KarenAG

31 minutes ago, canbelto said:

Hmm I was there last night and will write more later but I was shocked at how many accents were deleted. For instance Ould-Braham and Heymann did not do the staccato arabesque with the leg slowly being raised and held at different intervals.

I look forward to reading your review, Canbelto, and others of this three-company event. 

I'm on my tablet, which is so much more difficult for me than using my PC. I edited my first paragraph to clarify the statement about the DVD's production, but some how it ended up as another post. Sorry for any confusion.

2 minutes ago, KarenAG said:

Thank you, Jack. Yes, I was writing my post in my usually-rushed fashion that I forgot about 'Choreography by Balanchine'. I wish someone would clean up those old films and videos, including MSND, and release them. I have the DVD set and it's not too bad, production-wise (it is old, after all), but, as you mentioned,  it doesn't contain Davidsbuendlertaenze nor does it include Allegro Brillante, which was also in that series, I believe.

 

As for your comment about the luxury of being able to watch a performance repeatedly, yes to that! As with musical recordings, I gain such a deeper understanding of a work by viewing multiple times, honing in on sections, dissecting parts and coming back to the work as a whole to better understand it's fully realized glory and artistic statement. And doing so gives me a much more informed viewing experience when I see the work again in the theatre. There is so much to take in during a performance in the theatre.  Also, it goes without saying that the seat one occupies can affect the experience. 

On ‎7‎/‎19‎/‎2017 at 7:22 PM, Jack Reed said:

I hope everybody realizes that the company Balanchine actually supervised to dance his ballets as he wanted to see them danced was also recorded in color - though not anything like such glorious color and definition as today:  The cameras they used to tape the PBS broadcasts in 1977 and 1978 later released on VHS and on the two "Choreography by Balanchine" DVD's produced pretty garish color, and when I play any of the dances on those, I usually turn the color knob down slightly. 

 

Not only that, "Robert Schumann's Davidsbuendlertaenze" was also taped in color around the same time, though released only on VHS and Laserdisc, as far as I know, neither broadcast nor issued on DVD; but now I remember one of the greatest astonishments of all, the 1966 film of Balanchine's "A Midsummer Night's Dream," filmed in color in a studio in downtown New York, with Suzanne Farrell as Titania, Edward Villella as Oberon, and Arthur Mitchell as Puck.  (There's also a water fountain upstage in Act II - never in the theater.  Balanchine remembered how that could be done in the Czar's theater where he danced as a boy, and he sometimes expressed regret that he couldn't do it in his own theaters.)

 

"Davisbuendlertaenze" can be found sometimes; but the "Midsummer" film is rare, at least in America, apparently.

 

But KarenAG's description of her enjoyment of seeing on screen at home, whenever you want, dancers you see in the theater, is what sent me down memory lane here:  I well remember that evening when the first "Dance in America" Balanchine show was broadcast in Chicago in December 1977:  Look, I thought, there they are!  Those dancers I knew from my expeditions to New York.  Not their faces so much as their individual movement flavors.  And the next evening, having rewound my cassette, I could repeat the experience, right in my own living room, without the effort of traveling!  And I could use those recordings to familiarize myself more thoroughly with the ballets, as I had used music recordings.

 

Yes, I agree, I would also like MCB, or somebody, to release their PBS program - actually from longer ago, 2011 I think.   

 

 

Thank you, Jack. Yes, I was writing my post in my usually-rushed fashion that I forgot about 'Choreography by Balanchine'. I wish someone would clean up those old films and videos, including MSND, and release them. I have the DVD set and it's not too bad, but, as you mentioned,  it doesn't contain Davidsbuendlertaenze nor does it include Allegro Brillante, which was also in that series, I believe.

As for your comment about the luxury of being able to watch a performance repeatedly, yes to that! As with musical recordings, I gain such a deeper understanding of a work by viewing multiple times, honing in on sections, dissecting parts and coming back to the work as a whole to better understand it's fully realized glory and artistic statement. And doing so gives me a much more informed viewing experience when I see the work again in the theatre. There is so much to take in during a performance in the theatre.  Also, it goes without saying that the seat one occupies can affect the experience. 

