bobbi

Thank you both for adding detail on Ashley's performance. I too much prefer the deadpan interpretation for Second Movement Western. And I am "relieved" (if that is the right word) that she was given a featured role especially since we didn't see her much in New York all spring season. SABgurlie24, my reference to Monique only meant that a very great talent was allowed to languish and never have a major career. I'm crossing my fingers that we will not see a repeat in Ashley's case.

Like Amanda, my eyes perked up when I saw mention of Ashley Bouder. Belepoelle5, could you please add a little more detail about her Second Movement Western? Did she do it deadpan? Or did she take the "silly smile" approach the way Alexandra did? Were her bourrees smooth? Also, Rkoretzky, when you say that Bouder didn't appear at all in Saratoga, do you mean in a featured role, or was she not even spotted in the corps? I've had such high hopes for Bouder since she did an exhilarating Liberty Bell in Stars & Stripes at her SAB graduation, but her career just hasn't seemed to "take off" the way I expected. She seemed to have so much raw talent. I just hope her story doesn't turn out like Monique's. But I'm so glad Megan Fairchild has had success as Swanhilda.

My all time favorite is Patricia McBride. For those of you who never saw her, just take a look at the roles which Balanchine and Robbins created for and that will give you some idea of what she was like: The intermezzo in Brahms- Schoenberg, Rubies, Baiser de la Fee, Who Cares?, The Costermonger in Union Jack, Harlequinade, Coppelia, Steadfast Tin Soldier, Dances at a Gathering, In the Night, Dybbuk, etc. etc. I'm sure my list is incomplete, but my point is that her range both dramatic and technique wise was very wide. Even in roles that were not done on her, she was wonderful; she is still my favorite ballerina in Piano Concerto No. 2 The one word that sums her up is: MAGIC. As I mentioned before on this board, she is the one dancer who has been the most irreplaceable at NYCB.

Why is it that people usually don't level the same charge(museum! museum!) at the great opera houses of the world, which are repositories of the great operas created through four centuries? Just like in ballet of course, opera houses are hoping for the next great Mozart, Verdi, Puccini, Strauss to come along, but that doesn't mean that they have stopped performing great operas. Great works of art in the performing arts are great because they can be re-interpreted by many artists down through the centuries. So many of Balanchine's works are great because they can be handed down from one dancer generation to the next as well as speak to a new audience. I remember when Variations for a Gate & a Sigh was originally done, there were scattered boos and meager applause in the audience. During the recent revival -- with a new generation of dancers and audience members - it was cheered and given bravos. My point is that New York City Ballet will never be a stuffy old museum when it performs Balanchine because they are great works of art.

I can second Jeannie's enthusiasm for Teresa Reichlin. The fouettes were done "on a dime" and the three jetes in a row just soared and got bigger as the music did (the way they should be done). This kid's another one with loads of raw talent. Jeannie, please give us lots of reports from St. Petersburg.

I voted for "disappointment" because there are so many Balanchine that haven't been done in years and I was so looking forward to seeing. Just for one: there's no Baiser de la Fee, one of his absolute gems. All the arts in New York City are facing difficult challenging times in our current economy. So I am upset by the allocation of NYCB's precious resources: i.e., the amount of money it will take (1) to mount new works and (2) to bring the Georgian State Company to perform. This means that there will be less money available to "fuss" over (read coach) the few Balanchine ballets that are revived.

The press release says that there are about 425 works in the Balanchine canon yet we are only to see 54 of them during the whole of 2003-2004. I don't like the odds at all. Does anyone out there remember or know how many were done during the 1993 festival? I was hoping we'd have another repeat of that season, but that's not to be. . . On the bright side: Union Jack will be back as well as Jewels. (I'm only hoping that it's not done in some "new age" design with heavy metal type scenery, but maybe, maybe we will go back to the original scenery -- not the jewel box that's the current design.) I'm on the side of those who expressed their disappointment.

