Royal Blue

Last evening’s performance by NYCB of Symphony in C was not flawless; however, the company still made this great work appear—from my vantage point in the center of the balcony—vibrant and glorious.

A lovely yet subdued performance by Viktoria Tereshkina in Tschaikovsky Pas de Deux accompanied a thrilling one by Kimin Kim. The clarity, precision and beauty of movement by Kim impressed, and indicated an abiding commitment to excellence.

Superbly matched by contrast, Anna Rose O'Sullivan and Marcelino Sambé offered the audience a rendition of Tarantella which filled the theater with life and joy.

Just over half an hour long, Serenade is one of the most beautiful and moving of all ballets—whether abstract or narrative. Although Miami City Ballet's performance was not without flaws either, I would unhesitatingly grab any opportunity to watch Serenade with this company and same cast again.

There is no denying the significance of style in ballet, even if a viewer who has not studied the art form in depth overlooks such essential details as the precise positioning of the hands and arms, the placement of the feet, the direction the body is leaning or the head is facing, and the speed or elevation required during a choreographic sequence. Without doubt, it is splendid and appropriate, therefore, that NYCB has a school of its own where students learn the Balanchine style from a young age, and from which the company primarily recruits its dancers. There are, nevertheless, issues regarding the element of style. Evidently, people who worked closely with Balanchine have disagreements about it. This is why individuals who attended earlier NYCB performances occasionally have remarked on renditions by other companies purportedly more faithfully capturing the illustrious choreographer's intentions. One wonders, moreover, about the impact of the passage of time on this style as various persons instructed by Balanchine no longer are around to pass their knowledge directly to new generations of dancers. Furthermore, all the coaching provided aside, as artists shouldn’t the topmost dancers eventually determine how to interpret a critical role? And isn’t great choreography ultimately about more than style?

Despite specializing in works from divergent traditions, it seems unreasonable for other major companies not to be performing any Balanchine—which is partly what makes the six City Center programs starting tonight fascinating. It would be unwise, however, to draw precipitate, sweeping inferences from a sampling of performances.

The cast for this evening's performance of Symphony in C by NYCB is superlative. It will be riveting to observe the company perform a magnificent ballet included in the opening program in 1948, and in the venue which served as its original theater.

16 minutes ago, abatt said:

Is she related to corps member Olivia MacKinnon?

They are sisters, I believe.

Cast changes and a reshuffling of roles marked the respective performances Tuesday in three out of the four works seen on last Friday's program (the exception was the poignant This Bitter Earth with Teresa Reichlen and Ask la Cour). Yet the result was the same: a marvelous evening! To be sure, it is fascinating to compare and contrast the niceties of how dancers with distinct physical characteristics and/or varying levels of experience and accomplishment—e.g. Sara Mearns and Miriam Miller, or Tiler Peck and Unity Phelan in Pulcinella Variations; Mearns and Sterling Hyltin, or Ashley Bouder and Brittany Pollack in Concerto DSCH; Phelan and Emilie Gerrity, or Indiana Woodward and Kristen Segin in Fearful Symmetries (and so forth)—manage a particular role. What finally matters, however, is how gratifying it was to watch all three ballets on both evenings.

How wonderful it is for Brittany Pollack to be back, and to have viewed her dancing Tuesday in two pieces—especially the sturdier Concerto DSCH! Although she lacked the strength and power displayed by Bouder in Ratmansky's work, her aura of femininity and beauty of movement offered invaluable recompense.

Six members of the corps—Meaghan Dutton-O’Hara, Mary Elizabeth Sell, Lydia Wellington, Devin Alberda, Daniel Applebaum and Andrew Scordato—deserve special mention for their contributions to that haunting middle section of Concerto DSCH. Kudos likewise to Tyler Angle and his attentive partnering on different nights of Mearns and Hyltin. On both Friday and Tuesday I craved for those pivotal moments midway in the ballet to continue. Its brevity, however, makes that segment even more forceful and compelling!

Although she remains one of my favorite female corps members, Kristen Segin's persistent smiling throughout Fearful Symmetries made her appear a lightweight next to Woodward in the same role. (Incidentally, earlier on Friday, Woodward had also danced beautifully a strikingly different, lighthearted part in Pulcinella Variations.) However, the effect of Segin’s performance was counterbalanced Tuesday by an incisive one by Emilie Gerrity, who had debuted in her role a few days earlier. Lastly, I would be remiss not to mention how in this ballet Mary Thomas MacKinnon, a new member of the female corps, showed tremendous stage presence.

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In addition to those who danced the main parts, eight other dancers were instrumental in showcasing the splendor of Allegro Brillante this fall. One of them was Meagan Mann—one of the most elegant, graceful, and recognizable members of the female corps in recent years. Therefore, it was surprising to learn that Mann retired after the season’s last performance of Allegro Brillante.

Friday evening’s NYCB performance—Pulcinella Variations; This Bitter Earth; Concerto DSCH; Fearful Symmetries—was highly rewarding.

