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bobbi

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Everything posted by bobbi

  1. Wow!! Two Balanchine ballets!! What could they be thinking!! But aside from my snide comment, maybe there are a few up-and-coming technicians to handle Square Dance. We can always hope. I'll be there.
  2. Thank you all so much for helping me get past this little incident. What hurt so much was the fact that it was said by a very intelligent attorney who is also a solid financial contributor to both NYCB and ABT, so I didn't want to make any zinger type of reply (even if I could have thought of one at the time). However, all your comments have put the word "groupie" in perspective, and I can now let it fade into the background. Let me say also that it's so terrific to have a board such as this where I can air this incident and find that there are so many other people who can relate to it in some way. Thanks again.
  3. Recently someone at my work place who knows of my great interest in ballet called me a Groupie. For some reason this bothers me, as I consider that term almost a pejorative one; technically, I feel the term relates to one who follows one individual dancer/singer to the exclusion of others. I will own to being a Ballet Nut, Ballet Fan, Ballet Fanatic, Balletomane (my personal favorite) but not Groupie. I'd appreciate the thoughts on other ballet fans on this topic. At my age I shouldn't be so thin-skinned, but how do others deal with people who can't understand and/or want to denigrate one's passion for a particular art?
  4. This is just to add my "me too" refrains to praises for Ashley's first outing in Donizetti at the Saturday matinee. Wow! Wow! Both she and Andrew deserved more than just one curtain call after this performance but I guess the audience was unnerved by the coming snow. The playfulness so essential to this ballet is back and in spades!! It's hard to believe that it was almost six years since these two were El Capitan and Liberty Bell at their graduation performance at the SAB workshop. They look really well together. And now that Andrew is coming into his own, I hope he gets to dance with her more. A terrific pairing!! Sara Mearns looked lovely in the Darci role in Octet; however, she doesn't seem to be powerhouse technican. I'm not sure she will ever be of the Monique caliber, but she is lovely to look at.
  5. Carbro, I too thoroughly enjoyed Peter's new ballet. And thanks for specifically explaining those turns Tiler does -- they were jaw-dropping!! I don't ever remember anybody doing anything like them in any ballet I've ever seen. (Maybe Peter has extended the ballet vocabulary the way Balanchine did with many of the new pushed-to-the-limit steps in Ballo.) My only gripe (there has to be one of course) is that I would like it better lighted for the first few sections. What amazed me about both Tiler and Danny is that they were not at all winded after their incredible variations. And Tiler turned up in Union Jack giving it her all there too!! Wow!! Do we have another Ashley here? Although De Luz has gotten over his "Bronze Idol" reading of Baiser de la Fe, he still has a way to go. That being said, Friday's performance was a marked improvement from his first time out in this exquisite little gem of a ballet. How about pairing him with Ana Sophia here? That pairing would look much better; Megan is still to big for him. Union Jack was great fun, as it usually is. According to an article in the Sunday Times Art Section, Sofiane may have a go at Karin's role, but I don't see her cast for it yet. She would be great in it. It's hard to believe that the only remaining original cast member is the donkey (who behaved himself after all these years).
  6. A little word on Sofiane Sylve's Allegro Brillante on Tuesday. . . I find that ballet to be one where my eyes are text messaging, "Stop. Take a picture of that pose." However, my ears are saying "No, continue with the musical phrase." Over the years, I learned that the great dancers satisfy both eyes and ears. In other words, Sofiane on Tuesday gave us great snapshot moments (nano-second pauses?) but never violated the music line. There is one classic moment in Allegro Brillante which I always associate with those two All-Time Greats -- Peter and Suzanne -- when the ballerina with the help of the danseur goes into a very, very deep arabesque penche. (There is a great photo of this.) Well, Sofiane looked as gorgeous in that pose as Suzanne always did. Be still my heart. . . .
  7. Dale, I very much agree. Usually with Ashley she gets her sea legs on the first time out in a major role and then in the second performance the artistry kicks in. Last night, she nailed it in one. She was riveting. And what's so wonderful is that she seems to energize everyone around her. It was a fabulous Divert. Philip Neal, Jason Fower and Andrew Veyette were all bravura and elegant cavaliers. Both Jason and Andrew have great futures in front of them if they keep dancing on this level. Andrew made one high-flying exit to stage right that was just astonishing for its height and correctness of form. And Jason is an incredibly elegant dancer and a very attentive partner. All the other ladies were delightful too (Ana Sophia Scheller, Sterling Hyltin, Rachel Rutherford and Abi Stafford), with particular kudos to the debut gal Ana Sophia. I am also so pleased that Abi is really phrasing her dancing beautifully these days. And what a pleasure it is to have an All-Balanchine evening. More please. . . .
  8. I was disappointed by the new Wheeldon, having expected soaring leaps, romantic swirls of movement, etc. However, the choreography seemed to be basic Wheeldon (pretzel-like couplings and floor work for the dancers). Most upsetting was the fact there seemed to be no connection whatsoever between the music and what the dancers were doing. Actually, I found it boring. Very disappointing. . .
