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Royal Blue

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  1. Listening to Sufjan Stevens’ album proved extremely helpful in appreciating Year of the Rabbit. Obviously, electronica sounds different from a string orchestra—so much that at times it is difficult for me (as a layman) to correlate the music I hear in the theater to the album. There is, moreover, considerable reshuffling of the material (as I pointed out previously). Ultimately, however, Michael P. Atkinson’s orchestration of the music is sprinkled throughout with lovely moments, comprises two extended sections in this thematic configuration —V. Year of the Rooster; and VI. Year of our Lord—that are standouts, and is overall stimulating. A viewing of the ballet from the center section of the Fourth Ring during the first Art Series presentation of the season a week ago revealed the skillful use of the corps and the work’s playfulness and humor from a different perspective. It also led to renewed admiration of Ashley Bouder’s strength and agility by clarifying the ease with which she covers the breadth of the stage. Witnessing a fiery performance by her on Wednesday evening from close made me, finally, grasp the centrality of that role in the work. Nonetheless, at the heart of Year of the Rabbit currently lies the performance of Teresa Reichlen, who graces with her beauty and amplitude some of its finest moments—including the enthralling “Year of the Rooster” segment. School of Balanchine or no, a ballerina’s craft requires mastery of the ability to move beautifully slowly. In the key “Year of our Lord” section, Indiana Woodward demonstrates signs that she possesses such mastery.
  2. Watching the premiere of Peter Walker’s dance odyssey last evening I couldn’t help recollecting this comment—Ashley Laracey appeared to be the (balletic) embodiment of feminine elegance, poise and sophistication!
  3. One look at Unity Phelan as the curtain went up Tuesday evening at NYCB and I knew that this performance of Divertimento No. 15 would be smashing! Not to be still smarting about Tiler Peck’s absence in this is impossible. Nevertheless, a dazzling Ashley Bouder led Phelan, Ashly Isaacs, Indiana Woodward and the rest of the cast in a brilliant rendition of this gorgeous ballet. To have seen within the space of a few days both Ashley Laracey and Unity Phelan perform the role of the ballerina who is assigned the Third Variation is ample reason to rejoice. Even though the latter naturally lacks as yet the former’s refinement and expertise, her debut in this major part was exhilarating and memorable. In this ballet, Balanchine has at separate instances various women—the two designated to dance the Third and Fourth Variations, as well as the members of the corps in the "Minuet"—arrest their forward motion and lean one leg first and then entire body slightly backwards. What an incredibly elegant gesture!—one lovely to also see Ashly Isaacs do justice to it in her variation (the Fourth). During the "Andante," the ballerina who danced the First Variation executes in her apportioned pas de deux segment a sequence of movements in attitude by first extending one of her arms forward. The adorable way Indiana Woodward performs this—forever etched in my delicate memory from the last time the company presented Divertimento—is a marvel to be cherished. All three men in the cast—Chase Finlay in the Fifth Variation; Joseph Gordon and (I believe) Cameron Dieck in the Theme—were excellent last night. It is a tribute to the talent and artistry of Sara Mearns, Maria Kowroski, Anthony Huxley, Russell Janzen and other members of the company, as well as to the genius of Balanchine that there was plenty to enjoy in The Four Temperaments and Chaconne after last evening’s thrilling performance of Divertimento.
  4. About the programming, absolutely! Perhaps some plans were already in place for next year? Doubtlessly, a “sense of competitiveness” versus the right person(s), for the proper reasons may inure to the benefit of everyone—performers and audience members alike. Short of risking serious injury to one’s self or another (simply falling down is another matter), go for broke, “dancing on the edge of a volcano,” “like there’s no tomorrow” performances should be the aim of all serious artists of the company. I, furthermore, believe that these individuals are motivated to pursue excellence, no matter what the circumstances. Regarding specifically the situation of the female soloists in the company— There are twelve of them: some are shoo-ins for promotion, some are unlikely to be promoted, and some are situated in a gray area between. In my opinion, it would be a grave error for those who are favored to grow complacent, or be overly cautious or lax in their efforts—whether an artistic director is observing them from the wings or not. Finally, I can certainly understand why someone would want to be promoted. However, for a whole variety of reasons not everyone is cut out for principal, or even soloist status. And no shame should be associated with remaining in the corps! The contributions, for example, of dancers like Likolani Brown, Marika Anderson, Jenelle Manzi, Mary Elizabeth Sell, Meagan Mann and Lydia Wellington during the past few years have been invaluable!
