What a fascinating idea, Papagena! I would be very intrigued to see this. 

I'm out of town for the summer, so LWFC is moot, although I wouldn't be eager to see it anyway (unless it turns out to dazzle all my BA friends). The description of it as intensely storytelling, with little to no pure-dance sections, is a total turnoff to me. I like story ballets just fine, as long as there IS a lot of pure dance. IMHO, the main function of the plot of a story ballet is to provide plenty of pretexts for dancing -- wedding festivities, friends cavorting happily, forbidden lovers coming together, vengeful wisps in the woods, etc. If it's the other way around, where the dancing merely serves to advance the story, my interest flags. 

Thank you, @matilda and @OnPointe! This can't be good for ABT. I hope they can turn things around.

I can’t get past the paywall to read the article. Does it not give a reason for her departure, or is it just anodyne like wanting to spend more time with her family?

On 6/9/2023 at 2:21 AM, Drew said:

(Perhaps an unpopular opinion, but as much as I'm looking forward to the Fall, I'm afraid I even squinted over some of the choices and configurations for the all Balanchine programing.)

Drew, I have the same feeling about the Fall programming. An all-Balanchine season ought to be an occasion for joy. But when I take a look at the actual programs, my heart doesn't sing like it should. Instead I feel let down. I know we've hashed this out on this board, but I don't understand how they could program a 75th anniversary season without several of Balanchine's most beautiful, joyous pure-dance pieces, such as: Chaconne, Divertimento No 15, Mozartiana, or Square Dance. A program combining a couple of these pieces would leave me delirious. Also i asked up-thread and no one answered, what about Glinka pas de trois? Does NYCB never do this? I saw Miami City Ballet do it at City Center a few years ago and am baffled why it's not in the NYCB rep. 

1 hour ago, angelica said:

There is something so special about Joseph Gordon's carriage, that I would buy a ticket simply to see him stand in fifth position for an entire ballet.

What a lovely thought, Angelica. I have the same feeling about Ashley Laracey. Her carriage is so beautiful that watching her walk on for her solo in Divertimento No 15, on demi-pointe and with her ultra refined entire upper body and arms, was a real highlight for me. 

My guess is that there may be more apprentices, we just have to wait for the announcement. 

Thanks all for these reports, I wish I could have been there! I wonder, are Mia and Oscar the only two apprentices? Usually they take more. I guess we'll find out in due time. I've said this before, but I wish they would post PICTURES of the new dancers on the NYCB website. I'm still trying to get to know the apprentice/ corps dancers from the past few years, and it's hard without pictures to go by. 

2 hours ago, nanushka said:

I don't disagree about Kourlas's restraint, nor about the explicit focus of her criticism. I'm curious what others think (and what Kourlas thinks), though: are there many roles in which Pereira wouldn't have been miscast? Many roles in which her "body...comes to life through them" (in Kourlas's words)? I can't think of many.

If you "can't think of many," you're ahead of me because I can't think of ANY. I'm sorry to be so harsh. But while Pereira has never been exciting, she at least had some moderate sparkle, airy floatiness, and technical facility. Based on recent performances, I'd say whatever strengths she had are fading. As a ticket buyer eager to see certain ballets like Square Dance, I resent having to see her. I know this is harsh, and I don't say it lightly, but the Square Dance that I saw was the most lackluster principal performance I have seen in 12 years of very frequent NYCB attendance. 

So... was anyone there at either performance??

I look forward to any reports from the workshop performances. I have enjoyed attending for a few years now, but sadly have to miss this year as I’m out of town for a family graduation. Please report!

I absolutely love Square Dance and was very much looking forward to it. Erica Pereira was a real letdown, sucking the energy out of it. I kind of feel bad for her, but kind of not. The directors should not put her up for roles she cannot to justice to. 

I was also at yesterday's matinee, and agree with much of @vipa's comments (and good to see you & co. again too, vipa!). Fancy Free is a great piece of theater and storytelling, and while it may be out of touch with the zeitgeist, I find the themes pretty timeless - friendship and buddyhood, flirtation and fun, being young, in the city, and looking for adventure. I love that the women can handle themselves and are more clear-eyed than the hapless men. But however great a piece Fancy Free may be, as others have commented, I have seen this a LOT over the years and it's not high on my list to see again. I found Lauren Collett, as the red-purse girl, makes a very good impression, but Indiana Woodward in the purple dress was more lackluster than I've usually seen her. Agree that Peter Walker was lacking, although he had a delightfully goofy smile. 

It was great to see Agon, and as many times as I've seen it too, I feel I could see it forever. What a striking, but so simple, device to start and open the ballet -- four men at the back of the stage, with their backs to the audience. Isabella LaFreniere looked great in the bransle gay section. Anything with large, bold movement suits her extremely well. (For this reason she was very miscast in Sleeping Beauty, IMHO.) And Miriam Miller has really upped her authority, and she and Russell Janzen danced beautifully in the pdd.

Finally, Brandenburg. I don't love Robbins' tendency to cutesey elements, and it especially seemed out of place with the august Bach. Overall I would definitely see this piece again but it would wear thin soon. Emma von Enck looked terrific. The corps needed more rehearsal, it was pretty ragged at times.  

3 hours ago, Royal Blue said:

Moreover, my opinions about specific ballets, and performances/performers tend to be more favorable than yours

Not so, Royal Blue! I remember vividly your comments about my reaction to the sublime marching section of Union Jack. You said, roughly quoting, "I do not share your admiration for Union Jack, cobweb, but I admire your enthusiasm." I appreciate your appreciation!

It is great to hear all these glowing reviews of Brandenburg! I look forward to seeing it on Saturday. Seems a shame they aren't bringing it back next year!

24 minutes ago, cargill said:

 I am so glad you mentioned Cy Doherty's Don Quixote.  I was simply amazed by it, and absolutely stunned to see that he was so young.  Here is what I wrote about him, and I'm happy that I wasn't the only one who noticed him!

Thanks too, cargill! I had no idea who this young man was, and now I look forward to seeing him!

1 hour ago, nanushka said:

I'd love to hear any reviews of tonight's Fancy Free and Agon casts. I'm rather bummed that my tickets are for Saturday afternoon, not evening. I would love to see Mejia, Gordon, Veyette, Danchig-Waring and Gerrity, among others. But I'm still looking forward to the program — and very excited to be seeing Agon again, after too long.

Agree, interested to hear any reports from tonight! I have a ticket for the matinee on Saturday, and highly tempted to add in the evening too. I am looking forward to seeing Brandenburg, about which I know nothing, aside from the music.