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1/28/2015 Performance It doesn’t get much better than Ashley Bouder in Donizetti Variations. She brought everything to this ballet last night: charm, wit, brilliant-risk-taking allegro technique. She has an amazing jump and sharp attack to details when needed, all with an abundance of playfulness with the music and playful partnering with Andrew Veyette. Ashley does this never going overboard or disrespecting Balanchine’s choreography. She never takes any short cuts, she never simplifies difficult choreography. Ashley is a joy in this ballet as well as many others where allegro is required. Andrew Veyette was quite wonderful in Donizetti with his flawless partnering and risk-taking technique. He moved with great freedom and strength. His lines were long, lean and elegantly masculine. If he did not move quite as fast as the much shorter De Luz, it didn’t bother me one bit. I preferred Veyette’s expansiveness. And don’t get me wrong, Veyette also moved with the speed of a big cat. He didn’t smile a flashy grin throughout, but when something made him smile, the audience smiled along because it seemed a natural response to whatever was happening at that moment in the ballet. He had a very easy going style/approach without sacrificing any of the seriously difficult and speedy technical demands. I agree with Amour, Devin Alberda was a standout all night. He is a very giving, sensitive, and youthfully handsome performer who always gives his best. In addition to dancing one of only three guys in the corps of Donizetti, Devin had a bit of tricky partnering responsibilities with Bouder which he handled expertly. Next up was La Valse which I haven’t seen in a while. Sara Mearns was once again a fine dramatic actress, as well as being awe inspiring with her luxurious movements. I was also struck by Gina Pazcoguin’s new confidence and larger than ever sweeping movements. She and Sean Suozzi were a mysterious and boldly intense pair. The stage seemed small when they danced together. Chaconne was led by Tess Reichlen and the fascinating Adrian Danchig-Waring. It’s about time that he danced, really danced, not just partnered in a big principal role. Adrian is a big cat if ever there was one. He must be part cat to have executed every technical demand with such quiet, muscular strength. He was not flashy, but reminded me a bit of what had been Wendy Whelan’s balletic eccentric style. All the classical lines and technique but with something extra, otherworldly. Adrian was a beautiful creature rather than a charming prince. I wasn’t sure that his style would work for him in a ballet such as Chaconne, but Adrian was astonishing. I couldn’t take my eyes off of him. Perhaps Adrian was not the tallest partner available for Tess, I’d agree. Russell Janzen I believe is taller than Adrian and has danced Chaconne with Sara… I don’t believe Sara is taller than Tess so why didn’t Janzen dance with Tess and Adrian dance with Sara? Only the NYCB casting chefs know. Tess in her solos and approach to Chaconne overall had a long way to go, as did most of the other female dancers in that ballet. Most played it safe and did less than the choreography required except for Gwyneth Muller in the pas de trois who seriously needed to be a bit less trashy. I love trash and flash, but not when it’s over done. She did give it her all however which was lacking from the other soloists with the exception of Antonio Carmena, David Prottas and once again Devin Alberda. Still, there was much to delight in this evening. An all Balanchine program never fails to amaze whether or not the casting is perfect.