  5. Even though I am “acutely disappointed” that Tiler Peck will not be performing in Divertimento, it is simply unreasonable to complain about Ashley Bouder. Making allowances for the general qualification I previously expressed about casting, the second week of the season looks fantastic too. (It is surprising, however, that Sterling Hyltin is not listed for anything.) Given its cast and title, I don’t believe I have ever been as curious about an upcoming NYCB premiere as I am about Peter Walker’s dance odyssey. Although I am open-minded about the four new ballets presented in the fall, it is appropriate that they will be performed in two different programs … and even seasons. (For various reasons I prefer Not Our Fate and Pulcinella Variations, but I also wish to see The Wind Still Brings and Composer’s Holiday again.) Since there are so many talented individuals in the current NYCB roster, there are casting felicities in every forthcoming performance. Even so, the January 27, Saturday matinee is especially fascinating. One of my favorite performances last spring was Rebecca Krohn’s in The Decalogue. It will be interesting to see who is cast in that role during the last couple of weeks of the season.
  6. Seating towards the center of the auditorium for any ballet is never a crummy idea—in order, of course, to take in all the activity through a sweeping view of the stage. There are works, however, which require it. Pictures at an Exhibition and Year of the Rabbit, two of the five ballets that made up Program Six of the Here/Now Festival last spring, belong in this category: the former on account of projections in the background of a painting by Wassily Kandinsky; the latter for key portions that occur in the back of both sides of the stage. In his album, Sufjan Stevens composed music for the twelve signs of the Chinese zodiac, whereas Justin Peck in Year of the Rabbit treats choreographically only six. Consequently, not all the best segments from the album are used in the ballet. Moreover, the order of the signs in both differs from the zodiac and each other. One’s curiosity about this unfamiliar subject and the intentions of the artists is naturally aroused by watching this work. Intriguingly, Enjoy Your Rabbit ends with an ethereal piece titled “Year of Our Lord,” which Mr. Peck employs for the penultimate movement of his ballet—a pas de deux. Despite not having particularly enjoyed Year of the Rabbit last May (it closed Program Six), it is beautiful and I eagerly await viewing it again next week. A familiarity with drawing and painting naturally enables a better appreciation of all the fine arts associations found in Pictures at an Exhibition—both Mussorgsky’s musical composition and Ratmansky’s ballet. Regardless, the profusion and vividness of bright colors in the stage designs and costumes, along with the tremendous vitality of the music and choreography of this work will likely dazzle the mind, eyes and ears of almost everyone. Led by Sara Mearns, Sterling Hyltin and Tiler Peck, NYCB’s performance during the festival was thrilling. Situated between the two intermissions of the evening, Pictures at an Exhibition was in every sense the centerpiece of Program Six. All three ballets which begun the program—Carousel (A Dance); The Blue of Distance; The Infernal Machine—absorbed my attention. Of all the forays by NYCB into Broadway-related material, Carousel is one of the best—partly owing to the alluring music by Richard Rodgers. Even though I am not especially knowledgeable with this genre, I believe Chase Finlay is too handsome and youthful-looking as the male lead in Christopher Wheeldon’s short representation of the romance in the story. When grinning, Lauren Lovette likewise can seem unduly girlish. A dramatically different reaction is evoked by her, however, when straight-faced. As the female lead in Carousel, although her performance will improve with experience, she was highly appealing. No matter how insignificant and unoriginal it may seem in the context of all the ballets that have ever been created, a work as lovely as The Blue of Distance—set to Ravel’s expressive piano music and featuring last spring the comely Unity Phelan (among others)—is eminently watchable. Even without inferring anything from the title, The Infernal Machine is a strangely fascinating pas de deux whose peculiar movement appears embedded in the bizarre music. Reading Christopher Rouse’s remarks in the program notes about his orchestral composition only reinforces this feeling. In a surprise appearance Craig Hall gave the impression that he was still dancing with the company. As has been suggested on BA oftentimes, one of Ashley Laracey’s chief attributes is her transcendent gracefulness. In this odd role, she is able to make the outlandish choreography seem natural while simultaneously displaying remarkable elasticity and flexibility.