As I view Pulcinella Variations more and become used to its fanciful costumes, I find myself increasingly attracted to its music and choreography: it is a congenial, effervescent work. Observing how lovely Miriam Miller appears and dances in this is delightful. And although Tiler Peck’s superlative rendition of the role she originated may be par for the course for her it inspires—typically—wonder. (Due to unusual circumstances, I watched the lion's share of another electrifying performance of Allegro Brillante on Wednesday evening with her in the lead from a fascinating perspective.)

Ever since the work’s NYCB premiere six years ago, the music of This Bitter Earth has moved me profoundly. Taking everything recently occurring into account—including the weighty remarks she delivered at the Fall Gala (I was unfortunately not in attendance)—I, therefore, considered the casting of Teresa Reichlen in this pas de deux to have been an astute decision—any attendant partnering difficulties involving her size notwithstanding. Some comments made lately by Lauren Lovette, furthermore, would have added a piquant element to her debut in Wheeldon's solemn pas de deux also, so I regret having missed it.

With as splendid a cast as Friday night’s—Ashley Bouder, Sara Mearns, Tyler Angle, Joaquin De Luz and Gonzalo Garcia—Alexei Ratmansky’s Concerto DSCH with its unforgettable central section could hardly fail to awe. (What a powerhouse is Bouder shown to be in this ballet with her extraordinarily assured balances, remarkable spins, and breathtaking series of grand jetés!)

One reliable way to assess the worth of a particular performance by a dancer or a ballet is by the impact each makes when following anything superb earlier in a program. Friday evening’s Fearful Symmetries was enthralling and featured a spectacular debut by Indiana Woodward, who commanded the stage in a role that ironically receives third billing as if she were one of the company’s preeminent principals.

Viewing Fearful Symmetries again on Friday evening reminded me of some supplementary remarks I intended to make here.

First, to complete the thought from an earlier post ...

In the all-Wheeldon Program No. 1 of the Here/Now Festival, Mercurial Manoeuvres was the finest work presented; American Rhapsody, the flimsiest.

Although Mercurial Manoeuvres, just as the first Shostakovich Piano Concerto, is lovely throughout its high point is the slow second segment. (Both Wheeldon's ballet and Ratmansky's Concerto DSCH are similar in this way.) The female lead in this piece is another striking role for Tiler Peck, whose wondrous performance in the adagio section is a signal example belying any perception of her as simply a superlative allegro dancer.

During a recent "See the Music ..." presentation Andrew Litton made some intriguing remarks regarding the mutual respect Ravel and Gershwin had for each other's work, and the influence jazz exercised on the French composer. Although Rhapsody in Blue is a celebrated, memorable musical composition, it does not bear comparison with any of the gorgeous piano concertos by Ravel and Shostakovich. For all its surface dazzle and prettiness, American Rhapsody is merely a Broadway-themed piece whose score and choreography would be more suitable for a musical. During the Festival more than a year ago it was performed capably with Lauren Lovette and Russell Janzen in the leading roles, and was heartily applauded by the audience.

And a few comments about Program No. 10 …

For those annoyed by the programming during the 2017 Spring Season, this one—comprised of Jeux, The Shimmering Asphalt, Unframed, and Fearful Symmetries—would be in contention as representing its lowest point.

Partly due to the elusive nature of Debussy’s music, as well as the duskiness and opacity of the ballet, Jeux has been one of the toughest new works to enjoy out of those that have premiered recently. Its single saving grace has been Sara Mearns’ intense performance in the lead. Since my seat offered an advantageous perspective, and since I became notably receptive to the music on this occasion, Jeux proved pleasantly surprising. The essence of the "games" being played onstage by the characters skillfully portrayed by Mearns, Jared Angle, Justin Peck and a distinguished-looking Sterling Hyltin strongly aroused my curiosity.

Of the three recent pieces on the program, The Shimmering Asphalt—with sufficiently attractive music by David Lang and choreography by Pontus Lidberg—appeared to be the most traditional. As was the case with the surrounding works, the casting was irreproachable—Mearns, Hyltin, and Tiler Peck each appeared in two ballets—and provided one of the last opportunities to see Rebecca Krohn before her retirement.

Stylistically more adventurous and set to classical music from widely different time periods, Annabelle Lopez Ochoa’s Unframed counts among its tantalizing aspects the interruption of a pas de deux by a pas de trois, and instances involving costume changes.

Finally, the dynamic and generally upbeat quality characterizing its music and choreography makes Fearful Symmetries an engaging, irresistible work.

Having arrived at the theater five minutes late, I missed the performance of Allegro Brillante last evening; however, the rest of the program was fantastic! (On Sunday afternoon with a sparkling Sara Mearns in the lead Allegro Brillante seemed a dazzling brand new work, even though it has received its share of electrifying performances recently.)

To be sure, Easy is not a major piece, yet it is brief, unobjectionable, and colorful. Provided a performer who grabs my attention as readily as Unity Phelan is included in the cast, it is not onerous to watch.

My familiarity with the musicals of Richard Rodgers is nowhere near it should be based on an affinity for the music of his I have heard in various contexts. At the top of beckoning American Musicals is Carousel. On account of this simultaneous unfamiliarity and attraction, I find Wheeldon’s ballet extremely appealing—especially with a ballerina of Tiler Peck's stature as the female lead! The fact that Tyler Angle, one of the most dependable of NYCB's male principals, may be miscast is immaterial under these circumstances.

