bobbi

Abatt, you are right about the majority of Sunday's Morgen cast not new to the roles. Sorry about the misinformation.

I too was there yesterday afternoon and I'm glad to hear that others noted Erica's improvement in Raymonda, a role requiring all the great ballerina ball of wax (super technique, musicality, phrasing, lyricism, and charm). The obvious tension was gone and the whole performance was so much better. I'd like to add that I stayed for the second ballet on the program, Morgen, because of the cast: Ashly Isaacs, Rebecca Krohn, Teresa Reichlen, Zachary Catanzaro, Preston Chamblee and Russell Janzen. Maybe it was because of the singing by the soprano Marjorie Owens was so wonderful -- or maybe because of the ardent dancing of the newcomers to this ballet -- but this was the first time I have ever really enjoyed this ballet. The debut dancers, Tess, Ashly, Zach, Preston and Russell, were astounding. Peter Martins, a great partner in his dancing days, devised some very intricate partnering for this piece. The men here stepped up to the plate and made smooth and elegant partners, and the ladies were wonderful too. The audience reacted very positively.

Two wonderful nights in a row at NYCB. Even though she was dancing with bronchitis (as she herself posted on social media), Ashley is now my gold standard for Square Dance. Her musicality and phrasing are an absolute joy to behold, and Taylor Stanley also matches her in musicality. Tombeau is one of my favorite ballets. I've been watching it since its premiere, and I always see and learn something new about the music every time. This elegant ballet was given deluxe treatment by the corps.

Thrilled to hear about Preston Chamblee. I've had my eye on him at various SAB events and he has done admirably as an NYCB apprentice. Definitely one to watch.

Amour -- or anyone else who received the Yellin book: Can you identify the ballerina on what may be page 16 or 17? Some friends said it might be Cynthia Gregory but I'm not sure. Tis a mystery to me.

Ballet's inherent racism? Ever heard of Arthur Mitchell, et al.?

California, yes, David himself did say during an interview conducted at the Met this spring that the stage raking caused him injury. I continue to be amazed that there are not more injuries due to the differences in raking in this era of the peripatetic ballet stars.

I just came back from the matinee Swan Lake with Anna Nikulina and Artem Ovcharenko, neither of whom IMHO are yet ready for prime time (she not particularly musical nor steady and he with no flow to his dancing). I agree with many of the previous posts about this bleak production. One thing that was nice to hear was that little snippet of music that Balanchine uses for his Tchaikovsky Pas being used for its original intent in the the Black Swan Pas. (Of course whose choreography do you think I liked better?) Now, I have been going to the ballet for close to half a century and one thing I never focused on during a performance was the bottom of dancers' shoes nor their toe boxes. However, I found myself distracted by the coal black bottoms and toe boxes of practically all of the dancers. It looked like they had all just been dancing in tar pits. It was not a nice look. I was in Row B of the Second Ring and, even without binoculars, thought they looked like "dirty shoes." I've never seen this at NYCB or ABT or any other visiting company. And, on a slightly different topic, the Bolshoi really does love bling, doesn't it?

Amour, the Powers That Be must be aware that this will be a hot ticket, as it is not listed as part of any Saturday evening subscription package.

And the accompanying picture to the Times article is terrific, especially the one online. I too thought it was a wonderful performance.

There is an exquisite solo for the female lead in Harlequinade; in fact, it was the role Patricia McBride "retired" in. I'm hoping the role goes to the most musical and technically adept of the NYCB female principals.

And I would like to add kudos to the debut in Raymonda on Tuesday of Anthony Huxley. It was a very polished performance in a major assignment.

Vipa, I second everything you posted. And just want to emphasize how much I enjoyed Ashley's performance. She played with the music; your description of her performance as "glorious" is perfect. I would add that I too found Steadfast more "acted" than in McBride days; yet it was a very affecting performance. I would add the Mearns in second movement Bizet was heavenly. Has she changed her lipstick color? Something in her makeup seemed a bit different to me (but it was a lovely change). I am looking forward to Tuesday's Raymonda to see how Lovette and Huxley do in Raymonda (one of my most favorite ballets). One day I'd like to see a program of all "first" ballets: Scotch, LaSource, Raymonda......

I went to her memorial yesterday. Fellow ballet lovers should know that one of the speakers encapsulated so many of the above comments about Carley's love of ballet and how wonderful she was to talk about the art we all love. I for one will miss her very much. Intermissions will not be same now, knowing there really will be no Carley to share a performance with. Then again, I am grateful for all the time she was in my life: she was a very special person.

