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Royal Blue

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Posts posted by Royal Blue

  1. A ray of light in a world filled with darkness—that is what NYCB is. And on every occasion the company presents Jerome Robbins' sublime, majestic The Goldberg Variations that light shines a little brighter. Especially if the work is as lovingly performed as it was on Saturday evening by Ashley Bouder, Sterling Hyltin, and Sara Mearns (from all three of whom I have been accustomed to expecting efforts of the highest caliber); Lauren Lovette, Emilie Gerrity, Anthony Huxley, Taylor Stanley, Daniel Applebaum, Joseph Gordon and twelve members of the corps in the Part I Variations; Jared Angle, Andrew Veyette, Tyler Angle, nineteen more corps members (as well as two apprentices) in the Part II Variations; Susan Walters at the piano; and, finally, Miriam Miller and Aaron Sanz as the gorgeous couple in the opening Theme and haunting closing of the ballet. Except for Hyltin and the Angle brothers those named had also appeared a few hours earlier—most in substantive roles—at the matinee "Tribute to Robbins" program!

    Even more than those frustrated by what I regard as the "heavenly length" of this ballet, I welcome the intermission that arrives at its conclusion when placed first on the program ... for a manifestly different reason: it provides the indispensable interval to recompose myself after the inner thrill I have experienced while viewing it! No matter how vast the universe is, all its entities—living and inanimate; material and spiritual; visible and invisible; gargantuan and infinitesimal; fathomable and incomprehensible—are interconnected. The Goldberg Variations is one of those rare, monumental works of art that makes me feel acutely conscious of—and at the same time guardedly optimistic about—this immense interconnectedness. From my perspective, its performance on Saturday amounted to a deeper and more genuine tribute to Robbins.

  2. No individual whose views about the importance and value of The Goldberg Variations are unclear should be hired as the next artistic director of the company. It would be an unpardonable crime against art and culture for this masterwork to ever disappear from NYCB's repertoire.

    All the uncertainty about the direction of the company aside, this past week has provided further proof—by way of her marvelous performances in Something to Dance About and Les Noces—that Indiana Woodward being cast as Swanilda is just a matter of time.

  3. My limited experience with Broadway suggests that musical theatre has its own special beauty. However, it is different from that of ballet! Broadway-themed ballets, therefore, are less appealing, and programs focusing on such works—any pragmatic reasons behind them notwithstanding—problematic. The second week of NYCB's Spring Season is not comparable to the first. With such talented performers the "Tribute to Robbins" program (I did not attend "All Robbins No. 1: Bernstein Collaborations”) nevertheless could not be devoid of any delights.

    Principal among them being that it begun with The Four Seasons, a traditional ballet with a colorful splendor which makes its 37-minute duration—depicting a year, partly through shades of white, green, yellow and red—seem brief. (How fascinating that music from Verdi's operas was culled for this work!) Central roles for three women are among the highlights in Robbins' choreography. To what extent Lauren Lovette, Emilie Gerrity and Unity Phelan will be able to match in their roles the excellence of the ballerinas in the first two casts of The Four Seasons is the main point of interest in this coming weekend's NYCB performances.

    Best seen from the rings in order to appreciate the patterns created as the stage is flooded by little girls (ballet students) separated into three distinct age groups, Circus Polka—the first work comprising the middle portion of the program—is about five minutes long.

    To be sure, Bach is a titan of classical music; Robbins, a great choreographer; Joaquin De Luz, an outstanding dancer. And yet, A Suite of Dances—which followed next—made me pine for some more ... Dances of Isadora! There are, indeed, solos of exceptional beauty and power for men in ballet; however, their span is understandably limited. A 14-minute solo dance act (for a man, especially) is a challenging proposition.

    The youthful effervescence of the six dancers—my gaze was mostly engrossed by Phelan—lifted the performances of Easy, an innocuous, jazzy new Justin Peck work.