On the whole, NYCB's production of La Sylphide is enchanting, as is the music by the obscure composer. Some mannerisms of Marika Anderson's Madge are excessive; Daniel Ulbricht was efficient as Gurn, and Joaquin De Luz haughty yet touching as James; regardless of the discrepancy in height compared to both men, Lauren King was a memorable Effie. Still, given the critical nature of the role, the evening unsurprisingly belonged to Sterling Hyltin and her potent, captivating portrayal of The Sylph. The comeliness and lightheartedness in her physiognomy and movements throughout the ballet made her change in demeanor and acting at the denouement almost unbearably moving. One wonders how and why sadness can be so beautiful!

Tuesday evening at NYCB, in sum, was terrific—an evening which made the regrettable necessity of missing the magnificent Dances of Isadora at New York City Center tolerable.

Actually, the disquieting issues NYCB—not to mention society at large—has been confronting during this past year should rather sensitize us to the beauty and power and value of the company's repertoire and performances. Notwithstanding any issues regarding casting choices or errors in execution that occurred during any particular performance, the six presentations of Jewels at the start of NYCB's fall season were inspiring and heartwarming.

It will be interesting to see Diamonds performed by itself in a repertory program later during the 2018-19 Season. With a charming, nostalgic first section, one of the great pas de deux in ballet and its spectacular celebratory conclusion Diamonds is on its own one of Balanchine's greatest works. However, in this run of Jewels, I particularly marveled at the prodigious scintillation of its third section, and the spellbinding fashion the steps combine with Tchaikovsky's glowing music. Four women from the corps—Laine Habony, Olivia MacKinnon, Mary Elizabeth Sell and Lydia Wellington—were delightful here; the solos by Joseph Gordon especially dazzled; the swiftness, flexibility, and stamina of Sara Mearns, as well as her exceptional musicality are ideal for the segment.

In Rubies, I immensely enjoyed the Patricia McBride role: Ashley Bouder, Sterling Hyltin and Lauren Lovette each danced it with admirable skill and radiated copious energy and joyfulness.

Of the three worlds conjured by Balanchine in Jewels, the most exquisitely beautiful is that in the verdant Emeralds. The Saturday matinee performance of it with the second cast, which included Tiler Peck and Unity Phelan, was sublime and seemed way too short. A magical musical touch characterizes the ending of Fauré’s moving “Epithalame”, the music which accompanies the pas de deux with the Violette Verdy role—a pas de deux whose quality and beauty formerly I seriously underestimated.

What an exceptionally dignified, solemn role that originally danced by Mimi Paul in Emeralds is! This is the part in Jewels—especially in the ethereal choreography for her solo and the “walking pas de deux” (accompanied respectively by Fauré’s haunting “Sicilienne” and “Nocturne”)—that powerfully evokes intimations of another world, and thereby constitutes a coveted antidote to all the extraneous, incessant noise in this one. Wednesday evening's debut by Unity Phelan in this role was ineffably thrilling. This was the debut of the week I was most looking forward to and her performance, situated between two sublime renditions of the same part by a transcendent Ashley Laracey on Tuesday and Thursday evening, exceeded even my trustful expectations. It would be a salutary, gratifying experience for mere mortals to witness this at whatever occasion in this troubling world; however, in light of the chaos swirling around NYCB presently the sublimity and spirituality of the beauteous dancing with downcast eyes by both women could not have been timelier.

A unique and special ballerina at her peak, Tiler Peck performed the Violette Verdy role on Wednesday evening as touchingly as one can. So, even though—as reflected in the comments above—Rubies and Diamonds were graced by several excellent individual performances and were thoroughly enjoyable also, it was the Emeralds segment of Jewels on Wednesday that sparkled the brightest.

5 hours ago, Helene said:

That "cacophony of sound" includes people upon whose future NYCB depends, ie, ticket goers, subscribers, and donors, all of whom have other options, and all of whom are entitled to their own values hierarchies.

No doubt!

5 hours ago, Helene said:

One person's "rising above" is another person's "sweeping it under the rug."

That may be so; however, nothing in any of my posts—including those relating to Prodigal Son in the original “2017 Winter Season” thread that was lost—suggests that I am the type of individual who favors sweeping anything under the rug.

5 hours ago, Helene said:

It is possible to go to a performance and appreciate all it is worth and simultaneously be cognizant that there are great troubles in the NYCB organization.

That is what I suggested in my post, although I am not privy to any information beyond what I observe on the stage. I am as appalled by the most disturbing allegations in the complaint that was filed as any reasonable person would be.

5 hours ago, Helene said:

 

It's not a comfortable place for humans to be, but it's our choice.

Our choice and—as you rightly point out—our hierarchy of values.

Recent developments have unleashed a cacophony of sound emanating from all sorts of people, among others those who belittle the arts, those who are unappreciative of the art form of ballet, those who dislike Balanchine's choreography, and those who feel NYCB lost its way under Martins' stewardship. It is fortunate and apt that the season begins with the magnificent Jewels and a few other masterpieces, and that the orchestra will soon start playing the restorative music of Fauré, Stravinsky, Tchaikovsky, Bizet and Bach. All those on stage and in the audience who understand or sense the importance of art in our society will rise above this unsettling time for NYCB.

