cobweb

Another great suggestion! It's amazing what's out there. Now that I've studied the NYPL website further, I want to retract my comment about it being a tad expensive. If you get archival prints the price is very reasonable, and I see a promo code for 30% off. I'm really glad to have discovered this. Thanks rg and all!

Wow thanks rg! I see the NYPL offers the chance to purchase prints right from the website. The price is no doubt higher than I would pay if I could print and frame it myself, but maybe worth it. Now that I see this option, I may go nuts ordering ballet photos for my new apartment! If anyone has ordered photos from NYPL before, I'd be interested to hear about the experience and the quality of the prints. (PS. The photo I'm looking at is of Liebeslider Walzer.) And thanks lmspear! After living in a rent-stabilized place for many years, I'm thrilled to be a homeowner.

I am reviving this thread in the hopes that some of you interested in dance photography might be able to give me some guidance. There is a Martha Swope photograph that I would love to have printed and enlarged to hang in my (newly purchased!) apartment. I'm wondering how to go about getting permission to do this. Presumably just one copy for my apartment would fall under fair use, but I'm pretty sure that if I try to get it printed at a copy shop, they would know it is a copyrighted photo and want to see a permission. My search on google for who might hold the copyright for Swope's photographs didn't give any info. Any clues as to how to proceed?

Thanks for asking vipa. Scotch Symphony is one of those ballets that I have seen only a few times, being newer to NYCB than many of you. I’ve enjoyed it a lot and find it lingering in my mind for days after. I hope they bring it back soon! Sterling Hyltin looked as if she’s been dancing this for years, a seamless, natural fit for the choreography and the ethereal style. Anthony Huxley was his usual incredible, crystalline self, but could use more of a sense of depth and yearning. I liked Alston Magill well enough, but kept thinking about Baily Jones who I saw last week. I know this habit of comparing is not good. Magill didn’t project or shine as well as Jones but both were very good. I’m crushed that I have to miss one of my favorite dancers, Ashley Laracey, debut in Scotch. I count on my friends on BA for many reports!

I was there on Wednesday night for the Scotch Symphony-Valse Fantaisie-Sonatine-Stravinsky Violin Concerto program. I don't recall ever seeing Valse Fantaisie before this season, but I'd love to see it more often. I thought Indiana Woodward and Harrison Ball, despite the partnering mishap, looked terrific. They both have the presence and personality that makes them look like principal material. I found myself picturing them in Theme & Variations, Ball especially. I have my doubts about the Sara Mearns-Aaron Sanz pairing in Stravinsky Violin Concerto. Sanz is very striking with his long lines, but his frame is so slender, and Mearns was dancing so full-out that at times I was afraid she was about to wriggle herself out of his hands. I see Unity Phelan is debuting in the first movement of Western Symphony tomorrow. I'd love to hear reports from anyone who sees it.

I've been bothered at some recent performances by the wandering eyes of corps members when they are standing in formation. In the finale of Diamonds, there are times when the principals are dancing and the corps are standing along the sides. Some of the ladies are obviously watching the principals, following them across the stage with their eyes, and I've even noticed a few turning their heads to watch! In more informal ballets, like, say, Scotch Symphony, this doesn't seem like a problem, but surely in the grand finale of Diamonds the corps should be standing at military-like attention. I also noticed this in the winter during Tchaikovsky Piano Concerto #2, with some corps ladies very intent on Reichlen's solo.

I thought Mearns and Janzen were pretty incredible in "Diamonds." If I hadn't just seen Kowroski and Tyler Angle on Sunday, I might think Mearns and Janzen were perfect. But I greatly prefer Kowroski's depth and artistry, and Angle's softness and nobility, and the rich communication between them. By comparison, Mearns and Janzen were more athletic and static, without as much of what I can only call poetry. On the other hand, when it comes to Slaughter on 10th Avenue, I prefer Mearns over Kowroski. Sara's comic, coy, flirty, teasing shimmy is just irresistible. I'm sorry I missed her in "I Married an Angel" at City Center. I wonder if she could have an acting career when she's finished dancing.

I also wanted to comment on Valse Fantaisie, which I saw on Saturday afternoon with Erica Pereira and Daniel Ulbricht. I know some here have found Pereira much improved lately, and I was looking forward to seeing her. While she did have some moments of real radiance, for the most part I found her timid and indecisive, with an insubstantial, lightweight presence. IMHO, she still has a long ways to go.