Leigh, thanks so much for your wrap-up, particularly your take on Ashley Bouder's debut in the major second ballerina role in the Piano Concerto. I bought a ticket just to see how she did, and was not disappointed. Leigh, your insight that the role calls for "more sweep than sparkle" was exactly right. But so much was right with her performance that I forgave her too-smiling look and just chalked it up to her being so glad to be back on stage. I only hope that she gets more chances to perform in the spotlight. That performance was one of my very happy memories of the spring season. Another highlight to get me through the long summer dry spell was growth of Janie Taylor in everything's she danced, but especially in Patti McBride's role in Who Cares. I now want to see her in all of Patti's roles. She has the pliancy to handle the Intermezzo in Brahm, the speed and capability to handle to directional changes in Rubies, and a sense of drama and phrasing to do justice to Baiser de la Fee. Of course, other highlights (and in no particular order): (1) all performances of Kyra Nichols which I now treasure because more of her career is behind her than ahead; (2) all performances of Wendy Whelan, who for me anyway is now right up there with other NYCB great ballerinas; and (3) not to forget the men: Peter Boal and Damian Woetzel, both of whom can be ranked among the greatest male classical dancers. We have only a little over a week to go (and I have three Midsummers to look forward to), but already I'm having withdrawal symptoms!! I hope that the Ballet Alertniks in Saratoga and those lucky enough to go to St. Petersburg do lots of reporting.

I can second Amanda's enthusiasm about Jennie Somogyi in Friday's Brahms first movement. She was truly stunning. In the second movement (the Intermezzo which is my special favorite part), Jenifer Ringer has turned in much better performances; for some reason she wasn't at her very best on Friday. I did enjoy Janie Taylor and Peter Boal in the third movement very much. Both had the "weight" to match the music that this section calls for. As far as Valse Fantasie goes, I would like to have seen the much under-used Ashley Bouder in this part. Abi doesn't seem to have grown in this (her debut) role: there was no special musicality on display, no nuanced phrasing, no spectacular grande jetes. A disappointment all around. The whole of Saturday evening (Walpurgisnacht, Piano Pieces, Liturgy and Western Symphony) was wonderful. The Walpurgisnacht was Wendy Whelan and Philip Neal with Janie Taylor in the second role. This ballet is such a joy and it was given the deluxe treatment on Saturday. The audience reacted accordingly. The Piano Pieces was very well done. Special kudos to Jennie Somogyi, Ansanelli and Seth Orza. I do wish that Benjamin Millepied would take some lessons on making "soft" landings though. His performances are marred by an ever-present clunk, clunk. Maybe Peter Martins (the "King of the Soft Landings") can coach him. Wendy and Jock were totally in sync in the new Wheeldon Liturgy, which was so well reviewed. Although it's not my favorite type of ballet, I can see how very well done it was and the audience seemed to like it very much. In the Western Symphony, Janie Taylor took over the second movement. I have posted previously that my gold standard in this role is the droll Christine Redpath. Well, Janie did it her own way -- not exactly smiling, but as sophisticated saloon girl -- and it worked for me. Janie just gets better and better every time she's on stage. I really look forward to her performances. Maria K. did the last movement and was fine until she got to the fouttees, which she should be able to do on a dime by now (but doesn't). Damian was his usual wonderful fun and bravura self. Another good evening at NYCB.

Tuesday, June 10, was an all Balanchine program: Steadfast Tin Soldier, Ballade, Davidsbundlersanze and Who Cares. All done very nicely. This is the first time I saw Damian Woetzel in this role and I don't think it suits him only because of his height. As usual, he gave a totally committed performance, but the choreography just didn't look right on him. Ansanelli was his "doll" and she gave a totally charming performance. The highlights from the Davisbunderltanze were the performances of Jenifer Ringer, Peter Boal, Jennie Somogyi and, of course, Kyra Nichols. All are wonderfully musical dancers. Kyra just gets deeper and deeper into the role and you can't take your eyes off her when she's on the stage. But the very special (and unexpected because it was a replacement for Miranda Weese) pleasure of the evening was Janie Taylor doing Patti McBride's role in Who Cares. I had never seen her before in this role and I thought she was just terrific. The quirky directional changes, the speed, the accents, the looks to the audience, the little shifts in the torso that are all so much the hallmark of Patti's performance were all there. I will only expect that Janie will just get better and better as time goes by in this role. Wow! Kudos also to Jennie Somogyi and Askegard, who both delivered good performances. And the male corp -- Darius Crenshaw, Jason Fowler, Stephen Hanna, Henry Seth and Jonathan Stafford -- were great fun. All in all a good evening at NYCB.