  7. Given the recent disruptive developments at NYCB, the upcoming season is of greater significance than usual. For my own part, I am extremely confident that the accomplished artists of the company will handle the situation with strength and poise. It is unreasonable to expect complete satisfaction with every single casting decision made. That reality notwithstanding, the first week of the season looks fantastic. One ballet of particular interest to me is Divertimento No. 15, partly since it has been done only during one season recently. A role in this ballet fits Ashley Laracey like one of the elegant gloves worn by the ladies in La Valse or Vienna Waltzes, so making her return from injury with this work is cause for genuine delight. Otherwise, the cast for the first two performances appears solid—although two ballerinas I particularly crave to see in Divertimento are Brittany Pollack and Unity Phelan. It would also be acutely disappointing not to have Tiler Peck perform in this during the second week of the season.
  8. Based on my experience of watching NYCB attentively during the past few years, Tiler Peck is such an exceptional artist that her best roles depend mainly on the quality of the particular ballet in question. Having been impressed by the beauty and refinement of Divertimento No. 15 when I first saw it in the fall of 2016, I naturally hope she is cast in it during the second week of the upcoming season. For the same reason, I eagerly anticipate all her debuts in notable ballets. Based on the schedule it seems unlikely this winter; however, it is certainly time—for one—that Square Dance be included in her repertory.
  9. Again, The Times Are Racing is a peculiar work for NYCB and it is understandable why some people dislike it. My favorable opinion of it, however, was solidified during the fall for two reasons. First, how enjoyable it was when following in the Here/Now program the superb and sharply contrasting Odessa. The second pertains to a major change in the cast for the fourth performance of the program. In the role that had been danced up to that point only by her, Tiler Peck was replaced by—Taylor Stanley! In a lesser work it would have been insupportable to have substituted another woman for Ms. Peck, let alone a man! As proven that evening, however, The Times Are Racing is not dependent on any particular role. And despite the criticism about its loudness and repetitiveness and dullness, Dan Deacon’s music is integral to the “sneaker ballet’s” success. There are now two viable unisex roles in this unique, odd work, although with its pronounced modern ethos it would not be surprising if others emerged in the future. On this occasion it helped, of course, that Stanley—ably partnered by Daniel Applebaum—is a wonderful dancer. Predictably, the rest of the cast members performed well also, although in Ms. Peck’s absence Brittany Pollack’s importance particularly was magnified for this viewer. Furthermore, the elan displayed by Ashly Isaacs that precise night surpassed even what was demonstrated in her outstanding earlier outings in the part. As another year is about to enter the domain of history, this day brings to mind how “time flies,” and suggests, finally, how suitably—if a tad ironically—titled Justin Peck’s optimistic “sneaker ballet” is. All four fall performances of the Here/Now program had the same cast for the first two ballets, Liturgy and Polyphonia. What I would add to the comments made previously is that my appreciation of the latter work—especially its sixth section with Ligeti’s exquisite music and a ravishing Lauren Lovette—increased with each viewing. Lastly, watching a favorite ballerina perform two substantial roles so beautifully during the same evening, as Unity Phelan did in Polyphonia and Odessa at the last presentation of this program, is always—needless to say—extremely rewarding. The evening could only have been bettered if Tiler Peck had appeared in The Times Are Racing also! Was the Here/Now program, in the final analysis, worth the 185 dollars charged for the most expensive seats in the house? Subjective, but—no, absolutely not: it was priceless! ETA. Even though I enthusiastically stand by the general sentiment I expressed, the two roles in Odessa and The Times Are Racing are of such a different nature that I am not sure it would have been better in this instance from the spectator's point of view for Tiler Peck to have performed both in the same evening.