New York City Ballet had a short season at SPAC this year; only 12 performances, over two weeks (with July 4 being a Tuesday, opening night was Wednesday, instead of the usual first Tuesday following July 4, and for some reason unknown to me, they have eliminated the first week's Thursday matinee since 2016.  Perhaps someone can shed a light as to why this precious matinee has been eliminated the last two seasons?  For those of you who may not know, City Ballet had its first performance with A Midsummer Night's Dream at Saratoga on July 8, 1966, which began its 51-year summer residency.  In those good, old days, their residency spanned four weeks (that was before my time), then to three weeks in 1977, which was the season length when I went to my first NYCB performance at SPAC  in 1980.  In 2009, the season was reduced to two weeks. In 2013, NYCB came to Saratoga for one week only.  Since then it has visited for two weeks, giving twelve to fourteen performances, depending on the year. You may sense the undercurrent of anxiety I am experiencing relating this bit of history .

For me, there is nothing like seeing the New York City Ballet at Saratoga.  With it's tall pines, cool air, burbling Kayderosseras Creek, gorgeous baths and spa buildings, and Museum of Dance,  all within the graceful and stately Saratoga State Park, a perfect harmony of nature and art exists.   When I see the company in its home at Lincoln Center, I'm thrilled.  If I'd had the good fortune to have seen them in Paris last year, I would have been ecstatic.  But to see them on the SPAC stage is just pure magic, breathtaking. Somehow, the dancers dance different, the ballets feel different. The dancers and musicians are exuberant, relaxed and seemingly very happy; of course, who wouldn't be happy dancing and performing under the stars in that night air?   Because SPAC is also their home, even as their residency has grown shorter.  It is truly one of the great summer offerings and I can't imagine being anywhere else; it's my home, too.

It's late so I will write about the ballets I saw tomorrow.

On 7/15/2017 at 7:26 PM, Balanchinomane said:

Thanks for the reviews Karen. The Short Stories program was my favorite for the whole year.

It's only July and I already could use a "fix."

Hi Balanchinomane!  Balanchine Short Stories was my favorite at Saratoga, too, along with the other all-Balanchine program.    

On 7/15/2017 at 2:34 PM, NinaFan said:

KarenAG - Thank you for sharing!  I'm going through NYCB withdrawal, and have to wait until September when they're back at the Koch.  We came close to going to Saratoga for a few days, and after reading your reviews, wish we had. 

 

Enjoy the rest of the performances, and please continue to share your reviews!

Thank you, NinaFan.  I completely understand -  I am going through withdrawal and the company only left Saratoga four days ago .  And I did not see them nearly as much as I would have liked. But I'm grateful for the four performances I saw.  And happily, the Fall Season is only a couple of months away.   

I just LOVE this performance and was ecstatic to receive my DVD last week!  What a treasure. What a gem!  Finally, we can see Balanchine danced by his current company, dancers dancing now, in HD and glorious color.  I love the old films of his classics and the VAI Balanchine series of DVDs, but it is truly gratifying to see the dancers we see live in a video dedicated to great Balanchine works.

Now if only Miami City Ballet would release a DVD of their Dance in America program from, what, four years ago or so? I so adore their Square Dance with Jeannette Delgado and Renan Cerdeiro - sublime. I used to be able to watch the full performance on YouTube, but it was taken down .

I attended Thurs matinee and and Friday evening.  I'll be at the matinee today and will write about all three performances soon.  Suffice it to say that the company is just wonderful this season, dancing so well.  I have so many impressions, I need to get them in order, but suffice it to say that last night's Balanchine Short Stories was beyond.   The three female leads - Sterling, Maria and Theresa - were so well-fitted to their roles, they were just phenomenal .  More later.    

I am so happy for all Sarah, Christine, Devon and Calvin, but especially happy for Sarah Lane.  And they have no role in Veronika Part's dismissal - that belongs to McKenzie, as abatt notes.   I feel bad for Part and an so sad I won't see her dance.  But these promotions are very well deserved.     

On 7/9/2017 at 2:48 PM, cobweb said:

I would love to read reviews of these performances. 

Well, I've gotten off to a slow start this season for a variety of reasons,which is very disappointing, but I did see the the matinee on Saturday and it was spectacular!  I will see several performances this week. The company is well covered with reviews in four newspapers and much enthusiasm.   This is the best time of the year for those of us who live here and adore ballet!  