Glebb, of course you are right! But isn't it funny?

I have one movie to offer: Bye Bye Birdie. There is one very hilarious scene at the end of the movie when "The Moscow Ballet" (read the Bolshoi) is about to perform a scene from Swan Lake live on the Ed Sullivan Show. Since the "singing act" after the ballet may have to be cut for time reasons, the plot involves the conductor being given something to "speed up" his conducting so the "singing act" benefitting the protaganists of the movie can go on. The result is truly funny and one every balletomane should not miss. And I often think of that scene when some NYCB conductors speed up the allegro work.

I very much enjoyed Saturday night's Workshop performance. There's lots of talent in this group. The Chopiniana without costumes and sets worked for me (although I admit that a very unscientific sampling of opinion of other audience members at intermission said they missed the costumes). For me though, without the long flowing dresses, the viewer really can focus on Fokine's choreography, which showed patterns beautifully. The two leads -- Lauren King and Sara Mearns -- had nice easy jumps for tall girls and along with an attentive partner Tyler Angle turned in a very professional performance. Lots of promise here. The Flower Festival with Barett Vance and Arron Scott was joyful. Kudos to Nikolaj Hubbe for staging. But Arron Scott deserves very special mention for the variation which calls for three turns to the left, three turns to the right and straight on the vertical with cat-like landings. Very, very well done. And Ms. Vance was charming. What talent there is in the mens corp of the Napoli -- again very well staged by Hubbe. All the boys were terrific. The audience did a little gasping at the height of some of the jumps, and I wish I could identify them for you. Ana Sophia Scheller turned in a very professional Princess Aurora with all the expected nuances of this famous role. If two of the fish dives were not 100% right on the money, the third one was (and I know they can do them because I saw them do them perfectly in the rehearsal the day before).

Ari, the direction I am dismayed at is NYCB producing MacMillian- like ballets. What started me on this thread is Wheeldon's statement about how "rich" MacMillian ballets are and how they apparently are Wheeldon's model.

Ari, you do make very good points, and I agree with your assessment about the story classics. But as a mature artist, Balanchine did tend to trim the story, i.e., Ballet Imperial lost its mime, Square Dance lost its caller and Apollo lost its birth scene. I'm not against a good story ballet, but it's the direction NYCB is taking that disturbs me. However, the one Wheelon ballet that I like -- and still like after subsequent viewings (the prime test for me) -- is Scenes de Ballet. I find it charming and elegant (Ashton like).

Dale, I think you articulated what got me so upset. Balanchine's whole aesthetic was in the opposite direction from the story ballet. His ballets were based on the musical impulse. Now, we have someone in charge of the New York City Ballet rep who is turning back the clock to an era where the story mattered more than the music. I know that Balanchine is gone and there will never be another one like him (as the aristocratic world that produced him and other titans of Western culture (e.g. Mozart) is history. But it seems that only twenty years after Balanchine's death we have NYCB turning into NYCB Theater. What a slap in the face to everything he stood for -- and in the House That Balanchine Built too. I find it so very, very sad.

I haven't posted in a while and here I'm back with one of my "rants." My nose is out of joint because of the following quote from Christopher Wheeldon: "I find myself longing for the richness of the ballets, I grew up with, especially MacMillan's." I had to read this a couple of times for the implications to sink in: The current resident choreographer of the New York City Ballet does not find Balancchine ballets "rich" enough for him. Excuse me, but in the pantheon of Twentieth Century choreographers, MacMillan is not in the top five of my list. (Perhaps I would have been less outraged if Wheelon longed for the "richness" of Ashton.) Did anyone else have any reaction to this quote?

