cobweb

But I haven't seen Savannah Lowery in some time!

Taylor Stanley!!! And Lauren King and Lauren Lovette (who was wonderful in her solo in Les Carillons on Sunday).

I thought Hallberg & Osipova were amazing. After previously being blah about seeing yet another Giselle, I was way more engaged than I thought I'd be! Osipova is so good it's almost too much... almost, but not quite. I don't find her circus-y, although she could easily become that. I don't think anyone's yet commented on this, so I'll add that in Act I she didn't wear the usual ABT Giselle costume -- she wore a royal blue dress in what looked like a velvety fabric. It was lovely, and way more pretty than the usual costume, although it totally clashed with the other peasant outfits in color, style, and texture. And I'm surprised they let a peasant wear royal blue! I guess Osipova didn't like the usual Giselle outfit, and probably her contract lets her wear whatever she wants. I'm not sure if the Act II outfit was the usual ABT or not. Thanks to those who reported on Devon Teuscher's Myrtha.

I have been suffering with a bad cold and had to leave at intermission last night. Very disappointed to miss Devon Teuscher's NY debut as Myrtha. Any reports from those who were there? As for the first act, I think I"m just getting a little weary of Giselle. I love Herman Cornejo, and I love Reyes in the right roles, but I was just unmoved (again, probably not their fault but just that I've seen enough Giselles to last me quite awhile). In the peasant pdd, Blaine Hoven didn't strike me as principal material (referring back to the "Male Principal Problem" thread), executing his moves with competence, but coming down heavily from his jumps and no special flair. There's so much to love about Isabella Boylston's dancing, but she has a show-offy quality that I find a little offputting. I am eager to see her and Simkin in Swan Lake, though.

Not that I can't afford $1.99, but I can't believe they're charging for it!

Can anyone comment on "Double Feature"? I've never seen it and would like to know what others think about it, before I buy tickets and invite a friend. Thanks!

Mearns is still out; she was replaced in Symphony in C this afternoon by Maria Kowroski (with Tyler Angle), and Reichlen did Firebird instead of Kowroski. I wish there was some official word on what's wrong. I'm praying for a complete recovery for her! Agree it was a pretty lackluster Concerto Barocco on Friday night... including some uninspired violin playing. Also in agreement about Abi Stafford's lack of energy. She seemed to be struggling just to keep up with the demands of the choreography and stay with the music, both in Concerto Barocco and Symphony in C. Bouder & de Luz were wonderful in Symphony in C. Bouder's elevation, musicality, boundless energy, and the saucy good humor that she radiates, make her a total delight to watch. Adrian Danchig-Waring also looked impressive, definitely looking like principal material!

Wow! If Golding is an example of what an ABT corps guy can do with proper coaching and development and opportunities, I shudder to think of what talent may be languishing in the current corps. When did Golding leave ABT?

I wonder if they are going to shift more of the Nutcracker run to Washington DC. I think I heard that they had a sold-out run there last year, while BAM was far from sold out. I don't see it on the Kennedy Center's website at all, but maybe it's just too early. Or maybe they'll take it on tour to other cities? Very disappointed by the short City Center "season" too.

I enjoyed the season very much and can't wait for the spring! I too greatly preferred Bouder & Veyette in T&V, as compared to Peck & Garcia. I found Bouder more exciting, as Balanchinette noted above. And as a partner Veyette was better than Garcia, more concentrated on it, more precise, there was more clarity in his movements and how he presented the woman. Especially in the move where the man is holding out one hand while the woman is on pointe in (I think) arabesque, and the man suddenly drops into a lunge and presents the other hand while she goes into arabesque penche and also switches hands -- Veyette was cleaner and crisper and abrupt in his movement, landing in a deeper lunge, and Bouder was crisper as well. They really captured the thrill of that moment much better than Peck & Garcia. I also noticed a spot where the man is turning her, then seems to give her a little sendoff by putting his hand on the small of her back and giving her a little push. It's a lovely touch, and Veyette got it right both times I watched, but Garcia in this and overall, was more muddled. And in the solo variations, Garcia was traveling all over the place in his turns and lacking in precision and sharpness; Veyette was very very sharp. And I agree -- why isn't Bouder dancing more? I would have loved to see more of her this season!

p.s. as per vipa's comment about Lauren King, if we're playing that time-honored game called "corps favorite," I'd vote for Brittany Pollack and Ashley Laracey!