    After the second intermission came Something to Dance About, with its own sort of splendor. Even though it would, of course, be preferable to view the shows the excerpts were extracted from, watching how impressively the (numerous) NYCB dancers as a group performed this material was an enriching, eye-filling experience. Among the soloists, Indiana Woodward in particular stood out in her segments. Ultimately, however, what makes Something to Dance About eminently rewatchable are the phenomenal contributions of Sara Mearns and Tiler Peck. (All the adroit, rapid costume changes in this work, one must add, are noteworthy.)

  4. What a magnificent week this has been for NYCB and its dancers, especially the three ballerinas in Apollo: Maria Kowroski, Sara Mearns and Teresa Reichlen! 

    The sublime harmony, correspondence and beauty in the looks and movements of Reichlen and Ashley Laracey, combined with Balanchine’s glorious choreography for the corps and Bach’s inspired music made Saturday afternoon’s performance of Concerto Barocco … celestial!

  5. Among other choice roles, each of the three distinguished tall blonde principals of the company—Maria Kowroski, Sara Mearns and Teresa Reichlen—has performed the respective female lead in Diamonds, Symphony in C and Prodigal Son. Each has been featured in one of the three ballets comprising the first of two all-Balanchine programs of the spring: Kowroski in Concerto Barocco; Reichlen in Agon; Mearns in The Four Temperaments (the first two are scheduled to switch roles for the next two presentations of this program, and the last is to be replaced by Emilie Gerrity). Seeing all three perform together in the seminal Apollo during the second all-Balanchine program was nothing short of incredibly marvelous!

    Nevertheless, Apollo is such an amazing work and the other six ballerinas cast during the 2017-18 Season are so talented that watching the ballet recently has been a grand experience. The precise way the women were split into three groups (for a total—ironically—of nine muses) was impeccable! Three other "muses" that deserve to be seen in future performances are Ashley Laracey, Brittany Pollack and Unity Phelan.

    Favorable impressions by a particular dancer on a viewer at the ballet are achieved through a unique amalgam which includes both artistry and the physical characteristics of a person. As the comments above attest, Kowroski has displayed plentiful artistry this week. The striking individual quality and beauty of her extensions, seen abundantly in both Concerto Barocco and Apollo, however, are partly attributable to the exact shape and proportionality of her long limbs. If there ever was a ballerina who should be described as being slender as opposed to thin it is Kowroski. (Since Abi Stafford has a different body type, incidentally, the pairing in Concerto was asymmetrical.)

    A performance of Agon with Reichlen and Laracey in the cast—despite any detracting partnering issues involving the former—cannot be dull. From the moment casting was announced, the upcoming performance of Concerto with these two has been one of the most anticipated items on the calendar.

    Balanchine’s singular, wondrous choreography for the female corps in The Four Temperaments is a main reason why this ballet—a leading gateway for new dancers into the company, and the collective mind and heart of the audience—is not wearying after numerous viewings. Furthermore, Mearns performs her role in this with an ease and authority which negate the thought that there ever existed a time during which she had to learn it.

    On Wednesday evening, Sterling Hyltin seemingly picked up where she left off during the winter and gave another polished, commanding performance in Symphony in Three Movements.

    To the accolades about that evening's Tschaikovsky Pas de Deux I will only add my continuing personal wonderment regarding Tiler Peck's dominion over the dimensions of time and space during a ballet's duration, her tremendous musicality and her infallible artistic instincts.

     

  6. Of course, there is no telling how others will respond to a performance of a particular work of dance. The "Snowstorm Special" deal, nevertheless, was astonishing, and based on my observation promptly taken advantage of. As it happens, it did not affect me since I already had a ticket. Not coming to the theater was unthinkable on account of Dances of Isadora—all regarding this piece is hauntingly beautiful: the music of the three famous 19th century composers; Duncan’s choreography (I am assuming its authenticity); the direction, staging, set and costume design by Lori Belilove; Cameron Grant’s piano playing; and—vitally—the performance of Sara Mearns, whose magical arms and hands alone mesmerize! 

    This is the seventh season of the Paul Taylor Dance Company at Lincoln Center. Since I have previously attended only some performances in 2015 and 2016, this Company is basically new to me. Nevertheless, already I feel bewitched by its repertory and dancers, and hope it thrives for years to come. 

