cobweb

I wasn't as bothered by Lovette's youth or petiteness. I thought she looked beautiful and carried off the hat pretty well, even if was like a third of her height. Also she and Finlay are both well into their 20s, and especially at the time depicted, widowhood could easily happen at a young age. Heading into tonight's performance, I find myself especially looking forward to Alexa Maxwell in Ballo, having seen her fly around the stage with energy and joy several times now. I note a few casting changes for upcoming weeks. It looks like Scheller is out, but Isaacs is expected back for Midsummer Night's Dream.

Totally agree. So much good dancing that it's hard to know where to start. Anthony Huxley, always brilliant in his technique, looked relaxed and showed a beautiful smile. Devin Alberda, in the corps of Kammermusik and three different sections of Vienna Waltzes, always shines through, with polished form and (what seems to me) a commitment to excellence. Many other wonderful performances. I wish they were doing Ballo again in the fall, it's a great vehicle for a principal couple and four demisoloists. I look forward to two more performances of this program, especially Huxley's debut in Ballo, and seeing Kowroski back in Vienna Waltzes.

Sounds awful in terms of corporate branding and the American in Paris commercial. Glad I wasn't there. What are they thinking and what direction are they going in?

Yes, the "tall girl" role is more interesting when it's not just bright cheerleading, but brings out that imperious, legs-as-weapons tone of menace. Kikta seemed to understand this, whereas I found Megan LeCrone inscrutable, which is different. BTW, I would enjoy meeting fellow Ballet Alerters at upcoming NYCB performances (will be at the occasional ABT performance too, but only a few). If anyone is interested in meeting up at intermission, PM me.

I enjoyed Jewels yesterday very much. Many good performances, best of all the sublime, transporting Sara Mearns and Tyler Angle in Diamonds. Emily Kikta as the "tall girl" in Rubies had a very credible debut. She wields her legs like they're weapons, and at other times shows them off with a daring pride. Mixes a sense of fun with a sense of menace. Has room to work on the role. I felt like the iconic bent-leg second-position pose, with arms up in the air (don't know how else to describe) was not etched as sharply as it could be, either in the moment before she's partnered by the four men, or when she's stalking off stage alternating that position with big arabesques. Overall though, very lively and makes me look forward to seeing her do it again in the fall. She's a much better fit for this role than Megan LeCrone. Lauren Lovette had a rompy, playful feistiness that I enjoyed, but was not well matched with Anthony Huxley. His solo work is more dazzling every time, but I wish he could look more confident in his dealings with women. The partnering was shaky at times. Backing up to Emeralds, Ashley Laracey's hands, wrists, and arms mesmerized, along with her air of deep contemplation. Today I find my mind a crazed melange of Faure, Stravinsky, and Tchaikovsky. A little distracting at times, but not a bad addition to my Monday!

Was at Jewels last night and planning to post all day... why does work have to get in the way of ballet mania?? Much to enjoy about the performance. Starting with Emeralds and especially the debut as the demisoloists, Meagan Mann and Sara Adams. I have been watching Mann with great enjoyment over the past few seasons; she exudes serenity and beauty, with the most radiant smile and musical dancing. Adams was lovely as always. Sara Mearns brought her inner drama to the "walking solo," while Abi Stafford and Jared Angle both looked a little tired and lacking in snap. Seeing Taylor Stanley (in the pas de trois) and Adrian Danchig-Waring (partnering Mearns) on the same stage is a marvel of committed and stretched-out form. On to Rubies. IMHO this is not a good role for Megan LeCrone. She doesn't have the extroverted personality for the role and doesn't connect well with the audience. I like her better in "dark angel" type roles. Didn't etch the choreography the way Reichlen does. Sterling Hyltin and Andrew Veyette were the principal couple. Good to see Veyette looking more spry, back like his usual self, as compared to when I saw him last week. But overall I preferred Megan Fairchild and Gonzalo Garcia in this role, fun energetic and affectionate. I saw them twice last week, and the second time was even better than the first. Diamonds. Four demisoloists were Laine Habony, Unity Phelan, Ashley Hod, and Alexa Maxwell. I believe this must have been debuts for them. All terrific. I especially enjoyed seeing Habony, who hasn't been featured as much as the others. Like Meagan Mann, she brings a lovely rich smile, sense of maturity, and beautiful musicality. I look forward to seeing more of her. Reichlen and Janzen brought a more deeper approach to the piece than I've seen from them before. Finally, I have a new "corps favorite": Aaron Sanz. Male demisoloist in Diamonds. Just brimming with beautiful presentation, and a commanding sense of pride and deference if that makes any sense.