Each work was danced beautifully.  Allegro Brillante with Tiler Peck and Andrew Veyette, as well as the corps, was brilliantly danced.  It was thrilling, more so than when I saw it danced by Miami City Ballet at Jacob's Pillow two weeks ago.  Perhaps because it was live v taped music and the stage is much bigger at SPAC.  This is not to take away anything from MCB and it's wonderful dancers.

Tarantella was danced by Joaquin de Luz and Erica Periera and it was a lot of fun. Joaquin was pretty sensational.  Erica danced the role nicely - I think she needs to work on her speed and personality in the role.

Swan Lake kind of brought down the house.  Sarah Mearns is a wonderful Odette - she  embodies a 19th c Russian Odette with all the gravitas and tragedy but with killer American technique. She was amazing.  The corps was marvelous - they were so musical and ate up the stage - they were really dynamic and at least half the equation.  Von Rothbart had the best wings I've ever seen.  For the record, I have seen this production several times.

Stravinsky Violin Concerto was also beautifully danced - so flirty and charming.  I am gaining a deeper understanding of Sterling's gifts.  It was Taylor Stanley's second performance of this - he premiered it on Thurs night - and he looked great.  

i apologize this isn't anything more than a sketch.  

My husband, Joe, was humming the tune of 'Codfish Ball' just now, and I started singing the lyrics, which made us crack up.  So, of course, we had to find it on YouTube.  I provide it here for your immense pleasure.  What a little dancer Shirley Temple was!  And that Buddy, well, he's almost as rubber-legged at Ray Bolger.   A little lazy-hazy summer fun. Enjoy!

On 11/26/2016 at 11:59 PM, sandik said:

Do you suppose Ted Shawn thought the festival would last 85 years?  What an accomplishment!

Yes, it is, Sandik!  And what a terrific festival it is, nestled in the Berkshire Mountains.  I was there last Saturday for the Miami City Ballet matinee and they were great. It was my first time seeing them.  The program was Allegro Brillante (which is also being performed by NYCB at SPAC this season, so it will be interesting and fun to see two companies perform the same work in such a short space of time), Barber Violin Concerto and Polyphonia.  I was particularly impressed with Polyphonia, but found each ballet on the program quite delightful and enjoyable. This is the second time I've seen 'Barber' and so appreciate Peter Martins' choreography much more than I did the first time I saw it (with NYCB).   It's quite intricate choreography, although I still don't have a sense of what he's trying to actually say in the piece, except to pair and unpair unrelated dance styles, perhaps?  I'm sure this work has been discussed elsewhere on the forum, so when I have some time, I'll visit some of your posts.      

Greetings, Everyone.  I didn't see a thread on this year's season at Saratoga Performing Art Center, July 5-15, 2017, so I'm starting one.  Here is the schedule and casting:

 SARATOGA PERFORMING ARTS CENTER
SARATOGA SPRINGS, NY
JULY 5-15, 2017

BUY TICKETS

Casting

WEEK 1

WEEK 2

Wednesday, July 5
Fearful Symmetries (Adams/Martins)
The Times Are Racing (Deacon/Peck)
Stars and Stripes (Sousa/Balanchine)

Thursday, July 6 eve
Allegro Brillante (Tschaikovsky/Balanchine)
Tarantella (Gottschalk/Balanchine)
Swan Lake (Tschaikovsky/Balanchine)
Stravinsky Violin Concerto (Stravinsky/Balanchine)

Friday, July 7
Fearful Symmetries (Adams/Martins)
The Times Are Racing (Deacon/Peck)
Stars and Stripes (Sousa/Balanchine)

Saturday, July 8 mat
Allegro Brillante (Tschaikovsky/Balanchine)
Tarantella (Gottschalk/Balanchine)
Swan Lake (Tschaikovsky/Balanchine)
Stravinsky Violin Concerto (Stravinsky/Balanchine)

Saturday, July 8 eve (Gala)
Carousel (Rodgers/Wheeldon)
Thou Swell (Martins/Rodgers arr. by Kelly)
Slaughter on Tenth Avenue (Balanchine/Rodgers)

Tuesday, July 11
Dances at a Gathering (Chopin/Robbins)
The Concert (Chopin/Robbins)