    Included in the program last evening was a peculiar, baffling work (presumably about contemporary relationships) that premiered this season. For a considerable part of its duration, The Beauty in Gray is not particularly appealing. However, a shift in the music—which suddenly becomes haunting for the last segments—accompanying a succession of three intense pas de deux featuring respectively Eran Bugge, Laura Halzack and Heather McGinley makes Bryan Arias’ piece irresistible to me. 

    My second viewing of Piazzolla Caldera, with seductive performances from the entire cast, proved thrilling. There are two notably steamy sections in this "tango work." One concerns three dancers, including the sizzling Parisa Khobdeh and Eran Bugge last night. The other is remarkable since the participants in two separate, sensual pas de deux—one involving two men—merge eventually together. At the conclusion of this Taylor work from 1997, the audience predictably erupted in applause.

  7. There seem to be firm differences of opinion about Isadora Duncan's contributions in the field of dance. Not being knowledgeable on this subject, it would be useful to at least watch the film from the late '60s starring Vanessa Redgrave. Apparently Duncan was critical of ballet, and some of those critical of her have naturally been ballet lovers. Therefore, it is a bit ironic that one of the premier ballerinas of our day should be re-enacting the choreography and performances of Isadora Duncan on the stage of DHK Theater. On Sunday evening I witnessed another triumph by Sara Mearns—this time a barefooted Sara Mearns, dressed in a vibrant, flowing tunic, with her sumptuous blonde hair loose. Youthfulness, beauty, grace, vitality,   ardor—all emanated profusely from her person and dancing, and left one marveling. On the other hand, having seen her numerous times, and knowing her talent and allure, her dedication and spiritedness, only the failure to fully appreciate previously the pulchritude of her arms genuinely surprised me. 

    Without a doubt Duncan harbored colossal ambitions regarding this art form. According to the program note, Dances of Isadora "offers [her] vision of dance, primordial at its root and universal in its expression." Therefore, it is fitting that Mearns is seen standing on a pedestal when the stage is illuminated. Out of the succession of solos that follow one set to Liszt's Les Funérailles seems melodramatic. All the rest—mostly to piano pieces by Chopin, and two by Brahms, played by the superb Cameron Grant onstage—are thoroughly captivating, partly on account of the exquisite spontaneity in Mearns' dancing. The staging and set by Lori Belilove are simple and effective. It may not be ballet, yet Dances of Isadora with Sara Mearns is twenty-five minutes or so of virtually unalloyed bliss!

  8. Although I would like to have attended the Saturday evening performance for various reasons, the only difference in casting was the absence of Unity Phelan on Sunday. Since I witnessed the debut of Ashley Hod and Phelan in the same roles a while back, it would have been intriguing to watch the pair now in Agon

    Divertimento from 'Le Baiser de la Fée' is on no account top drawer Balanchine; however, it is still an attractive and moving ballet. It should not be surprising that the De Luz-Fairchild performance earlier in the week was more touching. Nevertheless, the ballet on Sunday with Tiler Peck and Anthony Huxley was delightful. Towards its conclusion, an abrupt change in tenor occurs in the piece: it afforded Ms. Peck another opportunity to imprint—through her poignant change in expression—a hauntingly beautiful image in my mind. 

    Partnering issues have always bedeviled Teresa Reichlen due to her height and body type. An understandable caution and reserve, therefore, characterizes her work during pas de deux. By the same token, her amplitude as well as her beauty—in tandem, of course, with her formidable skills as a ballerina—make her stand out favorably from other women on stage. No obtrusive partnering mishaps marred Sunday's Agon. This, along with an imposing performance by Ashly Isaacs in the “Second Pas de Trois” made watching it especially gratifying. 

    A work which NYCB finds convenient to program often, Duo Concertant poses no difficulty for the company’s accomplished female principals. Associated more with brilliant and fast footwork, Ashley Bouder displayed endearing sensitivity in the ballet's quieter segments last week. To be sure, Megan Fairchild and Russell Jansen were a winsome couple, although the enormous discrepancy in height between the two is awkward. 