Would it have been preferable for the Sarasota Ballet to have brought here one other ballet from their repertory instead of offering There Where She Loved a whopping seven times? Absolutely. That is not, however, the case with Monotones: its inclusion in every performance is what made this visit to New York City glorious and unforgettable! The importance of music in ballet can hardly be exaggerated. Ashton’s marvelous choreography (particularly in part II) makes Satie’s sublime music—transcribed for the orchestra or played on the piano—appear a score that had been specially commissioned. Whenever such beautiful sound and movement are wedded as harmoniously magic for the spectator typically ensues at the ballet. Of relatively brief duration, Monotones seems like a work that will always leave whoever truly appreciates it hankering for repeat viewings. Since it was the final performance of the run, I actually found the delightful Divertissements a tad anticlimactic after Monotones II on Sunday afternoon.

Except for the lovely Ryoko Sadoshima who was experiencing some difficulties, the rest of the Sarasota Ballet's dancers acquitted themselves handsomely during the week. With splendid performances in four key roles, Victoria Hulland distinguished herself and was particularly impressive.

As I surmised Kate Honea proved awesome in La Chatte; my enjoyment of the final Pas de Deux from The Two Pigeons exceeded the high expectations that had been created by Marcelo Gomes' legion of fans; in a week filled with wonderful performances that of Saturday evening's Monotones II was the most heartbreakingly beautiful.

Undoubtedly: Time is the mother of all tsunamis! All we come in contact with—even if looming large in our memory—in due course recedes further and further ... into the background. This idea is conveyed powerfully in Symphony of Sorrows with the entrances and exits by the dancers occurring via the "dark void" upstage. The ballet’s ending is a continuation of the way it begins, its final image being—paradoxically—hauntingly beautiful….

One performance I found particularly affecting in Ricardo Graziano's work was that of Ellen Overstreet. The capacity of this dancer to transform the tortuous movement in the choreography into something appearing entirely natural is wonderful to behold.

Another notable performance materialized in There Where She Loved. There is a fascinating parallelism between the first movement in Wheeldon's work, set to Chopin's Zyczenie (The Wish), and its fourth, set to Weill's Nannas Lied (Nanna's Song). The choreography for both is for the same dancers, a woman and four men. In this role Christine Windsor is outstanding!

From the time I attended a performance of Monotones by ABT approximately three years ago, I have deemed this ballet—partly on account of Satie’s haunting music—a stupendous work. Therefore, the Sarasota Ballet’s presentations this week of Monotones at the Joyce Theater have been—despite the inordinate wobbling in part I by Ryoko Sadoshima on Wednesday and inapt smiling by Kate Honea last night—manna from heaven for ballet lovers in New York during these hot, lazy days of summer. As proven by their respective performances on successive evenings in the other works of the first program also—Symphony of Sorrows and There Where She Loved—Sadoshima and Honea are not only excellent dancers but gorgeous women to boot. In particular, alongside her artistry, the exquisite shapeliness of Honea (who joined the company in 2001) leads me to suspect that La Chatte will be among the highlights of this weekend's programming.

Even though Monotones I is marvelous, the commonly held belief as to the superiority of Monotones II is correct. (Concurrently, Satie's Gnossiennes are moving; his Gymnopedies, even more so.) The height and extensive limbs of Amy Wood can create an appearance of unwieldiness during some maneuvering required by the choreography in Monotones II. However, by the same token this expansiveness makes various arabesques, turns, lifts breathtaking. In the same pivotal role, the captivating Victoria Hulland displays becoming majesty and requisite elegance.

As gloomy and brooding a work as the music it is set to, Graziano's Symphony of Sorrows includes some tortuous choreography and may be unappetizing to many people. By contrast, Wheeldon’s There Where She Loved—with attractive music played live (alternating songs by Chopin and Weill)—is markedly brighter and encompasses a greater emotional range. The Sarasota Ballet's depth of talent was confirmed on Thursday evening when second casts, including two young women who joined the company in 2016, gave superb performances of both pieces. A searing, profound effort by Hulland in a somber pas de deux ended the evening, and makes me eager to view the upcoming segment from The Two Pigeons. In addition, however, to La Chatte the casting for the Pas de Trois from Les Patineurs and Méditation from Thaïs looks extraordinarily promising.

This was the fourth program of the 2018 Ballet Festival at the Joyce Theater.

An unassuming new work (a solo) by Lauren Lovette, Red Spotted Purple served its purpose as an introduction to the evening pleasingly. The audience is made aware that the setup includes having musicians—members of the New York Jazzharmonic—situated in the background, and is acquainted with the efficacious way lighting and vibrant color will be utilized in the upcoming pieces. Wearing a brightly-colored dress, Ashley Bouder enters confidently from stage left and proceeds to dance with customary poise. However, a change of tone effectively mirrored in the music shortly occurs in the work, which results in her expressing through dance—also symbolized finally through letting her hair down—powerful feelings of unease and uncertainty. In a way, Red Spotted Purple functions suitably as a metaphor for the emotional trajectory the artistic director may have experienced from initial assurance about her "project" to any misgivings she possibly harbors about its prospects and how it will be received by the public. 