  10. There is a fundamental bittersweetness about life that those attuned to it can find in varying degrees reflected in all worthwhile works of art. This feature is readily discernible in Alexei Ratmansky’s Odessa. Considering its limited time frame, this work persuasively evokes a bygone place and era (the eponymous city in early post-Revolutionary Russia). On the one hand, its mood is somber and disquieting, some of its “action” is distressing, and its male “characters”—even as they dance with elegance—appear ruffianly and menacing. On the other hand, the ballet is permeated with a breathtaking autumnal beauty which places it in my opinion high among (if not at the top of) all works that have premiered at NYCB in recent years. Two sequences in Odessa particularly arouse controversy since they seemingly depict abuse and mistreatment of women. Ratmansky’s choreography for the first of these, involving a couple, comes across as forced, constrained. By contrast, the movement for the female soloist and the male corps during the second sequence (set to poignant music) is polished, harmonious … gorgeous! However, towards its frantic conclusion, it ostensibly portrays horrific maltreatment of a woman by a group of callous miscreants. This striking incongruity is paradoxical, but not unusual in art. Some sort of beauty is an essential attribute of all effective art, no matter how bleak its topic or outlook on the surface may appear. (After all, it is not the aim of art to terrorize and demoralize people.) This is especially true regarding the art form of ballet! A grave and impressive work, Odessa—notwithstanding its especial beauty—in no way glamorizes any sordid, hideous act or abuse. Additionally, even though Ratmansky evidently derived inspiration from stories by Isaac Babel and a narrative is hinted at, his ballet is nevertheless abstract. The typical viewer is hardly expected to be familiar with even the general subject matter! Therefore, what is observed onstage is open to interpretation and debate. Without minimizing it, the treatment of women in a certain milieu—apparently gangsterdom of that time and place—in fact seems a subtheme of the work. Four performances of the Here/Now program were offered by NYCB during the fall, the last with major changes in the cast. Among the men, Joaquin De Luz was replaced by the equally adept Daniel Ulbricht in Odessa, while all three female soloists were substituted. In a serious role, Megan Fairchild—as in the spring—impressed. Not only did Tiler Peck typically display extraordinary skills throughout her performance, but she handled her part in the short yet tricky pas de deux mentioned above with surpassing smoothness. Observing Unity Phelan admirably hold her own next to her more experienced colleagues, finally, was highly gratifying. With this second cast of the fall, too, Odessa looked awesome.
  11. Verily! Without dreams, ideals, faith, hope, aspirations ... conscious life is pitiful, as well as precarious. The challenge is to combine all the former in a favorable, salutary way with an attainable yet thorough and unflinching perception of Reality. Fundamentally, ballet is idealization. At its best, it is truly beautiful—and all great beauty in nature and in art is suggestive of something real beyond our awareness and imagination.
  12. Earlier in this thread there was mention of Tiler Peck’s “range,” her capacity to perform compellingly in divergent roles. Her exceptional debut as Odette/Odile during fall in Swan Lake—a work which requires a ballerina (while dancing exquisitely) to portray persuasively two sharply contrasting characters, one of whom has to plausibly appear at the same time being the other!—provided meritorious evidence of this. There was further proof, however, in the last week of the recent season. Within the space of seven days—from Sunday afternoon to Saturday evening—she gave estimable renditions of varying featured roles (three of which she originated this year) in no less than four ballets: The Times Are Racing, In Memory Of… (twice, in a deeply affecting debut), Odessa, and Pulcinella Variations. Although such distinguished work by Ms. Peck is nothing new for many of us who follow NYCB closely, it remains nevertheless notable and impressive. Peculiarly, eight days from the start elapsed before her first appearance of the season; but the wait was worth it: the Fall 2017 season was another splendid one for her and NYCB.