    Before Agon, there was an informative "See the Music ..." talk. However, it was during the last ballet of the program—Symphony in Three Movements—that I veritably “saw" the music. 

    Imponderable elements in varying costumes can alter sharply the appearance of a dancer in different outfits. One cannot deny that Sterling Hyltin has a thin body frame and that certain costumes accentuate her thinness. In addition, however, Hyltin possesses a dignified bearing, and a distinguished countenance when straight-faced which make her highly credible in a part such as (for example) that of a would-be Queen during the finale of The Sleeping Beauty. On Sunday, she was tremendous in Symphony: the authority, dynamism, skill, rapidity, fearlessness with which she executed the steps and motions of her role were breathtaking. Imagining her that afternoon being a “general” in charge of the "troops" on stage did not seem farfetched: the menace and military associations in Stravinsky's music were palpable. With her dazzling performance on the occasion, Sterling Hyltin almost single-handedly brought NYCB’s winter season to a triumphant conclusion.

  9. On 3/6/2018 at 1:11 AM, sandik said:

    The question -- what happens to the four princes from the birthday party?  Perhaps they meet the six princesses from Prince Siegfried's birthday party and they all settle down in a commune.

    At long last somebody mentioned them! It did not escape my notice that no one inquired about what happened to the six princesses from Prince Siegfried’s party! Let’s be fair to both sexes! Women perhaps would find it more difficult though to adhere to the first rule of Princess Club.

  10. On 2/19/2017 at 11:46 PM, Helene said:

    February 14, 2017 at 4:50:58 PM EST (notification date)


    @lmspearposted:

     

     
     
    Tangentially, I've often wondered what happens to the four princes from the party scene.  Does the Lilac Fairy send them home or on to further adventures, or does she put them to sleep along with everybody else?  

     

    On 2/19/2017 at 11:47 PM, Helene said:

    February 14, 2017 at 4:50:58 PM EST (notification date)

     

    @Kathleen O'Connell replied:

     

    What happens in Florestan's castle stays in Florestan's castle.
     
    Or maybe, The first rule of Prince Club is you don't talk about Prince Club. 

     

    In the midst of all the laughter let us not ignore the insight: only an outsider who does not belong in any "Prince Club" can awaken Aurora.

  11. On 11/9/2009 at 1:12 PM, mussel said:

    I don't want start a new thread, so I post my Lilac-related question here.

    If Lilac's gift to Aurora was to neutralize Carabosse's curse, what was the gift that Lilac was about to grant when she was interrupted by Carabosse?

     

    On 11/9/2009 at 1:49 PM, Hans said:

    I believe it is wisdom, as the lilac represents wisdom in Russian folklore.

     

    On 11/9/2009 at 1:50 PM, Mel Johnson said:

    It is never stated, either in the ballet's libretto, or the original Perrault tale, but it must have had something to do with wisdom. A tradition of Russian baby- and childhood is to be given a birthday party where the baby or child is lain or seated under a lilac bush. In Russian tradition, the lilac is a symbol for wisdom.

     

    Since the Lilac Fairy plays such a pivotal role in The Sleeping Beauty, this thread is naturally interesting and important. Particularly the illuminating exchange quoted above. 

    Essentially, this immortal fairy tale intimates that wisdom and love enable a human being to understand and cope with Reality. 

    The Sleeping Beauty centers on a romance between two strangers born many years apart who fall in love with each other at first sight. This appears nonsensical. Yet it is an affair brought about through the intervention of a supernatural being symbolizing Wisdom! 

    What Prince Désiré and Princess Aurora have in common is their "royal" pedigree. (The word "Beauty" as opposed to "Princess" in the title is crucial: it humanizes the story.) Their capacity for love and wisdom is among their key attributes.

