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Royal Blue

Senior Member
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About Royal Blue

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    Senior Member

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY

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  1. Regardless of what Jerome Robbins' precise intentions may have been when creating Afternoon of a Faun, and notwithstanding its brevity, the performance by NYCB on the 100th anniversary of the choreographer's birth revealed a work not just of great beauty but also of considerable depth and meaning. Coming simultaneously on an anniversary of the company's own and at a challenging juncture, it was a luminous, beneficial success. And certainly it was heartwarming as well as thrilling to observe recently how the haunting performances by Sterling Hyltin and Joseph Gordon retained their power when vi
  2. The ending of Swan Lake represents an eminent composer's attempt to express through music not only a climactic conflict between good and evil, but also the intricate yet inescapable relationship between love and death. Without a doubt, it is one of the most dramatic and powerful moments in classical music—one whose capacity to move deeply never pales even after countless hearings at the theater or in recordings. In New York City Ballet's controversial production this extraordinary moment—and the buildup to it: the rest of the second lakeside scene—is realized magnificently! The three most rece
  3. A year ago I attended no less than ten NYCB Nutcracker performances, more than any previous season. One especially satisfying and beautifully performed section was "Marzipan," with Sarah Villwock as a shepherdess in eight of them—three as the lead. Two of her assignments during the fall were particularly notable. First, it was a lovely gesture to cast her as one of the demi-soloists in the supernal second movement of Symphony in C, including at the final performance of the season. Additionally, in a work which includes a segment titled "To Live in the Hearts We Leave Behind," Villwock's p
  4. All four retiring dancers—Michelle Fleet, Parisa Khobdeh, Sean Mahoney and Jamie Rae Walker—have had unforgettable moments during the Paul Taylor Dance Company's 2019 Lincoln Center Season. So I am glad they chose to remain a while longer, and wish the same had occurred with Michael Trusnovec and Laura Halzack. Not complaining though, but instead am grateful to have seen the company during the last years of Taylor's life. As well as to have been in attendance at what was at the time, and even more so in retrospect, a deeply moving performance (Musical Offering; Runes; Mercuric Tidings) on Marc
  5. Shorter ballerinas, of course, can appear regal and/or take on serious roles. Up until this ABT run, I had only seen Theme and Variations with the three NYCB women mentioned. It is undoubtedly exciting to watch a tall ballerina like Devon Teuscher perform the part.
  6. When preparing to watch Theme and Variations with ABT, I hardly expected the company to equal let alone surpass the magnificence of NYCB's performance with Tiler Peck and Joaquín De Luz last fall. Although no match for NYCB's production, ABT's possesses its own loveliness, and is worth seeing. Moreover, even slower speeds adopted by ABT cannot deprive this ballet of all its beauty. Certainly Sarah Lane's performance would have been more effective with stronger partnering; however, I enjoyed it nonetheless. Far from being reluctant to see Theme and Variations with ABT again, I await with eagern
  7. Devon Teuscher's splendid debut in Theme and Variations was, indeed, far and away the most exciting thing about ABT's 2019 fall gala.
  8. On October 11, 2018 NYCB performed in its program: Afternoon of a Faun; Other Dances; Moves; and Something to Dance About. There were two other events of interest that evening, and no compelling necessity to view three of the ballets scheduled. However, the two gorgeous performances of Afternoon of a Faun with Sterling Hyltin during the previous spring's Jerome Robbins Centennial Celebration struck a chord deep enough to induce me to immediately snatch a ticket as soon as a convenient seat became available in the auditorium. The superb performance of the ballet that evening—with an excellent J
  9. A weekend that began with irritation at the failure of the MTA to get me to Lincoln Center in time for Saturday afternoon's performance of Dances at a Gathering ended with reflections of gratitude that mass transit makes it possible to attend wonderful live art events like the NYCB Sunday matinee in the first place. Again Maria Kowroski came to the rescue following the intermission Saturday with her sublime dancing in Everywhere We Go. This time, however, it thankfully came within the context of stronger overall work from everyone else, culminating in the superb execution of the moving ch
  10. Even though I do not feel as keenly about Union Jack as you do, cobweb, I admire your enthusiasm. For those who love the art form and have seen many performances, it is interesting to reflect about which ballets and which moments in a particular ballet mean to us the most. * All ten members of the cast at each performance of Dances at a Gathering must be chosen with great care, as it seems to me has been done in this run of the ballet. (I like what little I have
  11. Not only do spectacular scenes with a crowded stage in opera and ballet reflect inescapable realities of mass society and civilization, they also—ironically—contribute substantively (through contrast) to our understanding and appreciation of—human intimacy! Depending on their placement and function in a work, the accompanying music, and their handling in a given production, such scenes can be anything but tedious or pointless. One need not be enamored of militarism or nationalism, or hunger for military parades in order to deem the entire first section of Balanchine's Union Jack—along with the
  12. Although the choreography in Program D of the Ballet Festival on Friday night was of variable quality, there was much of musical interest during the evening, a greater consistency of tone than in the previous program, and all four dancers—Sarah Lamb, Edward Watson, Robbie Fairchild and Maria Kowroski—excelled in their roles. The three-part Cristaux presented after the intermission was particularly engaging, and offered Lamb the opportunity to cap her enchanting work during the past two weeks with a dazzling performance.
  13. What a haunting, powerful performance of Maurice Béjart's somber Song of a Wayfarer by David Hallberg and Joseph Gordon Tuesday night at The Joyce Theater! Marking another milestone in Gordon's blossoming career, it was exceptionally intense and poignant. At its conclusion, the audience applauded warmly, but not in any unusual or excessive way. However, after the curtain came down for good, the applause remarkably would not cease for a considerable period. Although the two dancers did not take another bow, they came out on stage a little while later—In their regular clothes—at the end of the p
  14. Deeply grateful, above all, that the pas de deux from Concerto with Lauren Cuthbertson in the female role was brought across the pond. Moreover, I loved greatly Five Brahms Waltzes in the Manner of Isadora Duncan with Romany Pajdak, and Dance of the Blessed Spirits as performed by Joseph Sissens. In consummate alignment with the marvelous music and choreography, the set design, costumes, lighting, and color scheme enchanted in all three works. The outstanding performances of the four dancers I did not mention by name previously—by the order in which they appeared, Calvin Richardson, Sarah
  15. Watching the pas de deux from Kenneth MacMillan's Concerto performed by Lauren Cuthbertson and Nicol Edmonds as the third piece in "Program A: An Evening of Solos and Duets" further validates my unshakable belief in the importance of seeing ballet live. Showcasing incredibly gorgeous lines, Cuthbertson looks stunning in person wearing the orange tunic costume, and dances magnificently. Having become familiar with Shostakovich’s Piano Concerto No. 2 in F major by attending numerous performances by NYCB of Ratmansky’s Concerto DSCH, I consider the Andante—performed solo here by one of the Royal
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