I hope she will be back up to it! I'm trying to remember who if anyone rotated in with Bouder.

I wonder who they're planning for Stars and Stripes. If memory serves last time for El Capitan it was Veyette and Tyler Angle. Anyone fill me in if I've forgotten someone. Surely they need someone new. Joseph Gordon perhaps? And for Liberty Bell, Ashly Isaacs?

I don't know. I have some misgivings about the whole photo-shoot look of the brochure. It makes me wonder about the direction they're going in. It seems less about ballet, and more about appealing to some glamorous young crowd, who may have money, but are probably also likely to be more fickle about their interest.

Kaysta, any report on Ashly Isaacs and Chase Finlay in Tchaikovsky pas de deux? I am sure she is up to the challenges but had some doubt about him and the partnering. I think you will like symphony in 3 movements more after more viewings, as well as all of Balanchine's "black and white" pieces. That was definitely the case for me. I was at last night's performance. Indiana Woodward was a real standout in her solo in Bournonville Divt. So much poise and a very dynamic personality. There is a ton of talent in the company right now. Overall this wasn't my favorite program though. Tiler Peck amazing of course in Tchaikovsky pdd, brilliantly at ease. Veyette looking older than his years however, stiff and with heavy landings.

Thanks, mussel. I'm disappointed no Liebeslieder Walzer, but I know it didn't sell a lot of tickets. But why on earth no Ballet Imperial? Hard to understand some of the choices. I've seen many of these pieces many many times in recent years, so my interest will depend heavily on the casting.

If anyone has the time to post a list of the returning Balanchine ballets, it would be greatly appreciated!

And definitely -- wishing Maria Kowroski would come back. So far no sign of her on the casting lists. I wonder if we'll see her this season. Titania? That would give her an extra month to get back in shape.

I was thrilled to be at last night's performance of Jewels. I love all three sections. The mystery and quiet allure of Emeralds; the joy and energy of Rubies; and the grandeur and pageantry of Diamonds. Many wonderful performances. When Rebecca Krohn and Ana Sophia Scheller were promoted to principal five years ago, I thought Scheller was special but had doubt about Krohn. (I should add that at the time I was very new to NYCB.) Five years on, Krohn has totally captured my imagination. Her arms and fingers were just lovely in the "walking" solo. I look forward to seeing Ashley Laracey take this role on May 1. I see Sara Mearns is scheduled for a few performances of it later in the run. I wish they would keep Mearns in Diamonds and Reichlen in Rubies, where both excel, and give Mearns' performances of the walking solo to Laracey. IMHO. I enjoyed Fairchild and Garcia in Rubies. There are other dancers who are better, but they were playful and energetic and seem to have an affectionate connection. I will be seeing both Megan LeCrone and Emily Kikta take on the tall girl role. Not sure LeCrone has the bright energy needed for the role -- she often seems inside herself -- but I look forward to both performances.

I have an extra ticket to sell for the performance this Friday evening, 4/22/16. Orchestra row C. Price $21. PM me if you are interested.

Casting up for week 2. All-new casting for May 1 in Emeralds and Rubies. Very exciting - especially Rubies with Lovette, Huxley, and the very tall Emily Kikta. So glad to see her back in action and making progress. Also Megan LeCrone in Rubies earlier in the week. Reichlen seems to be needed for duty in Diamonds. ETA: I see I posted in the wrong forum. Should be spring 2016. Don't know how to move my post.

The press release refers to the "attached season calendars" but I don't see them.

It annoys me too that they aren't more honest about it. Why not just say they made a change, but (in modern corporate parlance) "we heard from our subscribers that it was the wrong call," "Our subscribers let us know this was an important benefit that mattered to them," or some such. It also sounds like there's some friction between ABT and the Met box office.

It is very difficult to understand the logic that led them to stop subscribers from buying additional tickets and spending to their hearts' delight. Not to mention, doing it without notifying of the change in advance.