  12. In the serene, lovely scene mentioned above the three female soloists in Namouna mostly blend in with the women of the corps. In contrast, the cigarette sequence is designed for one of them, backed by three women—the adept veterans Marika Anderson, Lydia Wellington and Mary Elizabeth Sell during last spring, and this winter season—who are differentiated from the rest of the female corps. Although this latter scene is characterized by liveliness and humor, its sheer beauty is what principally appeals to me—not those other attributes. Both these segments of Namouna are powerful and remarkable. 

    Only someone more knowledgeable and observant could say how Megan Fairchild and Lauren Lovette could have improved upon their respective performance last evening in Namouna: each was outstanding in her debut! Combined with a blazing rendition by Sara Mearns of the role she originated, the wonderful debut of Taylor Stanley as the sailor, and the stellar work of three other soloists and the corps, Ratmansky’s ballet was pure enchantment with the second cast also. 

    All went smoothly with the four ballets in the Here/Now program Friday. Lauren Lovette also appeared in the first item, Neverwhere. Only an intermission separated Sara Mearns' ebullient exploits in Namouna from her commanding contribution in another superb performance of The Decalogue.

  13. During Mothership the viewer has no time to recover from the jarring impact of a female dancer taking a nasty fall, as happened on Wednesday evening. This is an observation, not a criticism—what matters is that the young woman braved the incident out and was evidently unhurt. 

    By contrast, the fall of a female member of the corps and other slip-ups during that evening's performance of Namouna did not irredeemably impair my enjoyment of Ratmansky's ballet. (Fortunately, Ashley Bouder was at her best.) In this respect, not only the quality but the length of the work proved beneficial. 

    There is a sequence in Namouna with subdued lighting and soft, delicate music which is utterly sublime. Contrary to what I suggested in an earlier post, this is surely the high point of the ballet. 

    Particularly in a role with some demanding choreography, filling Sara Mearns’ pointe shoes is no inconsiderable task. Therefore, I was highly satisfied with Emilie Gerrity’s marked enthusiasm and overall accomplishment in Namouna

    There is nothing wrong per se with the costumes of Neverwhere, and all six dancers in the cast—including Emilie Gerrity and Sara Adams, each of whom appeared in two ballets in the course of the night—are engaging performers. 

    With the experienced Sara Mearns at the helm and a ravishing Unity Phelan growing more at ease with the requirements of her role, Wednesday's performance of The Decalogue was undoubtedly the finest of the evening.

     

  14. 3 hours ago, abatt said:

    Add me to the group that thinks Maria K. is in stunning form.  She was incredible in Agon.  There was a minor partnering issue, but it didn't diminish the ballet.  (Adrian DW failed to grab hold of Maria's hand during their pdd).  I thought Maria's timing in the opening of the pdd when she wraps her leg behind her partner's head was perfect.  In the right roles, Maria is still at her peak.  I also thought Huxley was superb in Agon.

     

    I couldn’t agree more with these comments about Maria Kowroski! In this sort of context, the partnering issue was insignificant. Along with the length of Schubert’s late musical compositions or Namouna, Kowroski’s extensions can be described as “heavenly.”

    Anthony Huxley and Lauren King were excellent in the “First Pas de Trois.” However, my attention was focused on Ashley Laracey who I also view as being “in stunning form.”

  15. Even though it is ultimately about the human spirit, dance showcases and exalts the human body! Classy and elegant, ballet is a type of dance with a special vocabulary consisting of various motions and poses widely considered beautiful. At the ballet the grace and beauty of the human form are often revealed at their peak. All of this is why it is possible to appreciate aspects of traditional works like Neverwhere or Mothership while acknowledging they are minor efforts. 

    Should what the dancers wear on stage affect our perception and evaluation of a work? Imagine them performing Emeralds, Rubies and Diamonds in their practice clothes! Neverwhere appears more pedestrian without the original costumes, however ponderous they may have been. 

    Tights, in my opinion, add to the otherworldly beauty, the glamour, the aura of mystery and sophistication manifest in ballerinas. Yet all four young women sporting the costumes designed by Marc Happel for Mothership certainly appeared glamorous barelegged—especially a personal favorite among them. Additionally, the music by Mason Bates is catchy in this slight yet efficient ballet. 