For me, the Walspurgisnacht was the highlight of the evening. I will second all of abatt's comments. It was an fabulous performance. I didn't notice that the corps' costumes were different but Mearns' costume didn't look familiar, now that you mention it.

It was a delightful afternoon of ballet at yesterday's Coppelia. I will add my kudos to Tiler Peck's wonderful performance (and do understand that Andy Veyette, although obviously tired), still gave it his all. But I just want to add a word about the wonderful soloists in Act III. Two dancers in particular were absolute standouts: Lauren Lovette, doing the waltz and having to compete for attention with the adorable little ones, was marvelous. Another of my favorites is Ashly Isaacs, who IMHO, is really one to watch. She has it all: good technique, musicality and a winning stage presence. And Gretchen Smith, as Prayer, and Georgina Pazcoguin, as Spinner, gave full throttled outstanding performances as well. And capping this all was the forceful dancing of Discord and War: Emily Kikta and Harrison Ball. Emily is very tall and is a stunning dancer (another one with a bright future). Harrison Ball gave a bravura performance. NYCB followers have much to look forward to in the coming years.

I've been hoping since 2000, when Ashley Bouder graduated from SAB, that one day she would dance Patricia McBride's role in Who Cares. I guess now that's never going to happen but at least she doing another role, and I should be grateful for small favors. Bummer though.....

Yesterday afternoon, Tiler Peck's Aurora was musically and technically a joy, especially during the Rose Adagio. I would only ask that she add a few of the signature gestures that traditional Auroras have. Tiler is new to the role of course and I'm sure she will pick up these little details along the way (either by herself or from coaching). I too was stunned that she got only one in front of the curtain call after such a magnificent performance. Kudos too to Huxley for his Bluebird.

I too exchanged one of my subscription tickets as soon as SB casting went up because I wanted to see Tiler Peck. My usual seats are in the Second Ring and, for Tiler's 2/17 matinee, I was given the choice of only First Ring on the arm or Third Ring. Very glad to know the house is full. It's been extremely packed every time I've gone. I will of course catch one of Ashley's SB too.

I too was disappointed about the solos in Diamonds being omitted. It brought me back to the many times in the 70's when Peter and Suzanne omitted them when Jewels was on a 1 p.m. Sunday matinee. This was not because of injury but because of choice of the dancers. Hope Mearns has not re-injured herself.

Thanks, Vipa, for posting that clip. It brought back all the wonderful memories of those two great artists in their prime. When that ballet was first done, Suzanne wore a short black tutu but then asked to have a longer flowing one made (as is the tradition now). Also, in Balanchine's day, the second male lead was cast with a taller boy (i.e, Chris D'Amboise, Victor Castelli), which I also miss. By the way, I too was at the Hylin/Findlay debut. It was a promising sketch which I hope they will work into over time. Sterling's borrees were terrific by the way.

Fabulous closer to NYCB's season. Three out of three. Agon, Stravinsky Violin Concerto and Suite 3 -- all given the deluxe treatment by all hands. Special kudos to Tiler Peck in T&V. She was everything this role calls for: bravura and regal at the same time.

Yes, I thought that Tiler and Robbie were fabulous in Who Cares. Tess did just fine too but -- and I can't put my finger on it -- but Mearns (for me) almost seemed miscast. Despite the tumble, Ashley Bouder is still the most musical dancer on that stage. Glad to see that the house was quite full.

I haven't seen any comments on this but was wondering whether anyone else saw this. I'm off on one of my periodic "rants" but not about the dancing. It's the camera work that I found fault with. Unlike the recent live movie casts from the Bolshoi -- where the camera panned back in group shots and did closeup during duos or trios -- the NYCB cameraman chopped off the choreography. Am I reading too much into this in that it looked as though NYCB doesn't trust Balanchine choreography to speak for itself? The camera work during the Waltz of the Flowers was particularly egregious. And there were even a few times where Sugar Plum's feet were cut off. I didn't go the movie cast and am wondering whether the same thing happened there too.

Hallberg fans can catch his Bolshoi Sleeping Beauty with Zakharova at a live transmission on Sunday, November 20, at the Big Cinemas theater on East 59th Street. I was at the Esmeralda this past Sunday (reviewed in today's Times) and can report that it was very well done from the filming point of view. It's like having a prime orchestra seat for $25 (but with a more comfortable seat). I hope these transmissions "take off" because the Symphony Space discontinued the opera ones because of lack of interest.