Please no Miriam Miller in Diamonds! I was wondering about that too. She is just *too young* and *not ready.* They're not doing her any favors by throwing her into these super high profile roles before she is even close to ready. I forgot to say how much I enjoyed the good humor, charm, and verve that Troy Schumacher brought to Gigue in Mozartiana. (Not sure, but I think it was his debut.) I wish Anthony Huxley would relax more in the lead. Almost time for next year's programming to be announced. My requests: Ballet Imperial (please!), Mozartiana, Liebeslieder Walzer.

Forgot to mention Sara Mearns in Symphony in C second movement at the Saturday matinee. Beautiful and ardent. The quality I most value in a ballerina is the ability to convey a sense of inner depth, something otherworldly, transcendent, transporting... ??? Obviously, I can't fully describe this quality in words. If anyone else knows what I'm talking about it and can describe or define it, I'd love to hear it. I see this quality in Mearns, Kowroski, and Veronika Part. It is the quality that I most hope they can develop in the younger dancers.

Ashly Isaacs stepped in for Savannah Lowery as Choleric in yesterday's Four Temperaments. It was announced before the performance. Can someone remind me if Isaacs has done this role before, or was it her debut? IMHO, she delivered a blistering performance. Flew out of the wings as if driven by a huge blast, and never lost that propulsion. Even when standing still, she smoldered like a volcano simmering with molten lava. She also delivered a 100% committed account in the "Bransle" section of Agon on Saturday evening, alongside a stellar Joseph Gordon and Harrison Coll. Can't wait to see more of those two. Isaacs practically dragged them along as she flew across the stage. Not to mention a polished "Concerto" section of Episodes with Taylor Stanley on Sunday afternoon. She is turning into a very valuable dancer. I saw all three of the final performances of the season. Many memorable performances, and a ton of talent evident throughout the company. Alexa Maxwell makes a very good impression with impassioned performances as the soloist of Walpurgisnacht Ballet, and is noticeable in corps roles. It's great to see the long legs of Emily Kikta back in action, especially lovely as one of the demisoloists in Mozartiana. Unity Phelan made an authoritative debut, with Craig Hall, in the Concerto, opus 24 section of Episodes. She may have been a better choice for the big debut in Agon, rather than Miriam MIller who, IMHO, is getting more thrown at her than she can handle just yet. Needs more polish and poise. Give her a little more time. Anthony Huxley was a standout Melancholic in yesterday's 4T's, setting up suspense and momentum that hurled the season to a memorable end.

I saw Tchai piano concerto 2 again last night (although I prefer the name Ballet Imperial, which seems both more felicitous and more apt). I really hope they bring this back next year. It is a magnificent piece, full of everything I love about Balanchine, and I have not seen nearly enough of it. I never thought I would say this, but I'm feeling that I've seen enough Symphony in C to last a little while. Maybe give it a break next year and put in Ballet Imperial? Tiler Peck was spot-on with the technical demands, of course, but I prefer the warmth that Sara Mearns brings. Unfortunately, I missed Reichlen this time around. Ramasar cuts a very good figure on the stage, but he didn't look entirely comfortable. I liked both Savannah Lowery and Lauren King as the soloist, but especially enjoyed Lowery's big jump and her driving force.

I believe I was there too! They fell over each other again getting up. It was the biggest bust-up I've ever seen in a ballet performance.

I was at the matinee today. La Sylphide with Tiler Peck, Andrew Veyette, Lauren King, and Troy Schumacher, and Tchai piano concerto #2 with Sara Mearns, Ask la Cour, and Savannah Lowery. IMHO, today the company did not make a great case for La Sylphide. The music sounded dull and muted (I was sitting under the overhang in the rear orchestra, but I've never noticed this before) and the performance didn't sparkle. Veyette looked stiff -- perhaps he's overworked. I wonder why they didn't get someone else -- Daniel Ulbricht comes immediately to mind -- to fill in de Luz's performances, rather than piling it all on Veyette. Also Sara Adams was lovely as one of the Sylphs; I would have loved to see her chosen to take over Lovette's performances. Anyway, overall not a bad performance just kind of blah and not really why I go to see NYCB. Then the magnificent Ballet Imperial -- a real tonic. So brilliant and clear and modern (despite being however many years old), making Sylphide seem even cloudier to me. The corps could definitely use some more rehearsal to keep those lines straight. But the piece goes right to the heart. Savannah Lowery a fount of sunny energy. Ask la Cour a terrific partner, although not especially brilliant in the solo sections. Sara Mearns -- just wow. Strong, heartfelt, and unmannered.