Serenade was a bit of a mess. The corps looked ragged, weak, but had lots of energy. They didn't dance with a lot of passion, but rather with the "I don't want to be fired" high energy. It's not attractive. It just looks forced.... What was that dead rag of a bun on Hyltin's neck?! Looked so awful bouncing around. Why hasn't she figured out that she can use one, big, brown clip when it's near the time to let her hair down? I am not a big Hyltin fan, and I have never liked her as the Waltz girl. Her dancing technique is just not big enough, not strong enough, to hold that lead. She's a sparrow when a hawk is needed. Partnering Hyltin, I thought Robbie Fairchild was excellent, and looked very much in good shape almost taking attention away from all of the ladies. He moves with such expansiveness and he has a stage presence that few can match. He's not a perfect ballet technician but he's got that masculine, poetic, sensitive, sexy, charming, handsome, attractive qualities, as well as a solid craft executing movements. It all works so well. (Wouldn't want to see him dance a piece like Theme however....). I thought Peirera as the Russian girl did a good job. Not very special, or interesting, but she did a good job. She's pretty, and can handle the choreography well. Tess danced the Dark Angel. She's never my cup of tea, but her lines, natural height, and confident technique work well for that part. The revolving arabesque, rotated by Ask LaCour holding her supporting leg was a bit bumpy. And btw, he is much too tall for Hyltin while she's on the floor, and he is standing above - those interactions were awful. When she reaches up to him, her arm should reach his lower chest. At this performance her hand was just above his dance belt!!! Yikes! Agon started off very well. The men (Vyette, Amar, Alberda, Applebaum) were all interesting and different in their approaches to the music and choreography, yet they worked well together, in unison with strong musicality. Maria K. has gorgeous lines, but tends to hit the lines and then rest in them. Wrong! She seems too weak to me and her muscles too soft to keep the energy, tension of Agon alive at all times. Andy Vyette and Amar were the stars of last night's Agon. Megan LeCrone in second place, I loved her in Agon. Still, she is another example of being too weak technically to carry off her part as well as it should be done. She has an interesting way of moving, an interesting presence on stage, long gorgeous arms (contemporary port de bras). Agon is the perfect ballet for her style of dancing. I'd very much like to see her do Maria's part someday soon. I think she could carry off that pas de deux better being supported by a strong partner. Finally, Symphony in C! Ashley Bouder did debut in the first movement and was brilliant from the beginning of the ballet to the very end. Her partner Chase Finlay was just trying to keep up, often not quite there for Ashley's attack. His own dancing joined others who looked not in top form for the big roles. Sara Mearns in the second movement was stunning, soulful, dramatic in her sensual way. So full of the music. I loved it. Her lines are gloriously big, and Jared Angle gave her all the partnering support she could possibly need to totally give it her all. Sara did struggle to keep bright and on top of the speedy tempi for the finale. I wonder if that was just not being in the season's top shape yet. Lauren Lovette. She got through the third movement! She's not much of a jumper. A short girl, with a huge hair bun and a body with big breasts. She's not my preference for a tutu ballerina. Garcia partnered her well. Nothing went wrong, nothing was exciting. Brittany Pollack and Adrian Danchig-Waring did a good job of the fourth movement. He's far too interesting in his contemporary style to flash through such a quick classical, allegro, part. But they were both just fine. He's far better in a ballet such an Agon. Brittany is lovely, sparkly, and danced well the tricks of the fourth movement. Not easy to be shot out of a canon at 100 miles per hour for a brief flight through some of the most demanding pirouettes. I didn't save my program, but I'm curious if the first movement demi, the brunette, was Meagan Mann.... She was wonderful. Strong, musically crisp, all sparkles and joy. A very lovely dancer. I want to see more of her soon. The corps certainly perked up for Sym in C. Their high energy and joy seemed full of genuine love for Mr. B's masterful creation. It's an amazing ballet to watch and dance.

Here's the casting for Jan 19th: http://www.bolshoi.ru/en/performances/456/roles/#20140119190000

Casting?

>IMO the television interviews of both Jennifer Ringer and Sarah Lane have shown the world >that there are beautiful, intelligent, real women in ballet. I'm not comparing their issues, >personal styles etc. Just the fact that these two lovely women give a glimpse into the real >people who work as ballet dancers. I'm in total agreement with Vipa's above. It did make me furious last night that 20/20 gave a horrible murder story 45 mins, while Sarah/ballet received only 5 mins of coverage..... But thinking it over, that's typical of the junk that's on American TV..... and 5 mins is making progress!!! I thought Sarah did a magnificent job and managed to deflect the bias and accusatory questions aimed at her, and she also instilled some doubt about Portman's dancing. You'll notice they never showed a comparison of Portman dancing and Sarah dancing....

>Well now I feel bummed that I bought tickets to the Part/Gomes cast, as it seems the >choreography suited Murphy/Hallberg much more. Hallberg and Murphy just seemed to have better luck in the mostly awkward, too risky, and too often labored choreography for their pas de deux. Neither pairing (Part/Gomes or Murphy/Hallberg) looked their best. I didn't care at all for much of the choreography in this Nutcracker especially of the second act that was buried under over-sized costumes. The costumes for the two leads being the exception. But I loved the beginning of the first act, the kitchen scene which was so delightfully fresh and full of connecting moments to smile and laugh with. It was the highlight... and the baby mouse definitely stole it and the rest of the show.

[Pamela Moberg' date=Mar 16 2009, 06:23 PM' post='244267] At last, something to report from Gothenburg Sweden. End of August there will be an international ballet gala with: Gillian Murphy - David Hallberg - Daniil Simkin and Sarah Lane. Anybody attend the performance yesterday?

Gelsey at her best! Thank you for finding this wonderful memory.

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Wow! Daniil Simkin's debut in Prodigal Son was absolutely amazing (Wed eve). He's such a fine actor, a beautiful young man, physically, as well as a fantastic dancer technically. He'll need a little time to get used to the orchestra for this ballet -- to better connect to the music in his opening solo, but that's a minor detail/correction compared to all he brought of himself to Prodigal. Just wonderful.... Irina D. was a terrific Siren too -- just perfect for the part in her current tip-top shape and commanding presence. I will definitely see the next Prodigal with these two on Friday. The ballet world is one, big, open door for Daniil....