Additionally, I personally consider the opportunity to view in such an intimate setting as that provided by this theater one of the finest ballerinas of our day in virtually any work anything but trite and commonplace. 

There is, indeed, nothing to indicate that the next piece, Duet by Liz Gerring, was not originally choreographed for a couple of men. This work, in which the two dancers mostly looked like they were exercising, lacked the sparkle and brightness, as well as the musical interest found in the rest of the program. However, Taylor Stanley is one of the most beautifully proportioned and poetic of all male dancers in ballet, and a pleasure to watch in everything. Since Damien Johnson looks fantastic and is an intense performer also, there was a wonderful parallelism in the motions of the two. Having admitted as much, I would prefer of course to have seen Bouder together with Sara Mearns perform this.

What marvelous surprises the two premieres which followed (one before, one after the intermission) turned out to be! Not only was the choreography by Abdul Latif for Alas~ attractive and exciting, and presented all six dancers in a glowing light, but the music—which included a part for a violin soloist and enchanting “vocalizations” (by the choreographer!), and is credited to Henry Purcell, Vivaldi, Max Richter, Ron Wasserman (Director of the New York Jazzharmonic) and Latif himself—was superb throughout. For someone barely out of ballet school, Roman Mejia possesses incredible aplomb and giving notice that he is aiming to make his mark in the ballet world. Although she too is young and hardly dances flawlessly, India Bradley is lovely and has style and wonderful lines. In contrast, Olivia MacKinnon's dancing was impeccable, and in the pas de deux utterly thrilling! Without a doubt, MacKinnon is somebody who by virtue of her own loveliness, her talent and her diligence henceforth deserves serious consideration for soloist opportunities at NYCB.

Watching in this theater Symbiotic Twin, a new pas de deux with haunting choreography by Annabelle Lopez-Ochoa and music by Kate Moore, magnificently performed by the strikingly attired Bouder and Stanley, was a deeply moving experience. Therefore, it hardly mattered that after the two preceding works Bouder's In Pursuit of... was, notwithstanding its colorfulness and briskness, less appealing to me. (As explained in an article cited in one of the NYCB threads the movements of the work "referenced styles of international dance.") At least with the splendid MacKinnon in the cast I had no trouble watching it.

For a program in which none of the splendid female principals that chiefly make NYCB performances rewarding to attend participated, Sunday afternoon’s spring season finale—Concerto Barocco; Agon; The Four Temperaments—proved eminently engaging. No matter how magnificent the ballets on a program may be, having appealing dancers enact the most significant roles is essential of course to imbuing these works with life. Happily, although no one generally should be promoted to principal (or soloist) status at the drop of a hat, NYCB currently has such dancers in its lower ranks.

First of all, Savannah Lowery and Cameron Dieck, each appearing in two ballets during the afternoon, were both in excellent form for their farewell performances. And Likolani Brown for one last time graced a ballet—fittingly the divine Concerto Barocco—with her lovely presence in the corps.

During certain rare moments in life suddenly time appears suspended, and an instant (through some ostensible supernatural alchemy) paradoxically acquires the aspect of—infinity! A reminder of this phenomenon occurred Sunday in the course of the pas de deux in Agon, when the male dancer drops to the floor on his back while grasping the hand of and supporting the ballerina on pointe in a 180 degree extension. This sequence was pulled off distinctively by Tyler Angle and Miriam Miller, who appeared utterly at ease and held her unswerving position for what seemed like an eternity! No doubt Angle's steadying influence aided the comparatively inexperienced Miller's overall solid performance Sunday in Agon.

A memorable debut by Sebastian Villarini-Velez in "Melancholic" and a superb turn by Emilie Gerrity in "Sanguinic" anchored a wonderful rendition of The Four Temperaments. All the corps women (and apprentices) in the Variations, through their laudable efforts, drew attention to Balanchine's stupendous choreography. Two that appeared early in the First Variation throughout this year’s run of the ballet—Meagan Mann and Olivia MacKinnon—are standouts.

To be sure, I wanted to witness Mimi Staker's debut as the second woman in "Theme," a role she performed impressively. However, what sealed the deal for me buying a ticket for Sunday’s season finale was the casting in Agon and The Four Temperaments—debuting as the third woman in "Theme" in the latter—of Unity Phelan, who was dazzling in both.

Yet what truly made the final NYCB performance of the season unmissable was the debut of Ashley Laracey as the main ballerina in Concerto Barocco ... an estimable artist performing a magnificent part in one of the greatest of all ballets. The gracefulness which is intrinsically an essential attribute of every admirable ballerina appears in Laracey—partly on account of the exquisite shapeliness and proportionality of her limbs, partly as a result of her experience, her skillfulness, her artistry, and partly (perhaps) since she is not observed in roles with splashier choreography—in concentrated and primordial form. And Concerto Barocco provided her with plenty of scope Sunday to showcase her strong suit. Not surprisingly, therefore, her time on stage in this pivotal role resulted in a continuous flow of wondrous, ethereal movement that was enthralling. In consequence of the height of Silas Farley, who in his debut was an outstanding partner, spectacular lifts materialized during the gorgeous second section of the ballet. All three performances of Concerto Barocco this season with Laracey in the primary and secondary ballerina roles were, in sum, among the most treasurable in what was another fantastic NYCB season.