  9. Let's hope that some of Patricia McBride's magic will come through when Sara performs. Sara has been taught/coached by her down in North Carolina. Maybe we will have a real treat in store for us next Saturday. When I saw some of McBride's group at a Guggenheim seminar, I was delighted by the sheer joy in dancing that came through. My only concern for Sara is stamina. We'll see.
  10. Well, I guess I'm the first to sound off. Let me say from the outset that I do not like this production as (1) there is no story line at all and (2) it's not a pleasant production to look at from either the costume or scenery point of view. That being said, there were pleasures to be found. Although both Wendy and Damian did star turns in the leads, what has stayed with me as "after images" (a Croce term) is the Pas de Quatre danced by Ashley Bouder, Ana Sophia Scheller, Tiler Peck and Benjamn Millepied. It was the kind of variation that a balletomane lives for: classical dancing done at its purest and most sublime. We all know how wonderful Ashley is, but I think it was a particularly break-through night for Ana Sophia and Tiler. Ben was also terrific. All four were a joy to watch; I wish I had a videotape that I could play back. Another highlight was the Pax de Trois with Sterling Hyltin, Abi Stafford and Steve Hanna. Both the ladies did very nicely in their variations.
  11. My sentiments exactly, Michael. The Lord Giveth (a Balanchine masterpiece) and the Lord Taketh Away (not exactly deluxe casting). Well, there's always the corps to watch. . .
  12. Jacqueline, I am happy to report that Andrew Veyette turned in a very fine performance as the cavalier, both as a partner for Megan and dancing in his own right. As a matter of fact, I was especially impressed with his own solo work. Whereas Amar in yesterday afternoon's performance seemed to run out of steam in his own set of menages around the stage, Andrew's turns were impressive for their height and speed; it was a really bravura solo. As far as yesterday goes, I concur with all that Oberon said (especially about Ashley), and would only add that Tess Reichlin's performance as Coffee was absolutely stunning; in fact, it was the best I'd seen since Wilhemnia Frankfurt way back in the 70s. And despite a spill, Sterling Hyltin made a strong debut as Dewdrop; that 1,000 watt smile (evidencing the sheer joy of dancing) that so impressed me years ago at the SAB Workshop performance was back in spades.
  13. I'm with you, Oberon, on this one. I've seen three of Ashley's Dewdrops so far this season, and I have been delighted and thrilled by her musicality and rubato, and am looking forward to her Sugar Plums. Quite frankly, I am absolutely amazed that this is something that anyone would complain about!! Did anyone go to -- and can report on -- yesterday matinee's many debuts (Reichlin as Sugar Plum, Ask as Cavalier, and Peck as Dewdrop)?
  14. Zerbinetta, I totally agree about Suzanne being memorable in La Valse. But that's pretty much the way it was: once you saw her in anything (except the Piano Concerto and maybe her Sugar Plum), she became the gold standard that you can't get out of your head. But back to this thread (sort of). I would have thought that AA would have made a much better coquette than sleepwalker; I guess she was cast because it's the more "glamour" role. In any event, I'm glad she's dancing some place.
  15. After reading all of the above posts -- which have made great reading -- I have a prediction: In less than five years (1) ABT (which bills itself as the "home of the classics") will be doing more Balanchine ballets than NYCB and (2) to see well-rehearsed and well-cherished Balanchine ballets, go to the regional companies, not NYCB.
  16. Carbro and Oberon, I see your point; however, I am just very glad NYCB is past (hopefully) the punk look pictures of a few seasons ago. The photos do though, I think, bespeak the glamour and elegance of the art of ballet. There was a time in the forties and fifties when these sort of posed pictures were the norm, and some of those old photos are fabulous to look at now.
  17. This morning's Times reports that Ashley Bouder will be the "Young Ballerina" in NYCO's Capriccio, with the first performance on September 7. Although, as I remember the role from the MET a few years ago, it's not a great dancing role, it is one for a dancer with great style and "attitude" (in all senses of the word). For me, it's just icing on the cake, as Capriccio is my first opera of "the season." For those of you who are not into opera, I do recommend this one -- not just for a Bouder fix -- but because it's gorgeous Strauss music with a thought-provoking plot and -- what's expected to be very good singing.
  18. Oberon, I'm with you on there. I don't know whether it's the way programming has been put together in recent years or what, but many NYCB nights don't get out until almost 11 p.m. In the upcoming season, there is one Friday night program on February 10 that makes me think I'd better pack breakfast. It's Baiser de la Fee, Union Jack and a new Martins ballet (which are always, always long). It's not just "out-of-towners" who can appreciate the earlier curtain, but those of us who are working stiffs don't enjoy waiting 15 minutes for a subway or a bus, which is what happens after 11 p.m.
  19. Perhaps we all had a little hint of her feelings way back in the winter season when she cancelled some NYCB performances to do a gig with the Stars of the 21st Century. I sort of remember at the time being disappointed that she cancelled something I especially wanted to see her in, and was surprised by the reason. But looking back, that did portend the future. I am truly shocked and deeply saddened by her departure. I can only think of one ballet (Giselle) that I would like to see her in, but she could have guested with some other company to do that (as did Patricia McBride). I hope she doesn't follow Gelsey's path . . . .