    Since I can only listen to it at the theater, most of Sufjan Stevens’ music for The Decalogue still sounds unfamiliar. However, Justin Peck utilizes ballet's vocabulary quite effectively in various sections of the work. Provided it is cast reasonably, this is a piece I feel can be watched often. Rebecca Krohn’s third performance last spring—in a significant role—resonated keenly with me, retrospectively even more since she retired soon afterwards. Although in a different stage of her career, Unity Phelan assuredly is a felicitous replacement. 

    Indubitably, paradox is deeply rooted in nature and life. This is what makes the world such a puzzling, difficult, exciting, wild, magical place. A person may read the headlines assiduously, be fully aware of the reality and extent of pain and suffering on earth, and still view the lyrics and message of "What a Wonderful World" as essentially true, if ironic and poignant. In different senses, Namouna, A Grand Divertissement and Lalo's musical composition itself bring to mind the brief song immortalized by Louis Armstrong. Despite being recent, Namouna is one of the most beautiful ballets in NYCB’s repertory, and ideal as a restorative for a weary soul at the end of a trying day: to the appreciative spectator its length is “heavenly." 

    Even with a major change in the cast (Emilie Gerrity for Sara Mearns) Ratmansky's ballet was as impressive as ever over the weekend, and provided another occasion for various dancers to shine, particularly Ashley Bouder. The beauty of the movement and poses by Bouder and several members of the female corps, as well as Lalo’s music and the exhilarating brio with which the sequence is performed, not the gimmickry are what fascinate me in the “cigarette scene."

    Since I attended every Art Series performance, I had the opportunity to observe Bouder in Year of the Rabbit, Square Dance and Namouna from the respective center section of three different Rings. Like others, I have long been aware of her qualities as a ballerina. And yet I was still surprised—perhaps because she is not tall—by how powerfully she projected throughout the house each evening!

  16. On 2/24/2018 at 12:19 PM, canbelto said:

    This is a general rule about Tiler Peck: despite her amazing abilities as a dancer she's not a great actress and I've rarely seen her have chemistry with any of her partners. 

    No doubt you may be right. Nevertheless, —a high school English teacher had me read in class on assignment a part from a scene in a famous American play. At around that period—for the first and only time—I cheated on a chemistry exam. Two embarrassing moments! Unfortunately, my grasp of neither acting nor chemistry has improved over the years. So, from my lowly station, the "Little Dancer" is a giant in both fields. I specifically referred to her "performing brilliance" because I thought she acted convincingly Thursday evening as well. Moreover, she is routinely marvelous in pas de deux, no matter who she is dancing with. Finally, she has mastered the capacity to create a perfect rapport—chemistry—with the audience. And I mean this in the purest, most innocent sense. Sara Mearns and Tiler Peck are two ballerinas who can easily make me almost forget that I am watching a performance at a theater. In other words, through their artistry in ballet they transform choreography—no matter how abstract—into something real

    Although I would have no problem seeing her again in La Sonnambula, Ms. Peck looks too wholesome for that role. However, we will just have to disagree about her turns as the Pink Girl in Dances at a Gathering and Terpsichore ("delight in dancing") in Apollo. Of course, I understand that others prefer a taller woman for the latter part, and I respect, admire and love both Maria Kowroski and Teresa Reichlen. (Also, I imagine that Suzanne Farrell was a great ballerina.)

     

    On 2/24/2018 at 1:43 PM, fondoffouettes said:

    I guess the question might be whether this production impedes a sense of chemistry between the leads. Not sure that's the case; just throwing it out there as a question.

    I don't love the MacMillan as a whole -- though I cherish the many incredible moments -- but it's a ballet I'll go to when I know the leads are strong dramatically and have good chemistry. 

    In my opinion, it does—although that is not the only reason there may not be chemistry between the leads, nor does it categorically preclude it. A previous poster understandably ridiculed the sets and costumes. However, notwithstanding the fact that many ballet-goers may dislike MacMillan’s version, it is in every respect superior to Martins’ Romeo + Juliet

    I am not really familiar with the current principal dancers at ABT. They should be better in the full-length, narrative ballets than their counterparts at NYCB, since ABT focuses in that genre. Sadly, I am not sure currently that is even the case.