Wednesday, July 12
Jeu de Cartes (Stravinsky/Martins)
New Peck (Desyatnikov)
New Ratmansky (Desyatnikov)

Thursday, July 13 eve
Dances at a Gathering (Chopin/Robbins)
The Concert (Chopin/Robbins)

Friday, July 14
La Sonnambula (Reieti/Balanchine)
Prodigal Son (Prokofiev/Balanchine)
Firebird (Stravinsky/Balanchine)

Saturday, July 15 mat
Carousel (Rodgers/Wheeldon)
Thou Swell (Martins/Rodgers arr. by Kelly)
Slaughter on Tenth Avenue (Balanchine/Rodgers)

Saturday, July 15 eve
La Sonnambula (Reieti/Balanchine)
Prodigal Son (Prokofiev/Balanchine)
Firebird (Stravinsky/Balanchine
 

I will be attending opening night and several other performances.  This is the best time of the year for Mr. KarenAG and me!  I'm looking particularly forward to the two all-Balanchine programs, the all-Robbins, the two Peck ballets and Ratmansky's Odessa.  I have not seen Fearful Symmetries before, either, so that will be good.

I noticed Robert Fairchild is not dancing at all.  

Who else is visiting Upstate NY and SPAC?  

I can't wait for the next updates!     

Great comments, everyone.  For me, it was not the best performance I've seen, but it had many good things in it.  I'll post my thoughts soon.        

Thinking of Sarah all day today and wishing her the very best tonight, and now I read she has a cold.  Oh, I so hope she has a good night.      

  I can't wait to hear all about it.  Sarah, be blessed!    

I hope the critics cover her performances, too. 

Congratulations to Sarah Lane for two fabulous performances! I think I will try and write her directly to express my appreciation for her gifts. Here's hoping she receives a well-deserved promotion. So very sorry to have missed them. 

On 5/30/2017 at 7:34 PM, Natalia said:

 

Ya think so, Captain Obvious? 

 

KarenAG, I hope that you make it this time. Who would have thought that a 2nd chance would come this quickly? Yay!

I know!!! And I missed that, too! (See my earlier post). So happy you could make it, Natalia, fellow bus-taker. 

On 5/30/2017 at 3:52 PM, FauxPas said:

To KarenAG: the house manager will honor past dated tickets if you can get to the theater.  If you held on to your ticket and explain the transportation problem last Saturday afternoon, the house manager should seat you tomorrow night.  There is availability throughout the house.  The problem is getting there!

Thank you, FauxPas, I called ABT's box office and they granted me a 'comp ticket' - some dates were blocked out, incl. 5/30 but not 5/31. At that time it was still Maria and the prospect of a wee-hr trip home was daunting, so I decided to attend 6/14 matinee w/Devon's debut in SL. Had I known about Sarah, I would have most  definitely tried to make 5/31. 

Great posts, everyone - very enjoyable! 

Anyone attending 6/14? 

10 minutes ago, abatt said:

So sorry you missed the performance, KarenAG.  Hopefully McKenzie will now give Lane the roles she has deserved for so many years, including more Giselle performances.  Based on her performances over the years, including her Giselle last night, she deserves to be promoted. I'm not holding my breath, though. 

Thank you, again, abatt.  Everyone has been so kind and it's very comforting to have this knowledgeable, intelligent and devoted ballet community, despite that I don't post much lately due to a very busy life right now.  Well, I've definitely spoken my piece about how I feel about Sarah Lane on this topic and I agree with you.          

5 hours ago, Natalia said:

KarenAG, so sorry to read what happened. I'm sure you'll have another chance to catch Sarah's Giselle in the future.

 

Traveling just to see a ballet is always a gamble on so many fronts, such as missing flight connects, casting changes, bus or train delays (esp in winter). 

Thank you, Natalia.  Yes, it is certainly a gamble.  I've had a couple of issues traveling 3 hours to NYC for ballets and other concerts, but I've never experienced anything like yesterday.     

5 hours ago, angelica said:

I totally agree with everyone who loved Sarah Lane's Giselle. The heartfelt applause she received from the audience made me think there were many attendees who believed, as I do, that Sarah's promotion to principal has been long overdue, and especially how long this performance has been eagerly awaited.