  20. Everyone seemed to benefit from the relaxed nature of the setting on Friday. Both Megan and Joaquin danced the Harlequiande pas with the ease and relaxation that sometimes seems to be missing from their dancing at the State Theater. Just delightful. Well, Ashley Bouder met my expectations in the Allegro Brillante and then some. It will be even more exciting when Ashley has live music to dance to, as this is one dancer who really, really dances to the music (and dancing to the same taped music may not be enough of challenge for her). Balanchine would have loved this kid!!! I do hope we get to see her on the large stage at the NYS Theater (with good wing spans), where she can really let loose in this piece. The corps (Tyler Angle, Jason Fowler, Kyle Froman, Andrew Veyette, Ellen Bar, Alina Droniva, Glenn Keenan and Kristin Sloan) -- perhaps benefiting from a known and steady tempo -- were just terrific. One of the audience favorites last night was the Tarantella with Danny Ulbricht and Tiler Peck. Although I agree with all of Gia Kourlas' review in the Times about this event (the one on Thursday), I differ from her only in that I'm glad that Danny does an over-the-top Tarantella. Just from "we've got them too" marketing perspective, it's good for audiences to know that NYCB's male contingent (and not just ABT's) can tear up the rug too. And times change; more is demanded from male dancers today than when Eddy created the role. Tiler is a good match for Danny. I would only fault her jetes last night but that could have been a function of the size of the stage and wingspan. But those repeated and deepening knee bends looked charming and playful on her (where they can sometimes just look vulgar). And for someone so young (what, is she all of sixteen or seventeen now), Tiler has terrific stage presence and aplomb. Good pairing. The highlight of the Valse Fantasie for me was the growth of Amar Ramasar. Properly coached, he could indeed go the distance at NYCB. Right now, partnering seems more of an after-thought (but then again this ballet doesn't require much). Again, I think the corps benefited from a steady tempo, as they were very good. The second highlight of the evening was Joaquin in the It Should've Been Me selection from Martins' Ray Chares Tribute. Joaquin was truly, truly fantastic technically but more important he was relaxed enough so audience didnt see the effort (my only gripe about his dancing). I like "magic" from my dancers (i.e., no obvious preparation, etc.), and last night he delivered and thensome. Well, that's my "Balanchine fix" until the Nutcrackers start. And it was very good "fix" indeed.
  21. Helene, isn't the absence of print (i.e., on the roster of dancers) enough?
  22. One of the events at the Symphony Space wall-to-wall Balanchine event was a tape of Allegra coaching Janie. I remember thinking at the time what an uncanny resemblance there was between them; they almost looked like they were mother and daughter. It was not only their physical types that were similar, but Janie's pliancy really brought back memories of Allegra. Janie's Sleepwalker would indeed be something to see.
  23. My highlights of the season were quite simple: Any time Ashley Bouder set foot on the stage. Every time she made an appearance she seemed to gain artistic stature. When I get the subscription renewal brochure, I will spend some idle moments casting her in all the ballets I want to see. But there were other highlights too: (1) relief that both Jeannie and Janie are back and seem to be okay; (2) glad to see that the glamour gal type at NYCB is not a thing of the past (i.e., Tess Reichlin); (3) the growth of Amar, Jared and Antonio; and just having NYCB at the State Theater. . .
  24. For a sense of what I meant by Sofiane's seeming to me "heavy" in the role, may I suggest during the long summer dry spell you catch the scraps of video at the New York Public Libary of Suzsanne as Titania. I did not mean by my comments that Sofiane danced the role badly, just that she may have either been miscast or that she hadn't quite yet gotten the role's essence. Do any of you remember Carla Korbes three or four years ago as Titania? Even on her first outing, Carla had the quality I'm looking for in a Titania. It was just in Sofiane's solos as Titania that I found her -- to my taste -- not quite the real thing. But I'm glad for those of you who enjoyed Sofiane as Titania. Again, it's chocolate and vanilla time. . . .
  25. Let me add my praise for Antonio Carmena's debut as Oberon. What I have always enjoyed about his dancing was his musicality and phrasing, but -- although I thought his technique was very good -- I was delighted that he was able to meet the demands of probably the most difficult male role in all the Balanchine rep. And the special surprise was his acting ability and his characterization. Terrific debut. The other debut -- Sofiane -- I found surpisingly disappointing. Although I can't put my finger on why, her Titania seemed heavy and leaden and earth-bound for a fairy. But then again it was great to see a Titania danced by someone under 40 years old!!! Tess Reichlin continues to dazzle at Hippolyta. Jeny Ringer did not seem at the top of her game last night in the divertisement; maybe she tired from all those West Side Story outings. By the way, thank you, Jimmattamore, for the report on Ana Sophia, as I'm really looking forward to seeing her tomorrow.
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