     

     

  17. Despite criticism regarding weaknesses in its plot and characterization, Shakespeare's Romeo and Juliet will forever remain one of the world's most powerful and moving love stories. This is due partly to the incomparable author's imagery and poetry, and partly to the proven willingness of the eponymous characters to go to the limit for each other. In this work, the young playwright broaches issues perplexing lovers far more experienced and sophisticated than Romeo and Juliet. 

    By allowing my emotions and thoughts to be guided primarily by a combination of Sergei Prokofiev's glorious score and Tiler Peck's performing brilliance, on Thursday evening I became as immersed as I am capable of being in NYCB's Romeo + Juliet. There are some beautiful moments occasionally to be found in the choreography (mostly involving Juliet); however, NYCB's dancers generally are trapped in a feeble and uninspired production. Considering this, particularly Zachary Catazaro as Romeo, Savannah Lowery as Lady Capulet, Daniel Ulbricht as Mercutio and Sebastian Villarini-Velez as Tybalt all contributed effective performances. 

    In her debut as Juliet on Wednesday evening, Indiana Woodward was as lovely as one would expect. Although Taylor Stanley is an appealing Romeo, I agree with previous comments about the lack of chemistry between the two. Does that matter though in this production?

  18. No matter who is chosen as NYCB's new artistic director, the company stands at a crossroads. Ironically, the season opened with two works from opposite ends of Balanchine's career: Apollo (1928) and Mozartiana (1981). Although it is considered his last major masterpiece and is sublime, my sense is that the appeal of Mozartiana is partly connected to its valedictory nature. By contrast, the timeless quality prevalent in Apollo makes the fact that it was choreographed by a 24-year-old man both astonishing and irrelevant: it remains as fresh and original as the day it was created. After numerous viewings my sensitivity to and awareness of the beauty of this ballet and Stravinsky’s music have never been greater! 

    Naturally, I enjoyed immensely watching both casts perform the ballet. Although Adrian Danchig-Waring’s interpretation of Apollo appears more carefully thought out, Chase Finlay looks fantastic in the part also and—complemented by the winsome Sterling Hyltin, Ashley Bouder and Lauren Lovette as his muses—made a solid impression in Balanchine's early masterpiece. 

    Last Saturday another engagement resulted in my buying a ticket for NYCB at the last moment ... to see only the second cast of Apollo again! An exquisite performance of the ballet was my reward. As the three muses, not only are Tiler Peck, Ashly Isaacs and Indiana Woodward notable for their superb dancing, but they have a similar, attractive physique which makes watching them in the glorious ensembles of the piece extraordinarily pleasing. (Incidentally, Isaacs nailed that evening the exacting turns in Polyhymnia's variation!) Furthermore, Tiler Peck is such a distinguished ballerina that, notwithstanding her relative lack of height, casting her as Terpsichore—the goddess of dance—is eminently sensible. 

    In either its first or last version, Apollo mesmerizes!

  19. Chiefly on account of the first ballet, the “New Combinations” program—The Red Violin; dance odyssey; Russian Seasons—was relatively weak. Nevertheless, it contained its share of delights Friday evening.

    Besides the colors and costumes, The Red Violin was worth watching for three reasons. First, Emilie Gerrity and Lauren King, both of similar height and body type and cutting fine figures in their clothing, shared the stage often together: the parallelism in their lovely dancing gratified the eyes. Second, although not by any means enough of what is required of choreography to be considered successful, there are some specific movements in the piece which on their own are captivating. Lastly, —Unity Phelan:  she is fascinating to observe. One can hardly blame her for being unable to make this choreography seem natural or flowing. What matters is that The Red Violin offered an opportunity for her to acclimate herself being front and center in a ballet. 