I was there Saturday night too. Daniil Simkin was a complete joy to watch in every way, and I can't wait to see more of him.

I just got back from Wednesday night's "Le Corsaire" too. I was *very* impressed with all those who were featured in leading parts tonight. My favorite of the night, besides Carreno and Lane, was Craig Salstein who was so unbelievably strong, charming in his acting and just astonishing in his brilliant technique. As the 2nd lead pirate, in black tights, Craig's wit, tongue-in-cheek approach to some of the real silliness of this ballet could not have been done better. I usually feel sorry for this pirate role, such a thank-less part.... but not tonight. Carreno was so damn sexy, sensual, and meaty in his dancing of the slave, it was hard to take your eyes off of him. Carreno has also become one of the very best turners I've ever seen! Sarah Lane danced the big, 2nd ballerina part. I had forgotten how much beautiful dancing there is for Gulnare. I thought Sarah was completely comfortable with the demands of this role, and Nina, and the guys, all seemed to love having her there with lots of excellent chemistry and acting between them. Saveliev and Gomes were fantastic partners to their respective lead ballerinas. Nina was as always such fun to watch. It wasn't about polish and perfection at this point in her career, but it was so joyfully contagious to watch her throw herself into steps and partnering moves (and jumps!) that seemed beyond her reach. Nina had such a warm, radiant presence and complete confidence in taking her many risks. A big thank you also goes to the conductor, David LaMarche, who made the evening so enjoyable.

>I would much prefer for them to maintain their Fall focus on Tudor rather than to stage >"a new bunch of Mr. B's best ballets." They have two weeks! One week could be Tudor! I wonder how that would sell.... >If they're to that point, then they should just merge w/ City Ballet to create one >mega-Balanchine company and be done with it. Now there's another good idea!!!! Kidding.....

Saying something was very long implies that it was on the dull side........ Nina may not be in her best shape this season but she is never dull.... neither is Angel... What a strange pairing, David Hallberg with Xiomara Reyes. Also I don't think I've ever seen Hallberg dance Tchai pas, but I can well imagine he was all noble beauty and gorgeous lines. Indeed, ABT came up with a brilliantly beautiful idea, the Tchai-Balanchine celebration program! They should do it again in the Fall at City Center with a new bunch of Mr. B's best ballets.

And I agree with Vipa!! It was a very well sold-out orchestra and first ring today, as it was last Wednesday. I wasn't expecting that, but of course I was happily surprised. I went to part of NYCB's matinee yesterday and there were far more empty seats. Sigh... Tiler Peck was FANTASTIC in Fall of Four Seasons. Just a quick sum of today's at ABT... Irina D. was as fabulous as she was last Wednesday. I just loved watching her again. A. Corella was better today in Tchai pas; he seemed to be more focused on his technique this time which left less energy for overdoing the hamming. Vishneya was a lot of fun, full of brillant energy, but she also left out some of choreography, taking short cuts, and was a bit too wild with her arms. Otherwise, Vishneya was a lovely, Russian ballerina. Her fouettes were especially gorgeous - not because of the number or because of multiple additions but because they had such quality,ease and lines, and they fit so perfectly with the music. The ending of the fouette series was especially beautifu, the way she ended the turns and rotated to upstage to join her partner for the jumps and final fishdives. I agree the orchestra tempi was a bit too fast for Corella's solos. Theme.... was not as spontaneous as it was last Wednesday for Sarah or for Cory. Typical results from young dancers after a day off?!... Sarah did not take as many risks in her solos this time, and neither did he, but, yes, the chemisty, musicality, and regal beauty were there in abundance. They really seem to love dancing with each other.