It will be interesting to see how today's younger audience reacts to the upcoming Balanchine festival in 2004. I think that will be the test of whether audience "tastes" have really changed. For those of us "of a certain age" who were very lucky indeed to be going to NYCB while Balanchine was alive, it will just seem normal to have three Balanchine ballets on a program night after night. I am an optimist and hope that the Balanchine rep will be as lovingly revived as the Liebelieder Walzers have been recently -- with lots and lots of coaching. I trust good taste will prevail and the younger folks will come around to appreciate the Balanchine rep for what it is: one of the greatest artistic achievements in any art in the 20th century. I particularly remember one Saturday night in the 70s when the program was Square Dance with Ashley and Cook, Baiser de la Fee with McBride and Tomasson, and Chaconne with Farrell and Martins. That was just a typical evening back then. Oh were we spoiled rotten!!!

Mel, your points are interesting and well taken. However, whatever "artistic vision" a choreographer might be trying to express when he/she makes women lie prone with their faces pressed to the floor, I will never ever like seeing women used in this manner, which I consider to be disrespectful to say the least.

What I consider extreme bad taste in ballet is when a choreographer has women being dragged along and/or made to sit or lie down on the floor. What reminded me of this was my first ever viewing of Wheeldon's Carousel on Friday night at NYCB. Although there was very much to be admired in this work, when the corps girls were flat on their faces on the ground for a seemingly endless period of time, bells went off in my head: really offensive, mysoginistic and in very bad taste. So there.

How differently we all view things sometimes!! I very much agree with Michael about the Mozartiana. Wendy was just glorious, and Philip Neal's performance was on such a high level that I was comparing him to Ib and Peter in the same role. As I have mentioned before, as good as Tom Gold was in the Gigue, I still prefer that it be cast with a taller dancer. The four demis (Abergel, Bewkow, Krohn and Natanya) were excellent yesterday. As far as the Bizet is concerned, I thought the only weak movement was the first movement. Abi Stafford gave a surprisingly underpowered performance. (But then again I look for a Merrill or a Kyra in this section, so my standards are pretty high here.) Darci can still pull off the adagio work in the second movement and turned in a grandly shaped performance. In the often undersung fourth movement, van Kipis and Arch Higgins were very good. Keep your eye on Arch; he's gaining in statute with each appearance. As far as the third movement goes, I seem to be the only one who enjoys the pairing of Janie Taylor and Antonio Carmena. As a matter of fact, it was that highlight of the Bizet for me. They were both out there "selling it" and good for them. For those of you who weren't there yesterday, the audience loved the performance -- (even with the upcoming blizzard in the forecast) stayed to bring the principals back three times in front of the curtain. I found it an exhilerating performance. As far as the Steadfast Tin Soldier and Tarantella goes, Tom Gold was just terrific in the former. He caught all the nuances of the role: both times he went to his knee to kiss the doll's hand he did that part as well as Helgi and Mischa in their heyday. Adam Hendrickson was also fun in Tarantella. Why did I not mention the female leads? Okay, fellow-ballert alertniks: My performal contention: Patricia McBride has been the most irreplaceable dancer at New York City Ballet. With the exception of Nichol Hlinka in Coppelia -- for me -- no dancer has even come close to giving a satisfying performance of any Patti role. There have been very many satisfying performances of Suzanne roles, of Violette roles and of Merrill roles, but none of Patti in any of the roles created for her. (I was again reminded of this a week or so ago when a miscast Miranda Weese tried to do Patti's role in Who Cares?) That having been said though, Ansanelli did turn in a very respectable performance performance yesterday. YB in Steadfast was her usual sweet self, but she is a dancer for me who always "under-dances" roles. But there's still no one over these last 15 plus years who has the McBride magic.

A few more thoughts on Saturday matinee: The musical selections -- Hindemith, Faure, Cage and then Bizet -- made for a good contrast and compare afternoon. On the Ballade: I enjoyed the rapid directional changes which Wendy handled expertly. As I remember (or don't remember it), the premiere of this work seemed to me very, very difficult. Then Merrill got injured and when it reappeared, it was "watered" down a bit. But in any event, it seems to be a very tricky ballet to dance. I'm on board with all the other comments on Haiku. I hope that Albert Evans gets the chance to show us what he can invent for groups of dancers, not just pairings. On the Bizet, I'm with Sneds on this one: I very much enjoyed the performance. Wendy and Philip Neal were outstanding, and what a good partner Neal is!! As others commented, Janie Taylor was unusually grim yesterday and there was a disconnect between her and the music. In fact, my reading was that Antonio Carmena handled it with aplomb and kept her on the music. Arch Higgins also handled himself very well in the fourth movement. Maybe what Carbro noticed was that about one third of the corps girls who were listed were not those who actually were dancing, so maybe these last-minute shuffles didn't result in the smoothest of Bizets, but, boy, it was very well received by the audience.