  13. Nothing in my original statement denies or contradicts anything that you wrote. In the last sentence, I highlighted the word “as” for a reason. Nevertheless, the reflection that Sterling Hyltin and Robert Fairchild will never be dancing Duo Concertant together again at NYCB made me, and perhaps a few others in the audience, appreciate their performances last weekend as well as Balanchine’s ballet more. I am male, and I was trying to make "a new and separate point." My original comment primarily refers to the art form in general. There are some ballets which deal with “profound and intricate issues,” no? Something that occurs in real life to a person—whether a dancer or a balletgoer—may lead to greater appreciation or understanding of a particular ballet. When we consider such works, Duo Concertant does not readily come to mind. Its melancholy ending in tandem with a farewell performance, however, made me cogitate on the larger point.
  14. Although they are mentored and coached by elder colleagues and are professionals, artists in ballet are mostly young people occasionally (at least) required, while they are growing and learning about the world, to interpret roles in works dealing with profound and intricate issues. Valid criticism of their efforts is, to be sure, legitimate and even imperative. Still, members of the audience should be considerate and mindful of the sheer reality that these young artists are actually at the same time experiencing life also--something that in turn impacts their art. To wit, it is essential to recollect not only that art enhances life, but that life enhances art. However problematic it may be to acknowledge, for example, neither equivalent performances as last weekend’s of Duo Concertant nor the ballet itself would have seemed as poignant under ordinary circumstances.
  15. Surely, the intense joy and confidence with which Ashley Bouder in Square Dance and Sterling Hyltin in Duo Concertant danced and carried themselves must have radiated on Saturday afternoon handily throughout the theater. Although not surprising, the sheer skill with which both executed their steps was nevertheless astonishing. Taylor Stanley and Robert Fairchild, their partners respectively, were also outstanding. NYCB’s ability to offer equally superb alternate casts in crucial ballets like Square Dance is truly heartening. Last week, Megan Fairchild and Anthony Huxley shone in this Balanchine masterpiece too. Likolani Brown, Meagan Mann, Kristen Segin, Mary Elizabeth Sell, Mimi Staker, Claire Von Enck, and the six gentlemen who completed the corps deserve much credit for these enthralling performances of Square Dance as well. What lends Duo Concertant real substance is the stark contrast between its early bright sections and the final melancholy one, which never seemed as poignant as it did on Saturday afternoon, due to the special circumstances under which the ballet was performed. As many posters have pointed out, Robert Fairchild’s departure from NYCB is certainly a great loss to the world of ballet. However, his vibrant, effervescent performance in Duo Concertant gave ample hope to his many fans regarding the prospects of all his future artistic endeavors.
  16. How effectively the Awakening Scene is presented in Peter Martins’ or any other production of The Sleeping Beauty is up to the individual viewer to decide. This scene’s powerful symbolism, its profound significance and meaning, and its rich psychological insight, nevertheless, make it intrinsically extraordinarily dramatic and doubtlessly one of the greatest literary scenes of our cultural heritage. NYCB’s production of this ballet is outstanding, in my view. However, — When Prince Désiré awakens Princess Aurora with a kiss (preferably) in the brow, he transports her from the land of dreams to the real world. To properly assess the gravity of this act and grasp the tremendous responsibility involved in carrying it out (or not, for that matter!) require a comprehension of—Reality! Fundamentally, then, The Sleeping Beauty is a fairy tale which leads one to ponder the nature of Reality. And Love! (By no means just in the romantic sense of the concept, either.) Finding himself inside the chamber of the castle where Aurora lies asleep represents the culmination of a quest for Désiré—a man who deserves to be there and who can awaken her! Questions about the nature of Reality and Love—convoluted and thorny, to say the least—have preoccupied preeminent human minds since the dawn of civilization. The Sleeping Beauty is, therefore, a ballet for people of all ages … and levels of sophistication. There is, of course, no guarantee that any particular person will appreciate and enjoy it. That is not, however, a fault of the ballet—a ballet in which dance and philosophy are masterfully joined together.
