cobweb

It does look like Trenary and possibly Hurlin are on track to be promoted before Brandt. I'm a huge fan of Brandt, so I would be sorry if that happened, but I have to say that all three of these ladies look excellent. The problem is the logjam at the top, with Boylston and Copeland dancers I avoid no matter what, and Seo who I will see, but definitely not seek out.

I believe Coker is also significantly more petite than Hurlin. She has a rounder face, while Hurlin's is more oval.

Wow, all these reports of T&V are very discouraging, even depressing. What is going on at ABT that they would allow such an unprepared, subpar T&V to be presented? I still haven't seen Seasons, so I've been trying to find a performance that includes it, that I actually want to see the other pieces on the program. I would have expected Lane to shine in T&V, but I was very doubtful about Gorak so I avoided those performances. And while I like Teuscher, watching Stearns is so boring. But, it sounds like that's the couple to see, so maybe I will go on Tuesday night to see them and Seasons.

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.

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.

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.

Thanks for the report tutu! He is a very handsome dark-haired Italian.

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.

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).

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.

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.

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.

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.

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.

In recent years I think they were using a pony, but this time it was definitely a donkey.

Mearns, Janzen, and King were all magnificent in tonight’s Ballet Imperial. A grand and memorable performance of a truly beautiful piece.

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?

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.

Totally agree, Royal Blue. Lovette breathed new life into this piece, lively, authentic, and delightfully comedic. Looked great in the hat, and great use of her eyes.

I'm hoping for the best with MacKinnon's debut in Tchaikovsky PC #2, but it's not clear to me why she was chosen for such an exposed, big opportunity. She often looks effortful and doesn't seem to enjoy herself onstage. Seeing her as one of the four corps in Valse-Fantaisie a couple of times over the past week, all of the other three seem to be more obvious choices for a big opportunity, based on fleetness and crispness of dancing, as well as projecting a radiant joyfulness: Emma von Enck, Alston Macgill, and Kristen Segin.

macnellie, this was my experience exactly the first time I saw Union Jack. At the time I was new to NYCB and had no idea about the rep, and was just buying tickets at random, not knowing what to expect. I was dumbfounded as the tattoo unfolded. It's an experience I'll never forget. And thanks for using the word "gravity" to describe it. I was going with "fierce," but "gravity" feels more right. The solemnity of the final procession, as they exit the stage and the spell comes to an end, leaves me forlorn. They march off into eternity, they will march on forever, out of my sight and grasp, while I am left here in the flawed, distracting real world. Not defending the Costermonger pdd, it does get tedious and I wish they would bring the little girls on sooner to liven it up, but yesterday it did get what seemed like some genuine laughs. Glad to hear, Helene! Top five favorite Balanchine ballets... that's a tough one, but same for me with Union Jack. OT. Another time I was buying tickets at random with no idea what to expect was when I was first getting into opera. I bought a ticket for an opera totally unknown to me, by the name of "Rigoletto." Somehow I had the idea it would be a comedy. I kept waiting for it to get funny, till the very end when Rigoletto opens the sack. Um...

Thank you NinaFan, I feel the same! Today's audience seemed very appreciative and enthusiastic about Union Jack, with an extra curtain call. In MacDonald of Sleat, the regiment was more in unison than yesterday, but I guess it's a piece where unison isn't the point. The problem, if that's the right word, is that Sara Mearns is so powerful and so fit, the other ladies make a weak impression next to her.

Thanks vipa. I wasn't taking into account the celebrity fashion designer angle. If I were a choreographer who was presented with those tutus by my assigned costume designer (and I had to use them), I would have taken a comedic route. They could work very well in a piece with a lighter tone.

I was at the Friday night performance of Opus 19/the Dreamer, new Lovette, new Liang, and Symphony in C. I've been mulling over my thoughts about the new pieces. I found the Liang piece derivative, but pleasant and very watchable. It's not anything great, but I could see it again and enjoy it. As for the Lovette piece, I can see she's exploring ideas about gender and ballet, a timely and welcome endeavor. But the message is muddled. Take the tutus. They are split open in the front, and pull up sharply in back, exposing the rear end. I can't quite tell how to take this. Is it meant to be shocking? Humorous? Doing something crazy just for the sake up making a statement that this is different? All I get is that she's taking a starting point, say traditional norms, and opposing it - rather than presenting new ideas, or ideas towards some new vision. I also found it overwrought generally. Even if the message were clearer, as a dance piece I didn't find it very pleasing. Would hesitate to see again. Great use of Georgina Pazcoguin, though. In Opus 19/the Dreamer, Gonzalo Garcia looked as good as one could possibly look in his white unitard. His earthy, charismatic presence and great port de bras, along with a shimmering Sterling Hyltin, made a good case for this piece. Symphony in C always livens things up. I felt like I've seen more sparkling performances, or maybe it was just a heaviness in my mood after a ho-hum reaction to the two new pieces (which I was hoping to like more). Still, I left with a smile.

I am just back from my second time seeing the Valse-Fantaisie - Kammermusik - Union Jack program. After seeing him twice now, I am eager to see more of new company member and soloist Jovani Furlan. He has "it," that extra quality, confidence and authority that makes you keep your eyes on him. Glad he's here! I have a real passion for Union Jack. I'm trying to soak it all in while I can. It's not performed all that often, presumably because it takes a huge amount of resources and, to judge from the fact that the performances are on TDF, is not a huge ticket seller. But those who are there seem to love it. The Royal Navy section, which is great fun, is not the only of Balanchine's works to exude joy and exuberance. But the Scottish and Canadian Guards Regiments is unlike anything else. i find the intensity of the drumbeat, along with the precision and intricate patterns, to build an incredible tension. It must take a lot of rehearsal time to get the precision right, but if you can't put that time in, it's not worth doing it, it would just be a mess. The opening section was thrilling. Among many other things, I love the fierceness of it, including the facial expressions. Several of the dancers were downright glaring at the audience, and I loved it. In MacDonald of Sleat, Sara Mearns was incredible, but the rest of the regiment could use some extra rehearsal time. Some of them were having trouble keeping up with the music and the overall effect was ragged. It was great to see Isabella LaFreniere back in the corps of RCAF and WRENS. She would be a natural to lead the WRENS one day. Meanwhile, Teresa Reichlen's legs practically steal the show. Megan Fairchild (Costermonger pdd) is looking better than ever. She has somehow morphed into a dancer I always look forward to seeing. I miss seeing Tiler Peck in Green Montgomerie, she was very charming. Come back soon, Tiler!