I saw the afternoon and most of the evening (left before Fancy Free). I don't know how Ashley Bouder and Andrew Veyette ended the matinee with a bravura performance in T&V, then opened the evening performance with an even better one in Donizetti Variations! Veyette did some of fastest turns I've ever seen (hope someone else can describe the precise moment in the choreography better than I can), and got a rip-roaring round of applause that sounded more like ABT than NYCB! Sometimes I struggle to like Veyette, he has a harsh, sometimes angry look -- but then I see him dance, and he's just terrific! Kowroski and Ramasar were great in the pas de deux in Agon. Her legs and feet always have me transfixed. Sometimes I'm not sure what it is about her -- the legs? the flexibility? the warmth and vividness? something else? -- but in the embarrassment of riches currently at NYCB, if I had to choose a single favorite, it would be her.

I'm heading into the final weekend planning on seeing most of the performances. It's been a great six weeks. Tonight, Donizetti Variations -- the corps looked a little ragged (tired?), but Tiler Peck made up for everything. Thanks to the previous post-er who described her as being like watching a flower explode into bloom. That was exactly it. And the partner, Gonzalo Garcia, getting a lot of the credit (if a little underpowered in his own variations). Russian Seasons -- this is like the third or fourth time I've seen this, and I suddenly appreciate it. Wish I could see it again. Robert Fairchild was so terrific in every way that I can't help but think of him as the NYCB version of Marcelo Gomes -- the dark-haired sexy guy who can do everything! Beautiful form and charisma, and every woman he dances with looks great. Tchaikovsky suite #3 -- Bouder and Veyette were great in T&V. She is musical and beautiful and he is a great partner. Love watching him partner -- so intent and concentrated. And he did great with the tour-pirouettes. A wonderful evening!

Thanks for the suggestions on R&J. I suspect that once I see it, I won't ever want to see it again, but it may be worth it once, especially to see Taylor Stanley. I'll report back if I go. I agree with the praise for Antonio Carmena in Vienna Waltzes. I was expecting Megan Fairchild and Joaquin de Luz again, so when two other dancers came out I could only determine it was Janie Taylor and a guy I didn't recognize -- but he amazed me with his leaps, height, and energy. As soon as it was over I was scrambling for my program. It made me very eager to see him again!

Would appreciate opinions. I haven't seen the Martins R&J. Should I see it? I'm inclined to see the Pereira-Stanley pairing, since Taylor Stanley has been a favorite ever since he leaped out at me from the Spanish dance in Swan Lake a year ago. I can still picture the way he snapped his wrists, his perfect form and effortless jumps, and that "je ne sais quoi" that makes him a standout. But I can't stand ballets that, well, I can't stand. And I'm doubtful about the merits of this R&J. I value the opinions on this board and if you have a recommendation, I'd be glad to hear it.

It's not just the tie, it's the shirt too! That's quite an audacious tie-shirt combo.

Thanks for the link, abatt!

Colleen, I'd recommend going over to the Atrium for a snack during Seven Deadly Sins (that's what I did tonight). The caramelized onion and gruyere sandwich is delicious, as is the meatloaf sandwich. Allegro Brillante -- another impressive night for Tiler Peck. Amar Ramasar has lovely form, but his lack of energy and commitment bother me. I preferred Andrew Veyette last week. And on the topic of Tiler Peck, I want to second the post about the spectacular Peck-Ulbricht Tarantella last night. Both of them such high-wattage performers, and they danced with amazing crispness and clarity. The tambourines were slapped (or whatever it is one does with tambourines) with beautiful precision. Vienna Waltzes, tonight and last night, left me in a dreamy and pensive mood. I could watch it again and again only for the dresses, the waltzing, and the music. I have no musical training and can't really comment on the quality of the orchestra, but I found the gold and silver waltz so moving. And when I got down to the subway, the 66th-St-station saxophonist, who every night does a piece from some Lincoln Center performance, tonight was doing the gold and silver waltz! How does that guy always pick out what I found memorable in that evening's performance, whether opera or ballet? Does he change his tune throughout the evening, depending on whether it's the opera or ballet or philharmonic getting out?

I couldn't sit through Seven Deadly Sins again either -- so I didn't. I saw the first part of the program, then ran out and did some errands in the LC neighborhood, before returning to the theatre for Vienna Waltzes! Concerto Barocco with Reichlen/Justin Peck, and Sara Mearns -- beautiful beautiful beautiful!