On 3/8/2018 at 5:18 PM, Helene said:

Back to the Princes, I remember when the young Lucien Postlewaite was one of the three "other" princes, not the main partner guy.  He has this way of changing his face very visibly to be "on" and to pour out the charm.  He did this as he presented himself to Aurora in one of his presentation bows, but when he turned around to walk back to his spot, and he passed the next Prince in line, he shot him a look that said, "It's in the bag."  And if Carabosse hadn't come alone to spoil the party, it may have been.

Usually we do not differentiate between the Four Suitors, and inevitably so. In the final analysis, whether they are portrayed as perfectly respectable young men, or as vain fops and braggarts the point is that none of them is right for Aurora. No matter how confusing it may be, there is no escaping the realization that Carabosse prevents the marriage of Princess Aurora to the wrong individual!

Effectively, Désiré and Aurora meet through the intervention of both the Lilac Fairy and Carabosse! Having the same ballerina play both characters during a run of The Sleeping Beauty, as happened with Sara Mearns in the winter of 2017, is a master stroke. Similarly, it is fascinating for a ballerina who formerly portrayed the Lilac Fairy to enact later in her career the role of Carabosse.

On 3/5/2018 at 10:44 PM, NAOTMAA said:

In the reconstruction videos I've seen it doesn't really look like "love at first sight." That seems to have come in later versons

 

It looks more like a royal marriage arranged by the wise and good Lilac fairy and sanctioned by the King and Queen. Prince Désiré may be in love but Aurora doesn't seem to have any say. Her marriage has been decided for her and she accepts it without question. That was after all the duty any proper royal princess during that era. It was a match made by the heavens, not love.

 

Love is a match made by the heavens. All great lovers are brought together by forces way beyond human understanding and awareness. 

What makes The Sleeping Beauty such a beautiful, powerful, timeless tale is the stirring insinuation that Aurora can only be awakened by the right person—someone who matches her qualities with those of his own … someone who truly loves her and whom she can love back. Without genuine, abiding and mutual love there is no awakening! 

All the "love at first sight" productions of The Sleeping Beauty remain true to the spirit and essence of the story.

On 3/6/2018 at 1:02 AM, sandik said:

I've always felt that both the Prince and Aurora were following the dictates of their communities ...

Obviously, the story can be interpreted differently. I view it as being—deep down—about profound love, not about following the "dictates" of other people.

On 3/13/2018 at 9:23 AM, JMcN said:

What are thoughts on Lilac as a tutu role or character role?

SPW's version for BRB has Lilac as a character role and for me that works best.  Her dress is almost a mirror image of Carabosse's and they seem much more equally matched.  

 

 

 

 

 

On 3/13/2018 at 1:09 PM, sandik said:

My problem is that I'd like to see it both ways!  The original was certainly much closer to this example from the BRB  [...] as I understand it, Lilac wore an ankle-length gown and heeled shoes, and carried a wand that was about the same size as a walking staff.  This obviously would affect what she was able to do. 

And your observation that she's a visual counterpoint to Carabosse in this costume is very astute.  There are moments in the choreography where that twinned aspect are pointed up, and this costume would certainly reinforce that.

But there are some wonderfully dancey sequences in the score, especially in her variation, and I would be so sad to lose those moments as well.

This is, indeed, an astute observation. Either way, the Lilac Fairy is a wonderful role. However, since this is a ballet I prefer it as a tutu one.

In the midst of the “All Balanchine” and “All Robbins” programs of the Spring 2018 season, that devoted to “21st Century Choreographers”—including two ballets (Pictures at an Exhibition and Year of the Rabbit) appearing in the Here/Now Festival a year ago—still offered considerable value and thrills. Fortunately, none of the absurd amplification problems which marred the first presentation of this program were an issue in the next two, which took place exactly three weeks apart and featured some significant cast changes. 

Whether in its original piano version or the famous orchestral one by Ravel, Mussorgsky’s Pictures at an Exhibition is one of the most popular and magnificent classical music compositions of the nineteenth century. Last Tuesday the sound pouring forth from the piano lacked the brassiness I sometimes need to block out during performances of Ratmansky's ballet, and the resulting clarity, beauty and power of the notes overwhelmed me. To be sure, in her debut Indiana Woodward failed to match the sparkle in the same role shown by Tiler Peck. Nevertheless, the younger ballerina is an admirable and exciting performer herself. Besides, the parts for Sara Mearns and Sterling Hyltin, both of whom reenacted their roles with enthusiasm, are frankly a bit more substantial. (I am extremely fond of "The Gnome", "The Old Castle", and the tremendous "Bydlo" segments.) Finally, the proximity of the performances of Dances at a Gathering allowed for a closer comparison between the two ballets. Whatever the similarities, repeat viewings of Pictures at an Exhibition have only led to a greater appreciation on my part of its originality and worth. 