  17. Last evening I attended the first of the all-Balanchine repertory programs performed at DHK Theater in a while, consisting of Square Dance, La Valse and Cortège Hongrois. The last two are not even commonly considered among his best works. Let there be no mistake: I am awed and humbled by the stupendous beauty of Balanchine’s choreography and the way today’s NYCB artists performed it.
  18. Since I have recently commented on the works in question in this thread, I will add my thoughts on Tuesday evening’s Here/Now program here. From my perspective, the evening was spectacular! Performances of Liturgy and After the Rain Pas de Deux, especially if the same ballerina is featured in the pair, should not be offered in proximity to one another. However, Liturgy is quite affecting a piece in its own right; and if anything, Maria Kowroski was even more brilliant and dignified Tuesday night in it than she was a few months ago. György Ligeti’s piano pieces in Polyphonia sounded, in point of fact, accessible. Christopher Wheeldon’s ballet is enjoyable, and the fledgling cast, which included Emilie Gerrity and Ashley Hod, performed satisfactorily. To those watching it for the first time, Polyphonia is as neoteric as it is to Unity Phelan. This enchanting young dancer was ravishing in a leading role newly assigned, and her interpretation will only improve in the future. Furthermore, Lauren Lovette, who seems to have regained the weight she had unhappily lost at the start of the year (making Princess Aurora’s transition in The Sleeping Beauty from girlhood to womanhood then less persuasive), looked gorgeous: her elegant rendering of the ballerina’s portion only confirmed my favorable impression of the work’s sixth section. Partly on account of its underlying thematic gloominess and darkness, Alexei Ratmansky’s resplendent Odessa virtually gave me goose bumps. Its profusion of beauty—musical and choreographic, as well with regard to color, lighting and costumes—flabbergasted me. And, in contrast to the previous ballet, what a stellar, expert cast performed it! Tyler Angle, Joaquin de Luz and Taylor Stanley were superb; the masterly trio of Ashley Bouder, Sterling Hyltin, Sara Mearns, awe-inspiring. Yet again, Ratmansky in this work employs the members of the corps throughout with unmistakable assurance and effectiveness. Becoming familiar with the music only enhanced my appreciation of the energetic, spirited The Times Are Racing. Everyone on the stage, including the choreographer and a healthy Amar Ramasar, sparkled. Besides the accustomed female, my eyes naturally gravitated, however, to Brittany Pollack, Indiana Woodward and—Ashly Isaacs! The latter’s appearance here—a spellbinding amalgam of tomboyishness and femininity—as well as the enthusiasm and brio with which she tackles this part are irresistible. In sum, what a memorable evening, which additionally—thanks to the wonderful women of NYCB—left me with the fantastic feeling I had attended a command performance!
  19. Being dismissive and cynical about romantic ideals in this day and age is commonplace. In the synopsis for NYCB’s Swan Lake I read: “The spell can be broken only by a man who swears undying love and fidelity.” This latter concept (particularly) causes us to roll our eyes and sounds incredibly naive, unbelievable to our super sophisticated 21st century ears. The prospect of betrayal is entrenched into the story by the librettist of Swan Lake after all. Most people, needless to say, are supremely aware of the power of sensual lust. Life itself, however, is no less deceptive than a fairy tale. Upon careful, judicious consideration, what peculiarly enough makes The Sleeping Beauty so powerful, so haunting, so thematically cohesive and convincing is the sobering realization how the breaking of the spell in that instance is inextricably connected to “undying love and fidelity.”