Ok....so far...week one for me: 1) I've already commented on the Gala in the Gala thread. 2) Then I attended Wednesday's matinee. I loved Daniil's dancing in Allegro Brilliante. He seemed very nervous though with Reyes, and Reyes seemed completely wrong and very careful with Daniil. Reyes danced with too much caution while he danced with so much happiness and elegant, big technique. The partnering was pretty bad.... I felt that the uneven partnering probably kept Reyes from enjoying herself more. The corps was much, much better from Gala night with Simone Messmer and Joseph Phillips standing out (also in Thursday's demis of Theme) with the right style/technique for this ballet. Then came Tchai pas with Jared Matthews and Misty Copeland. It quickly became a pas de quatre with Misty in a small, clingy, pink chiffon dress.........Definitely the wrong part for her except that she is technically so strong. She can dance anything well, but she often doesn't have the right feel or look. Jared, a pretty good partner, looked weak in his solos coming right after Daniil with just a pause between the two ballets. Mozartiana was the longest I've ever sat through....Maria Riccetto was too fragile, dry and light for my taste. Theme.... Well, as Carbro wrote on the "Cornejo" thread.... Herman was injured just before the performance began. Cory Stearns was thrown on with Sarah Lane, and although it was their dress (and only) rehearsal together at the performance, they both did a wonderful job. I've never seen Sarah dance better, and relate to her partner better than she did with the excellent, reliable partnering of Cory. He's no Cornejo in the technique department, but Cory did a pleasantly good job, and gosh is he handsome! Sarah was radiant, warm and so pretty, also calm, full of princessy, feminine grandeur. Her technique (excellent) surprised again and again with balances and sustained turns. She got a little tired by the end.... so did he.... from what must have been a terribly stressful situation. Of course, there were a couple of partnering bumps and imperfections, but it was overall a lovely ending to the matinee. I hope Sarah and Cory will get another chance together this coming Monday, the 25th - even though he is a bit too tall for her. (My computer is playing tricks on me -- one look at ABT's calendar and Sarah is cast to do Theme with Daniil (he's not ready partner-wise) and then at the next look Cory's name is there. We'll see.....). I want Daniil to do all the solos and Cory to do all the partnering!!!! I can dream, can't I??!! 3) I also went to Thursday's performance, mainly to see Irina D. in Allegro Brilliante, and she was fabulous!!! She's in top shape and seemed to really love this ballet. What's not to love!?!!! Irina had the perfect blend of gorgeous lines, abandon in movement, flash, ginch, goo, and attack in all the right places. She was stunningly perfect! Irina's maturity also added a special flavor she hasn't had yet for a role like this. I loved her!!! What a season she is having so far! The orchestra and pianist were brilliante too. Irina gave a rose to the pianist and acknowledged the well-deserved orchestra in her final bow. Maxim was very good, and an excellent partner, but not in the same dancer league as Irina. I'm really noticing the importance of good partners this season.... Without Max, I don't think Irina would have delivered such a fine, risk-taking performance. Tchai pas was over sold, too hammy, too overbaked, and so far away from what I like about the freshness of this pas de deux. Reyes and Corella were the energizer-bunnies for sure, and I loved moments of their attack including the fishdives, but overall it was not for me. I skipped a second viewing of Mozartiana with Riccetto. Theme with Yuriko and Cory.... didn't work, although there were no major mistakes except one or two missed turns and sets of beats and loose footwork on Yuriko's side. But there also was no chemistry. It was a safe run through.... Yuriko seemed so unnatural and uncomfortable in the part. She did most of the steps well, but they lacked any real connection to the music. Cory certainly seems to be the favorite partner of ballerinas for Theme this season! His solos have improved as well from performance to performance since last City Center.

>The discussion should focus on ballet... Well, I'm waiting for someone to start a thread about ABT's first week of perfs.... Anybody here attend Tuesday's perf or yesterday's (Wed's) perfs?

Daniil Simkin.... and partnering.... Let's just say he has a lot of work to do in that department before they'll put him out there in Tchai pas de deux or Theme or any other complex Balanchine ballet.... Daniil's a beautiful, beautiful dancer and perfect for these roles in every other way....

Michelle Obama’s posture was tall-girl, hunched shoulders.... and that bothered me more than her simple, box of a dress. She has a personal trainer??!!

For me, the winner of dresses and beautiful looks was Ivanka Trump!!! (sp? Ivanka...). Miss Trump was as stunningly gorgeous and elegant in her long, strapless, teal gown avec cystal necklace, as I could have imagined. My jaw dropped when I ran into her... She's also as lovely in her friendliness. Sarah Lane learned at the last minute, and performed, Yuriko's place in the huntresses of Sylvia, before dancing the finale of Theme with Daniil Simkin. I thought Daniil and Sarah danced well, in Theme, but it was a bit nervous...considering the circumstances... and somebody's (corps/soloists) tiara fell off onto the middle of the stage. Daniil, whom I love as a dancer, still needs a lot of work as a partner.... Theme for him, partnering Sarah, was rather jerky, too much force, for nearly all of the lifts... That could not have felt good....Sarah's so tiny..... But Daniil is trying.... you could see the effort.... It was not what I was hoping for... Veronkia Part was gorgeous, really gorgeous in the opening section of Mozartiana with her deeply heartfelt approach. And I thought Irina D. danced Corsaire trois very, very well, better than I was expecting after reading the last DC and London reviews.... At last night's gala, Irina was very much back in shape with her gorgeous long lines, port de bras, regal ballerina presence, and excellent turns. But the kids from the Jackie O. school were the surprise / highlight of the show for me! What a fine, well-trained crop of new talent---