Just as there is only one Tiler Peck, there is only one Teresa Reichlen. Consequently, Reichlen's absence from Year of the Rabbit might have proven a greater obstacle to the full enjoyment of that ballet as a result of the central nature of her role. Apart from the need to tailor her penchant to smile to the needs of the music, Isabella LaFreniere made a praiseworthy debut in this vital role: her comparable height and length of limbs made possible the display of exceptional lines, and her turns were flawless. Even more effective and moving was the debut of Sara Adams in the part earlier danced beautifully by Woodward. Although her performances in a pas de deux in Neverwhere during the winter strongly indicated the earnestness with which Adams approaches her work, she remained for me up to a week ago the most inconspicuous of all the female soloists on the roster. That permanently changed with the eloquent rendition of her part in the sublime "Year of our Lord" segment of Year of the Rabbit, which was firmly abetted by the commensurately eloquent rendition of Sufjan Stevens' music by the orchestra. (In my opinion, Adams has a maidenly appearance which may evoke in someone a visualization of Joan of Arc—something which, notwithstanding the irony of it being a pas de deux, subtly worked wonders here.) It certainly helped that Ashley Bouder reprised her role in this run; yet the bottom line seems to be that this early Justin Peck ballet also has staying power. 

In a previous post I suggested why it is preferable that women wear tights in ballet. There is categorically no hard-and-fast rule about this: dance odyssey—which came first on the program and premiered during the winter—provides another instance where the female dancers (dressed in attractive leotards) appear glamorous barelegged. My original reaction upon viewing this work by Peter Walker has only intensified: I like everything I liked about it initially—its colorfulness and lighting; the choreography for the ensemble; Tiler Peck’s role; the music by Oliver Davis (especially for the finale)—even more. Still, the crowning glory of this ballet remains its concluding, haunting pas de deux. Like Adrian Danchig-Waring, Andrew Veyette is well-suited for the leading male part. However, even when Walker is substituting, like earlier in the season, the finale has always touched me by virtue of Ashley Laracey’s sophisticated, affecting gem of a performance.

8 hours ago, Kathleen O'Connell said:

Why did her age matter in this particular instance? If it didn't, then perhaps there was no need to refer to it all. Nor to her gender for that matter. 

Including details about age, gender, and appearance suggests that they are important. It may not have been intended, but the implication seemed to be that her being elderly had something to do with her not liking Antique Epigraphs, or worse, only liking "crowd pleasers" and not something "elegant" and "refined."  "Sharp sense of humor" — now that would have been an interesting detail to include from the outset: it tells us something about her cast of mind.

Details provided by a writer about a person's "age, gender, and appearance" are as important as a reader makes them. I mentioned nothing about her appearance. Others may have understood why in context of her remark her age mattered. The person who made and deserves credit for the joke in the elevator was a woman.

A reader has the right to draw implications from a text. The implications a reader draws from a text, though, may be erroneous. Language is an imperfect instrument of communication invented and used by beings who are imperfect.

2 hours ago, Drew said:

Unfortunately I am missing the Robbins celebration this year, but speaking from personal experience of past performances  -- and as someone who might plausibly be described as headed in the direction of "elderly" -- let me say that it is entirely possible to like Goldberg Variations a lot and still not much like Antique Epigraphs.

It is also entirely possible—irrespective of one’s age—to like Antique Epigraphs a lot and still not much like The Goldberg Variations. Or, of course, to not much like either. And that is why, in part, I used the word "presumably" in my sentence.

Every child born "might plausibly be described as headed in the direction of 'elderly'." Any person who does not respect the oldest among us on account of their age is a fool. There has to be a way of describing people, however, without offending anyone. Since I consider you as one of the wisest posters on BA, Drew, I do not believe you took offense. Nevertheless, in view of the fact that you highlighted the term "elderly" I have to point all this out for the benefit of those readers of the subforum who may not be as wise as you. I thought the woman in the elevator actually displayed a sharp sense of humor.

My position on the "See the Music..." talks affixed to certain programs is neutral. Nevertheless, the one at the start of Saturday's matinee "All Robbins No. 4" program proved arduous and vexatious. After relating some amusing personal experiences and providing the audience with a few intriguing facts about Ravel and his music, Andrew Litton eventually began what suddenly loomed as an interminable discussion of the "Piano Concerto in G" which included snippets played by himself on the instrument. Unlike his case, this piece—atypically—was familiar to me long before attending a performance of Robbins' ballet at NYCB, and I consider its second movement among the most hauntingly beautiful music ever created. (The section during which Robbins has the ballerina execute bourrées forwards and backwards is a supreme musical expression of the pathos of human existence.) Analyzing it before a performance is, to put it kindly, superfluous. 

Consequently, it took a while on account of this annoyance for me enjoy In G Major once it begun. Maria Kowroski with her superlative form in the pas de deux which is the heart of Robbins' work, however, saved the day! Observing this artist masterfully weaving her spell to the strains of Ravel's unforgettable music made all my previous irritation promptly disappear. Nor should the value of Tyler Angle's highly skilled and dependable partnering ever be underestimated.