  20. Polyphonia and Liturgy were the 2nd and 3rd ballets respectively out of the four which made up the all-Wheeldon Program 1 of the Festival. In addition to Unity Phelan, the solid cast for Polyphonia included Sterling Hyltin, Brittany Pollack and Sara Mearns. My familiarity with György Ligeti’s strange, mysterious, transfixing music (used in Polyphonia) extends only to hearing it on film soundtracks. Christopher Wheeldon’s ballet (new to me) is divided into ten sections, of which the sixth—beginning as a pas de deux and ending as a solo featuring the always reliable Mearns in the spring—was particularly alluring. Two more pas de deux, with Phelan and Zachary Catazaro, exemplified how appropriate peculiar, contortive movement in ballet can seem when accompanied by suitable music. What impression this work will make with the young dancers in the cast for the upcoming performances remains to be seen. Liturgy, on the other hand, will again be interpreted by the seasoned Maria Kowroski and Jared Angle. Set to Arvo Pärt’s ethereal music also, this piece resembles the more affecting After the Rain Pas de Deux. I am looking forward to viewing it again though. These two ballets amounted to neither the best nor the worst of Program 1.
  21. Someone had to point that out. Thank you. Even though I am not familiar with Matthew Bourne's version of Swan Lake, from a psychological perspective I have no problem with it. However ... thanks, but no thanks. I love Symphony in C, Tchaikovsky Piano Concerto No. 2 and other Balanchine ballets as well. Whether the women currently on the roster of NYCB--principals and members of the corps--are the most beautiful female ballet dancers ever is completely besides the point. With their presence alone, they make Peter Martins' Swan Lake an eyeful. Chacun à son goût!
  22. Act II of Peter Martins’ abstract, expressionistic Swan Lake retains enough of the customary otherworldly beauty associated with this portion of the iconic ballet as to make watching it worthwhile. In Act IV, the stage is bathed in fetching green and blue hues, blending soundly with white, black and red from the costumes. Lighting, moreover, is used effectively during the closing minutes of the ballet. The choreography—for both the female corps and the principals—is exciting throughout the finale and meshes so seamlessly with Tchaikovsky’s extraordinary music as to make this scene powerful and moving. NYC does not have a Russian ballet company focusing on the 19th century classics permanently stationed here! Visits from the Bolshoi and the Mariinsky are currently infrequent, and even if they were to bring their productions of Swan Lake and Sleeping Beauty over some would complain about the dull, unimaginative programming! Leaving aside the need to sell tickets, these are nevertheless essential works which need to be presented and viewed in our metropolis with regularity. Lastly, I happen to like the NYCB ballerinas and revel in watching them assume the challenges posed by these roles. Since they are, indeed, not representative of their repertory, NYCB should of course not be taking their respective version of Sleeping Beauty and Swan Lake on tour.
  23. My feeling has always been that all the praise I have heaped on Tiler Peck in my posts, most prominently in this thread, was well-earned. Her performance as Odette/Odile in last evening's Swan Lake--a performance brimming with life and distinction--merely further justifies it. Although I lack eloquence, I am at least very proud and honored to be able to recognize and appreciate what a marvelous artist she is; and I cherish dearly all her accomplishments.
  24. As if to prove me wrong directly, Ashley Bouder gave a virtually flawless performance in Swan Lake on Sunday afternoon. A segment of Odile’s variation went awry. However, the Act III solo was otherwise wonderful. Although a few in the chain of Bouder’s embellished fouettés may not have been perfect, I believe (without actually having counted) she did them all and finished well. There were no other technical flaws I could detect either in the rest of Act III or the Odette sections. Contrariwise, impeccable turns and arabesque poses, as well as long-held balances abounded. Throughout the entire length of the ballet, furthermore, Bouder displayed an admirable and striking musicality. Odette’s grace and beauty and tenderness consummately matched in Act II the same qualities in Tchaikovsky’s composition. Bouder’s alternating rapid and subdued movements, and expressions in turn of profound fear, anguish, despair, and ultimately fortitude and resignation, likewise, appeared intertwined with the electrifying music the great Russian artist composed for the final act of the ballet. A gripping performance overall, and positively searing in Act IV! Some praise is also certainly due to Andrew Veyette for his adroit partnering, as well as his fine solo dancing.
  25. On Thursday evening, Ashley Bouder was a cunning, seductive Odile. More importantly, she was impassioned and affecting as Odette. There were some mistakes; but there always practically are in this demanding dual role. What matters is that Bouder gave a committed, richly detailed, very moving performance. I wouldn’t underestimate an artist of her caliber in any part.
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