    To be sure, dance odyssey is pleasant to watch and Tiler Peck instills life into every ballet she appears in. Still, it is a light work—until the final pas de deux. Even though Peter Walker is quite young, in its concluding moments there are traces of the worldliness and nostalgia I was searching for in dance odyssey. This segment’s effectiveness is immeasurably enhanced by the cultivated, knowing presence of Ashley Laracey, looking splendid in that particular hairdo. Although not one to ever complain about leotards, I believe the additional garment Laracey wears during this pas de deux is extremely appropriate. This sequence is more persuasive and imposing with Adrian Danchig-Waring instead of Walker.

    Easily the weightiest item in the program was Russian Seasons. In her regular role in Ratmansky’s compelling ballet, Megan Fairchild was outstanding. Three other women in the cast—Lauren King (who appeared in all pieces of the evening and was debuting in Seasons); Marika Anderson; Kristen Segin—were excellent. From the Third Ring at last Saturday’s matinee, it seemed in her unscheduled debut that Emilie Gerrity was flailing her arms helplessly about. On Friday evening, her performance from close appeared dramatic, intense, genuinely appealing. In her second ballet of the evening (this, a significant one), Unity Phelan made a superb debut.

  20. Watching the enchanting Ashley Laracey in the “Summer” section from The Four Seasons last evening reminded me how fabulous last year’s The Sleeping Beauty with her as the Lilac Fairy was. Two moments remain vivid in my memory. First, how radiant and discerning Laracey appeared as the Lilac Fairy was explaining to the King and Queen that Princess Aurora was not dead but asleep, and that one day a handsome prince from a foreign land would awaken her! Later in the ballet, I observed—from an advantageous vantage point during one performance—an incandescent, beatific Laracey (as the Lilac Fairy) lightly, elegantly pointing to her head by way of reminding a perplexed Prince Désiré his course of action. What a thrilling, epiphanic moment! Isn’t mime in narrative ballet offered as much for the benefit of the audience as it is for the sake of the characters on stage? On the surface, the Lilac Fairy’s gesture serves to remind Désiré how to awaken Aurora. Obliquely, it is a hint to anyone in the audience seeking understanding to reflect deeply, soberly on the meaning and significance of the Awakening Scene.

  21. 1957? 1979? Ashley Bouder and Tiler Peck dance the steps in Square Dance and the “Fall” segment of The Four Seasons respectively with an ease, a confidence and a naturalness which give the impression that they are creating them on the spot. Watching the two perform in these ballets during the same evening was by itself a breathtaking experience. And, of course, there was so much more to savor both in terms of the casting and program!

  22. (Comments pertaining to ballets which appeared during the Here/Now Festival are appended to this thread since I am endeavoring a consideration of the festival—and more generally—an assessment of the place and value of new works in the functioning of the company.)

    One reason for my disappointment with Year of the Rabbit last spring was that in my single viewing the dancing during the “Year of our Lord” pas de deux went awry and seemed therefore uncoordinated. Despite her unforgettable accomplishment in La Sylphide a couple of years ago and other quality work, Indiana Woodward is not yet a principal or one of NYCB’s established stars. Moreover, she specializes in roles that demand being nimble and fleet-footed. With all this in mind, I regard her performance Sunday afternoon in “Year of our Lord” as profoundly moving and among the highlights of this season. In sum, Year of the Rabbit is an early work of merit.

    Far from finding it detracted from the program by being presented between the ambrosial Square Dance and the intoxicating The Four Seasons, I found watching Oltremare—a work likely unappealing to many people—from the Second Ring during the second Art Series performance of the season highly engaging. The commitment and verve with which the fourteen members of the company performed Mauro Bigonzetti’s curious piece is impressive and commendable. Besides the principals, Ashly Isaacs is striking in this—as in other ballets recently.

  23. Not only is Ashley Bouder a magnificent ballerina (her achievements so far this season include a splendid debut in Cortège Hongrois last weekend, as was rightly mentioned earlier in the thread), but she is also apparently a gracious person.

    Along the same lines, I am delighted to observe that Tiler Peck’s artistic clout is accompanied with evident modesty and generosity, and that the deserving Ashley Laracey is prominently featured in dance odyssey

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