A mysterious, hypnotic quality in Debussy’s music; using the front of the stage (beyond which the audience—significantly—is located) to represent a mirror; the splendid recreation of a brightly lit and exquisitely colored dance studio; the simple yet alluring costumes; the adorable, gentle kiss on the cheek—all of these made Afternoon of a Faun spellbinding and a work which beckons one to dig deeper into. Both Sterling Hyltin (bewitching with her lush blonde hair loose) and Chase Finley looked fabulous, and danced and acted admirably.

Perceiving a connection between painting and sculpture on the one hand and ballet on the other is uncomplicated. That a choreographer should derive inspiration for a ballet from ancient Greek art is completely natural. One work in NYCB's repertoire I eagerly waited to view was Antique Epigraphs, apparently last presented seven years ago. Partly due to the languorous harmonies of Debussy's score, it will never be a crowd-pleaser. After Tuesday's rendering, for example, an elderly woman in the elevator uttered in a quiet, displeased manner, "That last piece almost killed me." Nevertheless, it is as elegant and refined as I suspected and the fact that no presentations of it lie in the horizon after only two during the past seven years is frustrating and deeply troubling. Unity Phelan and Ashley Laracey were perfectly cast in the ballet, with the more experienced ballerina particularly offering another striking performance.

From what I could tell Tuesday evening's rendition of The Concert was successful. However, the notion of viewing the comical work after having seen Kowroski in the second part of In G Major, Hyltin in Afternoon of a Faun and barely twenty-five minutes before Laracey's sublime impersonation of a statuesque woman from a distant time was unpalatable to me. On Saturday afternoon I did not repeat my egregious error of earlier in the week and left the theater at the second intermission. No work of art is designed for everyone; nor can it be enjoyed at all times. Presumably the aforementioned woman in the elevator had prudently steered clear of The Goldberg Variations.

Neither the lighthearted Interplay nor (bafflingly, given the excellent cast and Chopin's haunting music) the earnest In the Night made for particularly compelling viewing during the first segment of the "All Robbins No. 3" program. Undoubtedly, I am eager to revisit the latter work soon. 

By contrast, despite having seen it often during the past few years and notwithstanding its controversial character, I was engrossed by the performance of The Cage—a ballet that contains some of the most inventive and original choreography for both soloists and corps in the entire NYCB repertoire. Stravinsky's score is appealing throughout, and truly moving during the outlandish yet marvelous pas de deux. Savannah Lowery as the Queen, and Justin Peck and Sean Suozzi as the Intruders were highly convincing. Although longtime balletgoers are seemingly dissatisfied with how expertly the role of the Novice is performed nowadays, I found Sterling Hyltin’s portrayal mesmerizing. 

Similar and perhaps even greater issues are at play, of course, with contemporary presentations of Other Dances. Suffice it to say that watching Tiler Peck’s exquisite dancing in a work almost totally new to me brought indescribable joy. 

While I can understand why Fanfare is offered infrequently on account of its educational nature, what a pity that is! Viewing it for the first time, I was dazzled by the ballet’s magnificence—matching that of Purcell’s theme—the moment the curtain went up. The representation of the woodwinds and strings (a lovely Lauren King among them) was spectacular! And right at the center was situated the regal, breathtaking Ashley Laracey—in my view, uniquely suited to “distill[ing] the essence of [the] instrument into movement”—personifying the harp. Unfortunately, the role is brief and made me wish that Robbins had created another suite of dances: a solo work for a ballerina set to music for the harp!

7 hours ago, bobbi said:

I remember the days when it was performed on a harpsichord and with a note slipped into the program asking the audience to wait until the end to applaud.  And, of course, the audience started to clap at the seeming "false" ending and was quickly hushed.  Quite frankly, I was quite amazed that today's audience was able to sit through it at all as well as they did. 

Needless to say, bobbi ... I would have loved to have seen those performances also, not least in order to have heard Bach’s transcendent music played on the harpsichord! The request concerning refraining from applause is interesting. Soon after I first saw The Goldberg Variations a few years ago, I realized that applauding during a performance was inappropriate. Of course, such restraint—if not specifically requested, at least—will never be exercised by everyone in attendance. Nevertheless, as CharlieH observed earlier, the warm response to Saturday’s performance by the audience was gratifying … and well-deserved by the artists. Finally, both the "false" and the actual ending of Robbins' ballet certainly are extraordinarily moving and beautiful.

6 hours ago, CharlieH said:

Now imagine the thrill of following THAT with Robbins’ magnificent  Les Noces - more powerful, colorful, forceful & dramatic than the Nijinska original (a masterpiece in its own subtle way). Full chorus, vocal soloists, four grand pianos and full percussion ensemble AND dancers on the stage...with special kudos to Indiana Woodward and apprentice Andres Zuniga as the bride & groom. Goldberg + Noces = A Double-Whammy of a Sensorial Delight!

CharlieH, you are completely right about Saturday evening's program providing quite a "Sensorial Delight". NYCB's presentation of Les Noces was no doubt magnificent. Stravinsky's music did not sound as loud as I expected, and the clarity of the voices came through marvelously. This music sounds better live! Additionally, since the ballet is new to me, I find your comparison with Nijinska's version intriguing.