I also noticed her absence. Any official word on why she left? And speaking of missing dancers, I don't think Jenifer Ringer is dancing at all this season, nor did she (I think) do any Nutcrackers. Any official word on what's up with her?

Indeed there is. Angle doesn't have Askegard's elegant, princely bearing, but what he has instead is a muscular, masculine presence. Sexy! IMHO Firebird is not the best role for Reichlen. She was beautiful, as she can't help being beautiful. But I find her too cool for this fiery role. I liked the authority and energy that Bouder brought, and especially, the warmth and vividness of Maria Kowroski's presence. I loved Reichlen in Rubies, so I'm not sure what the difference is. Maybe that a ruby gets its beauty from the way light reflects off its surface, whereas a fire (I'm conflating fire and firebird here) seems to burn from within. A word about the "former Fourth Ring Society" (I can't get used to "Society NYCB"). I was very skeptical about the new system, but aside from the inconvenience of not being able to plan in advance, I've found it very workable. I've been able to get seats to almost everything I wanted to see, and typically much better seats than Fourth Ring. The price has allowed me to see a plethora of performances that I never could have seen at regular prices, making my heart very happy. I'm very grateful, and I fervently hope the program continues next year.

I too am enjoying the Company very much. Was there Tuesday night and tonight. What a great piece Concerto Barocco is. Tuesday night Reichlen and Mearns, and tonight Reichlen and Abi Stafford (replacing Rebecca Krohn). I couldn't take my eyes off Reichlen either night. She and Justin Peck were beautiful in the pas de deux. What beautiful legs, and what an incredible arabesque. Lovely. I'm also enjoying the Kowroski-Tyler Angle partnership. Last week in In G Major, tonight in Les Carillons. He looks very comfortable handling her, and he's a joy to watch on his own too. Between Reichlen and Kowroski tonight, I was in long-legged-arabesque heaven. Sterling Hyltin and Adrian Danchig-Waring in In G Major Tuesday night -- good, but not nearly as charged or drama-filled as Kowroski and T. Angle last week. Especially in those bourrees back and forth on the diagonal -- I missed Maria!

Olatunji, I'm not sure if that question was for me? I haven't read the Gladstein book, I'm talking about Where Snowflakes Dance and Swear. I don't really see it as touchy, sure there are hurt feelings about casting and promotions, intra-company divorces, etc, but I suspect it's a very muted version of the real thing. (Of course, I'm only halfway through right now.) It's both a "good dance read" and a long, long slog.

I'm in the midst of this book, which I find entertaining, enlightening, and very, very frustrating. It seems like the author followed the company for a year, taking notes (or recording?) everything, then just published it all with no editing whatsoever. There are endless (and I do mean endless!) accounts of rehearsals with dancers grimacing, laughing, and being given notes; endless lengthy quotations from dancers and staff, rambling, unfocused, ungrammatical, and with no editorial comment whatsoever. Quel mess!!! There is so much interesting information scattered about, about dancers and the backstage workings of a major ballet company, that I wish it had been cut to something like half -- or less -- of the current length and given some authorial/editorial commentary and a major, major overhaul for focus.

Tonight I saw In G Major, the first time I've seen this piece. Maria Kowroski and Tyler Angle were stunning in the pas de deux. As far as I could tell, never having seen it before, the complex partnering was flawless. And they conveyed an intensity, sexual charge, and sense of drama that were riveting and deeply moving. I I want to chime in, a little belatedly, with the reports from last week's performances. Totally agree with everything that's been said in praise of Tiler Peck in both Tchaikovsky pas de deux and Who Care? As a previous poster said, she's beautiful and fearless. A born performer with stunning technique and musicality and a dazzling smile. You get the feeling she loves every minute and ready for bigger and better challenges. Robert Fairchild in Who Cares? was also terrific, handsome, authoritative, and charismatic. Joaquin de Luz was a delight in Tchaikovsky pdd and Union Jack. I'd never seen Who Cares? before either, and I enjoyed it. It turned out to be a terrific double bill on Sunday with Union Jack, a favorite of mine. Last week was also my first time seeing The Concert. Hmmm.... I may have to develop a taste for this one. I skipped out early tonight because I didn't really need to see it again, but it's on another program I'm going to next week so I'll have another chance.