I too was at last night's performance and can echo Michael's enthusiasm. And it was indeed gratifying to see the female lead try to dance Square Dance Merrill-style, i.e., as a showcase for bravua dancing. (I understand that Abi Stafford learned the role from Merrill.) Did Abi succeed? I would say it was a very respectable first try. Surprisingly, the allegro work was quite good; the signature grand jetes were really "grand." However, in the opening adagio, Abi didn't "hold" the signature arabesques and attitudes as long she might have. I'm not sure whether that was because of nerves, lack of dance power, or her (frequent) predilection for rushing through a musical phrase. In any event, I want to thank Peter Martins for casting someone new in this wonderful ballet. Piano Pieces was very enjoyable. And I agree with Michael that Jennie Somogyi stole the show. My only reservation about Jennie (and Ansanelli) has been the turnout issue. (I admit I am prejudiced in favor of dancers with beautiful lines.) However, in flowing chifon, they were both stunning last night. Jennie was totally in command and indeed evidenced moments of "plastique" in some gorgeously held attitudes. It was a real ballerina-level performance. Let's hope she gets to do the Piano Concertos in the spring. And Ansanelli and Robbins ballets are made for each other, as she has a flare for the dramatic and evocative. Slaughter was its usual fun self. At first, I was disappointed that Damian wasn't dancing, but Philip Neal turned out to be a good actor as well as a good "hoofer." I am a great admirer of Sofiane Sylve in everything I've seen her in and she turned in a very good performance. That being said, I found myself missing Maria K. last night. (That old gorgeous "line" thing again.) Special kudos to Antonio Carmena who danced in all three ballets and is getting stronger with each performance. In Square Dance, he was the one I had my eye on in the male section right behind Nilas. In Piano Pieces, his arms and upper body are just perfectly elegant, and in Slaughter, he gave a comic turn as the policeman.

Like most of those who previously posted, I too very much enjoyed Eight Easy Pieces and Eight More. The former is totally charming and the latter can be really thrilling as demonstrated by Carmena, Ulbricht and Hendrickson. Now if only Peter M. would combine the boys and the girls and make a third little ballet . . . . And I agree that Wendy W. was her usual outstanding self in Symphony in Three Movements. And I too never tire of this work. Having witnessed for thirty years now, I eagerly anticipate the signature moments (the unfolding line of corps girls, the last pose worthy of a MOMA painting) and sometimes hope that they would last longer.

Let me add my cents about one of demis in Raymonda. I was delighted at the growth of Faye Arthurs. It was just a few seasons ago that she wowed us with her extensions at her SAB graduation. I found her Variation I to be stylish, she was well-placed and right on the money musically. It's always so much fun to see the young ones grow. Another "newbie" I'd like to mention is Sterling Hyltin as one of the corps girls in Second Movement of Western. You can't miss her: she's the one with the wisps of blond hair and the 1000 watt smile that lights up the State Theater! Also from her SAB class was a strong Jessica Flynn. Was I the only one who was distressed at Ansanelli's interpretation of Second Movement Western? My gold standard in this role is Christine Redpath, who did it deadpan and very droll. Then it was taken over by Judy Fugate who continued in that tradition. Why is Ansanelli smiling throughout (and with very bright red lipstick to boot)? It's very disconcerting. Was she coached this way? Her dancing itself was just fine, but it just looks so wrong. Also highlights from Wednesday were Madame Nichols (that national treasure) and a slimmed-down but fun, fun, fun Zelensky. And I was very impressed with the newcomer Tewsley; for me, he managed to combine some very dansuer noble dancing with the look of an "old cowpoke." It worked for me. I'm looking forward to tonight's Eight Easy Pieces...