I agree with everyone about the Kowroski-Angle "Diamonds" yesterday. They have a rich and mature artistry. I found the communication between them, the eye contact, the glances and gazes, to be especially touching. Reminds me of that moment at the end of the second movement of Symphony in C, when she falls back into his arms and gazes up at him with trust and surrender -- to him, to her fate. I wasn't expecting the unfortunate "See the Music" lecture before Barber Violin Concerto, and this messed up my timing. The website said the program should be over by 5:15, but that must not have accounted for "See the Music." I could see the program was running long and since I was supposed to be on the Upper East Side by 5:30, before "Diamonds" I found a seat on the aisle and figured I'd bolt out just before the polonaise. But I was so caught up that I couldn't bear to leave. The beaming young faces of the corps dancers, and the procession now led by Spartak Hoxha (since Aaron Sanz was promoted), were irresistible. I agree with vipa about Emma von Enck's debut in Barber Violin Concerto. I thought she showed great presence and maturity. And what's not to love about Sara Mearns in Slaughter on 10th Ave. Totally delicious. I was wondering who else they might have lined up to do this role, and I could see Emilie Gerrity doing it.

After a few hours struggling with the latest update of Quicken this afternoon, I was in dire need of the humor and good cheer of Western Symphony. Before we got there, though, my mood turned even more dark as I sat through the new Tanowitz piece. Maybe if I had ever seen a Tanowitz work before I might have a clue, but I have no idea how to read this piece. Baffling, heavy, and humorless (as far as I can see anyway). The only bright spot was the golden swimsuits that several of the women wore (I didn’t care for this item on the guys); I was only sorry that Emily Kikta didn’t get to wear one. After this the new Peck piece was a blessed relief. Actual ballet! Order! Brightness, light, and pleasing flowy watercolor-y outfits! Finally, on to the hijinks of Western Symphony. Perhaps not as much snap as it should have, but it revived my spirits. Roman Mejia subbed for Veyette in the Rondo, and he and Reichlen were FAB. I left with a smile. Thank you Mr B, I needed that!

I mostly thoroughly enjoyed this afternoon's performance. It was a great pleasure to see Adrian Danchig-Waring back onstage; I didn't realize how much I'd missed him. Sometimes the dancers seem like dear old friends that I'm happy to see; that's how I felt about Danchig-Waring and Kowroski in Stravinsky Violin Concerto. Megan Fairchild, in Duo Concertant, danced with a very appealing sense of freedom and humor. I found Lauren Lovette beautiful in Sonatine, and Garcia has an earthy quality that I enjoy, but overall it seemed lacking in excitement, or something. As for Scotch Symphony, Baily Jones was wonderfully charming. Among much wonderful dancing of the afternoon, I most enjoyed Joseph Gordon. He has some intangible quality that makes me just love him. Must dash for the evening performance.

Wow. I am excited for all these debuts. And very looking forward to seeing Ramasar back on the stage!

I have sat in the rear orchestra many times, including Row R and the rows behind it. I find the view of the stage to be fine, and I'm short. The seats are staggered enough that even if someone tall is in front of me, I can usually see around them.

Vipa, How was Unity Phelan in Concerto Barocco? I hoped to get to the performance at MoMA but I was moving that weekend.

This is an interesting development! I look forward to seeing him.

Thanks for the input, Drew and vendangeuse! I will report back if I wind up going.

Mr. Cobweb happened to be walking by City Center today, where he saw the poster featuring two of his favorite dancers, Osipova and Hallberg. I have my doubts about this type of star-driven program, but thought I would ask here. Does anyone know anything about this venture? Anyone planning to go see it?

I also thought it would fare better in a more intimate venue. It would be easier to appreciate that way, and it also feels more suitable to the space, which I think contributes to audience expectations. In a huge place like the State Theater, many in the audience are expecting something with more of a wow factor, setting up Liebeslieder to be a letdown.

Also I see that Baily Jones is doing the third movement of Symphony in C. I wonder why they don't let Alston Macgill do it again, after she did it a few years ago in Paris, on the DVD that was released. I don't think Macgill has ever done the role in NYC, or as far as I know, anywhere after the Paris tour.

Glad that Fairchild is back performing! (Although why do they still list her as M. Fairchild, when there is no longer any possibility of confusing her with R. Fairchild?) But, still no sign of Adrian Danchig-Waring.

If anyone sees Giselle, I'd be eager to hear reports on the production. I'm thinking about coming in to see it for the second weekend and would love to hear reports on the new restaging.

Thanks, canbelto! I was definitely confused.

Can anyone clarify for me the roles in Liebeslieder Walzer, relative to the original cast? I got confused about which was which. In cast with Kowroski, Bouder, Hyltin, and Laracey, which was which? Thanks for any help!

Wasn’t this the incident with Teresa Reichlen? As I recall, not only did they have a spectacular fall, they tripped over each other again while trying to get up

Well, until they have a roster of men with the stellar partnering skills of LaCour, J. Angle, and Veyette, I would be very sorry to lose those guys. As for Abi, I’ve been a fan, but after seeing her in Liebeslieder yesterday, I question whether she should be on the stage, so I’m glad she’s on her way to another career. I would love to see more of Georgina Pazcoguin.