In particular, what struck me about Sarah is that she is a short dancer who dances TALL. Her almost 6-o'clock extensions seemed just right for her stature, rather than a standard crowd-pleasing gesture. Her leaps occurred as 180-degree splits high off the ground. As an innocent peasant girl, she was completely believable, and as a will (just try to type that with autocorrect!) she was as light as a feather. I had only one moment of anxiety, when Daniil Simkin, who was a more than adequate Albrecht overall, lifted her into the air and it seemed she had to adjust her position so as not to fall. When she did those barely supported grand jetes from downstage left to upstage right, getting higher and longer with each successive one, she barely touched the ground in between, giving the sensation that she was flying through the air, something I haven't seen the likes of since Ekaterina Maximova did them that way in 1965.

With Theme & Variations, Sleeping Beauty, Whipped Cream, and now Giselle under her belt, having given five-star performances of each of these, it would be fair, right, and a tremendous relief to those of us who support the company, if ABT were to finally give Sarah the recognition that she deserves. Are you listening, ABT?

KarenAG, I'm so sorry you missed this!

Thank you, Angelica.  So am I.  However, it is indeed gratifying to hear all the lovely and positive comments on Sarah's performance, as well as the interesting posts about other Giselle's at ABT this season.  

24 minutes ago, abatt said:

KarenAG, did you make it to Giselle?  How utterly frustrating to have a transportation disaster!

 

I saw both performances yesterday.  Lane brought tears to my eyes.  She was that good.  I agree with everyone above who thought she was perfectly suited to Giselle.  Also, she and Simkin worked so beautifully together.  He also gave a brilliant performance.  Please pair these two up again next year in everything!  Is it too much to hope for a Lane Simkin R&J next season?  

 

Unfortunately I was not moved by the evening performance.  Murphy seemed more like Kitri dancing Giselle.  She is a technical powerhouse, but she doesn't convey fragility or vulnerability.  I didn't mind the fast turns around the stage in Act I- it's supposed to convey her joy of dancing.  But why did she elect not to do the choreography in Act I where she rolls down off pointe on one foot while raising the other leg in arabesque?  I enjoyed seeing Hallberg again.  He looked magnificent. However, unlike Osipova who tended to bring out the best in David, I'm not sure that the partnership w. Murphy is a winner.  Stella was gorgeous as Myrta.

 

Perhaps at this stage Murphy is just too womanly and mature looking to be successful as a young, innocent waif named Giselle.

 

 

Greetings, Abatt, Kaysta, Drew and Everyone,

I am so happy so many of you (all of you, I think, from your posts!) really enjoyed Sarah Lane's performance.  It must have been one special performance.  I hope she will dance Giselle again next season and I do hope there is a promotion waiting for her.  It seems terribly unfair not to promote her to principal as I find her a truly lyrical and intelligent dancer, hard-working and also modest.    

Thank you so much for thinking of me re May 27, Day from Hell.  No, Abatt, I missed it entirely thanks to Greyhound/Trailways.  I'm still in shock that I missed this performance, esp. after reading all of your heartfelt and rapturous posts about Sarah's Giselle, and I was near tears most of the day yesterday.  The bus rolled in at 3:15 pm, exactly 3 hours late.  We broke down at 10:45 am between Exit 19 (Kingston) and Exit 18 (New Paltz) and the driver quickly assured us there were buses in Kingston.  Yet we didn't board a new bus until 1:30 pm!  I hoped I might catch Act 2 but really lost heart as we travelled into NJ to Ridgway - I just knew I couldn't get up to Lincoln Center from Port Authority in time for Act 2.  Forget myself, there were babies and children on that bus, some people had connecting travel schedules and we received nary an apology and no offer of recompense from Greyhound/Trailways.  I'm understanding about the breakdown; what I am angry about is how long it took to get another bus and their seemingly being ok with it.  Ghastly. But, it wasn't an accident, so I should count my blessings.  

Are any of you attending Stella's performance Tue night?   I'm sure that will be terrific, too.   

Thank you, Drew. Not sure if I'll make it at this point. We'll see. 

Thank you - it looks pretty unlikely I'll make the first act at this point. I will look forward to reading your posts about the performance.