I was there last night (Thursday, May 14) too -- mainly to see Tarantella again with the brilliant pairing of Tiler P. and Danny U. She shows us that you can be a girl on stage, with feminine charms and musicality, and still have strong and showy technique. Danny's jumps and turns were in top form, and his top form is beyond amazing in speed, attack and power while still keeping that youthful boyish charm sweet and easy. Together, they were a radiant joy. I've seen a few casts of Tarantella over the years, and this one was by far my favorite. If you get a chance to see these two fine dancers, in Tarentella, together, and I suspect in any other demanding ballet, together, don't miss them. Tiler and Danny received about five curtain calls last night, not common at NYCB. Scotch Symphony was nice. I love the music, and the corps (men and women) danced very well. Jenifer R. gave a warm, womanly performance but she is just too big for B. Millepied, making the many lifts look full of labor on his part. Erica Pereira was sweet and lovely in the second female lead - it's a tough part though it looks easy...with its many jumps of beats instead of big jumps. I thought the corps of Monumentum danced beautifully together. DSCH was excellent with outstanding Garcia, Scheller and Taylor in the leads. I was especially thrilled to see how much Garcia has improved in his dancing as compared to a couple of years ago. He has made huge progress in being cleaner, more precise, and comfortable with difficult choreography. There's also a sensual, easy presence with Garcia that I find very attractive after years of seeing aggressively hard selling from too many dancers. p.s. It was nice meeting you again, Carbro!

Tiler Peck filled in for Megan Fairchild with Daniel Ulbricht. There was no buckslip in the matinee's program, but the change was listed on the lobby's casting sheet and announced by the stage manager, though it was difficult to hear over the talking in the audience. Tiler Peck was a perfect fit for Ulbricht -- both had such high voltage energy and technique.

5/9/09 I attended the last night's performance. Sean Suozzi in 4Ts' male solo of Melancholic was a thrill, and certainly the best performance of the evening. Raw, risk-taking without losing control. He was full of deep passion, feeling for the part, and technically his dancing was huge, expansively clean in execution. When I first saw Sean dance this part, years ago, it was, well, all over the place. Now it's a masterpiece and the audience roared him with well-deserved bravos. Second best of the night, was Ana Sophia Scheller with Jared Angle in Tchai pas de deux. I was very curious to see how she would dance with an excellent partner. And of course, Jared gave Ana Sophia the safe ground to let her really enjoy dancing this wonderful part. Ana Sophia was gorgeous, but still holding back the bit of more personality and/or risk taking that would have made her beautiful technique exciting. Ana Sophia is a creamy-smooth, strong, warm, excellent dancer. I always enjoy watching her dance. Now it's time to fire it up a bit, season this principal part. She's danced the role several times now. Still, on the whole, it was nice to see Ana Sophia dancing with calm joy instead of worry for her partner.... Janie Taylor was hauntingly beautiful in La Valse, and I thought the corps of Concerto Barocco was better than ever.

Per ABT's website, casting/programing is up for opening night: 6:30 PM OPENING NIGHT GALA Mozartiana (Preghiera) V. Part La Sylphide (excerpt) X. Reyes H. Cornejo Tchaikovsky Pas de Deux G. Murphy E. Stiefel Pièce d'Occasion N. Ananiashvili Sylvia (excerpt) M. Wiles Swan Lake (Act II pas de deux) P. Herrera M. Beloserkovsky The Jacqueline Kennedy Onassis School at American Ballet Theatre Students Le Corsaire (pas de trois) I. Dvorovenko D. Hallberg A. Corella Herbie Hancock J. Carreño Romeo and Juliet (pas de deux) D. Vishneva M. Gomes Theme and Variations (Finale) S. Lane D. Simkin

>sz, my curiosity being on how did that got ever to be named >Rumba, not having that much resemblance with the real thing... On the TV show, the music was a Rhumba, and the flavor of the dance was a Rhumba, but very little of the steps, choreography, of the Rhumba style was ever present. Sexy, slow in feel, but there was none of motion/choreography usually associated with this dance. It's a favorite of mine! Takes months to learn -- just how to walk in a Rhumba!!! The TV show just doesn't have the time to teach a dance style that well, so you're just getting a little taste of the more difficult ones.