cobweb

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.

And if anyone knows who makes Angle the Younger's tie, send me a PM!

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 can not sit through Seven Deadly again, so I won't be going this time.

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!

And speaking of beautiful tall blond dancers -- I was sad to note that Kaitlyn Gilliland's name is no longer on the roster. I'll miss her.

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?

Maria Kowroski and Tyler Angle...continue to look wonderful together. There is life after Askegard.

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.

... every year I say it's like a Rubik's Cube trying to put together the best Met season I can. Welcome to the club.

Not to mention trying to coordinate with what nights I'll want to be at NYCB! Last spring/summer, with all the visiting companies, was a particular logistical nightmare. There has to be a better way! I wish the companies would make their schedules available in a subscribable i-Cal calendar. It would be great to be able to import each company's schedule and overlay it all so you can see what's going on each night.

This production makes me realize once again the genius of Balanchine, to peel away all this frou-frou...

I had the same thought. I enjoyed the performance thoroughly, but when I thought about bringing friends, I couldn't help but feel that ballet -- this ballet, anyway -- is an acquired taste. I kept thinking about the Mariinsky Jewels. It strikes me as more immediately appealing to the modern eye, and if I were bringing non-ballet friends, it would be Balanchine all the way.

I also enjoyed it very much. It's really exciting to be able to see these broadcasts! Like others, I found Zakharova not entirely convincing as an actress, but the beauty of her line, her feet, and her dancing more than made up for it. I thought she was amazing. I've seen Hallberg many times at the Met, but he seemed better than ever. The longest and most beautiful line, all flexibility, lightness, and radiance. I really hope he succeeds at the Bolshoi (the evidence so far is good!) The challenge should propel him to new heights.

As someone new to the Bolshoi (except for the Don Q broadcast), I found the overall level of dancing impressive. I try to avoid the game of "corps-spotting," but I can't help but notice the prince who was wearing a gold crown topped with a profusion of green feathers. Have no idea who he was. But I thought he had great presence.

p.s. I think previously the discussion of the moviecasts has been in the "Ballet Films" forum. Putting it in the forum for the particular company makes more sense to me and maybe will spark more discussion of the movies.

I noticed too. But I wasn't surprised because there was a similarly awkward photo in the NYT just last week, of Marcelo Gomes and Maria Riccetto in the ABT City Center season. Gomes flies in the air, looking stupendous, while Riccetto is caught in mid-movement awkwardness. Couldn't they find something better?

I was at the evening performances Friday and Saturday, and today’s matinee. Overall, very enjoyable… with a few forgettable moments. To start with the forgettable, Garden of Villandry doesn’t do anything for me. I can’t believe I nodded off when Veronika Part was on the stage, but it’s sadly true. The Demis Volpi piece I actually found mildly offensive, although I can’t put my finger on it exactly. Finally, what is up with all the tattoos? They definitely get a thumbs-down from me.

On the positive side, how great to see Herman Cornejo again. He looks better than ever. As he gets older he is gaining in maturity and depth. No longer the ebullient youth, he carries himself with an authority and, at times world-weariness (especially effective in “Brother Can You Spare a Dime”), that I found extremely attractive.

I saw both casts of In the Upper Room. On Friday night the smoke machine malfunctioned, sending thick, billowing clouds of smoke into the auditorium. The stage was barely visible. There were shouts from the audience, and perhaps 5 minutes into the piece the curtain came down. There was an apology for the “technical difficulties,” and after a short pause the performance began over. On Saturday night, this same cast (with Simone Messmer and Luciana Paris as the two main “stompers”) delivered the best, most cohesive, and electrifying performance of the three that I saw. Today’s matinee (with Gillian Murphy and Kristi Boone as the lead stompers) was in need of more rehearsal time.

Both Luciana Voltolini and Katherine Williams were beautiful in their shared role – I don’t know what the name of the role is, but it’s where the dancer wears the red skating dress and performs classical moves with three men. Both Voltolini and Williams have a long, thin, line, and unbelievably graceful. They both left such a lovely impression that I can’t wait to see them in, well, more classical roles. Arron Scott also had some fine moments in this afternoon’s matinee, with great height and beautiful form.

The two girls in red pointe shoes. I admire both Maria Riccetto and Isabella Boylston very very much, but I felt they were so mismatched in today's performance. Boylston was over-energized, ahead of the music, and seemed out of control to the point of flailing about. For me it really ruined the whole effect of the two red pointe shoe girls. She was so jagged that it was hard to appreciate Maria’s pristine clarity. I greatly preferred the pairing of Skylar Brandt and Nicole Graniero, who danced with appealing freshness (especially Brandt).

Simone Messmer was a standout in both the “Boulevard of Broken Dreams” solo from Black Tuesday, and In the Upper Room. What can I say. I’m in love. With that haircut, she looks like the most glamorous tomboy you ever saw. Her name is so apt, because I find her mesmer-izing. When she’s on the stage, I find it hard to watch anyone else.

Misty Copeland also delivered an electrifying “Boulevard of Broken Dreams." I found Black Tuesday so moving this afternoon that my mascara got all smeared up at the end, when they put their hands out for a dime! ;-(

I took a friend with me this afternoon. He liked it so much he was ready to buy more tickets, and got on my case about having taken him to the final performance of the season and why didn't I invite him sooner. Hope they can get back to two weeks at City Center next year!

I also was glad they called in the heavy artillery. Ogden was beautiful! Any reports from tonight?

ny susan -- could you expand on what was so wrong? I know your mind reels, but I'm trying to develop a deeper sensibility and your thoughts would be appreciated.

I wonder if anyone has any info about programming for tomorrow's Askegard farewell. "Diamonds" is listed on the calendar, and has been listed, I believe, since the Farewell was first announced. But I just took a look at "Running Times" on the website, and "Diamonds" is not included there. I have the opportunity to go tomorrow, but it means major hassles for my schedule. I'd do it because I would really love to see Askegard and Kowroski do "Diamonds" one last time, but if it's off the program for whatever reason I don't know if I'm going to make it. If anyone has info on the programming, please PM me, thanks.

Too much of a coincidence that they both fell. My thought was they both slipped in puddles

left behind from Ocean's Kingdom!

.. There was a flower mishap also. Megan's flower fell off her lapel and plopped center stage

taunting the sailors until Wendy's hornpipe when she delightedly picked it, sniffed it and saved

the day. Nothing like Union Jack to cheer everyone up. I think Sir Paul would have loved it too.

I saw Union Jack Friday night and the Sunday matinee. There were several costume mishaps in these two performances, at least four that I noted, leaving scarves flailing and odd pieces littered across the stage. It was a relief when a dancer would pick up a stray piece or, in one case, just kick it off the stage. If Andrew Veyette could manage the donkey, I thought surely he or Megan Fairchild could have retrieved the flower in character. Leave it to a pro like Wendy Whelan to save the day with charm and wit!

I greatly preferred Jenifer Ringer and Amar Ramasar in the costermonger pas de deux, as opposed to Fairchild and Veyette. Ringer in particular was a winner, a natural comedienne who lit up the stage and connected with the audience. Amar Ramasar was also funny and charming, if not quite as radiant and natural as Ringer. I thought Andrew Veyette, while funny at times, also came across as angry. Amar Ramasar looked like a charmer with a roving eye, but it was all in good humor and he seemed very affectionate with his lady. Veyette, on the other hand, had moments of what looked like bitterness, which was totally not in the mood of the piece.