CTballetfan

Thank you, California and Laurel, for your recommendations. Thanks too, Laurel, for the clip. Lane is such a beautiful dancer.

Make your own trios will go on sale on Tuesday Jan. 29 and I would be grateful for some advice. For sure I want to see Sarah Lane and Christine Shevchenko. Which ballets of theirs should I not miss? I also am leaning toward seeing Tharp Trio. Has anyone seen this?

I want to echo Vipa in giving one Best to Joaquin de Luz’s NYCB farewell performance. Not only T&V with Tiler Peck but the other two ballets he danced that evening as well. He ran rings around the other male principals in energy, execution of his high jumps, and joy. He will be missed in NYC!

In response to those who asked for reports on Nutcracker performances, I attended last evening’s performance with Tiler Peck as SPF, Gonzalo Garcia as her Cavalier, and Ashley Laracey as Dewdrop. A spirited, joyful and energetic performance. First, all the children were wonderful. I didn’t remember that there were so many roles for kids. Except for a fall in the Act 1 party scene as the horde of kids ran from one end of the stage to the other, they were all perfect, joyful, and incredibly well trained. Kudos to Athan Sporek, the Little Prince. As others have noted, he has true stage presence, as well as musicality and dance talent. His pantomime of killing the Mouse King was the best I’ve ever seen. Tiler was her usual musical, perfect self, a joy to watch. The two shoulder lifts looked effortless (Garcia was a supportive partner, although his solos were sluggish and he looked a bit out of shape). The only weird thing was that one of their pas de deux ended well after the music ended, leaving Tiler to raise her arms in the final pose at stage front center after the music stopped. Don’t know why this happened. Ashley Laracey looked thin, although she danced well. Harrison Ball replaced Troy Schumacher as Candy Cane and did a great job, his hoop jumping effortless. Olivia MacKinnon was a competent but not memorable Coffee with not enough energy, style or pizzazz for the role. In comparison I was reminded of how great Tess Reichlen is in this sultry, sinuous role. Adam Hendrickson (former NYCB dancer) was a loving, not frightening Drosselmeier. Preston Chamblee was a funny Mother Ginger, especially since I know he has the build of a football player. The corps numbers—Snowflakes in Act I, and Flowers in Act II—were wonderful. Kudos to the orchestra as well. This was my only Nut this year and my adult daughter and I, who have seen it many times together, had a great evening.

Wonderful news for this special couple who have given so much joy to their ballet fans. They have always been my favorites and now their lives will be even more enriched.

I agree, a lot to absorb. I am excited for the Tharp programs. I will want to see that. What are members thinking about Jane Eyre? Has another company performed it? If so, what was the response? I think I’m done with Manon. No one can top Ferri in this. I’ll never forget it. Also done with Swan Lake, no matter who is O/O. Anyway, casts change so you can’t ever be sure who will dance leading roles. That’s why I love NYCB—so many great ballerinas I enjoy whoever is cast. What are others excited about? Bummed about? I’ll have to think long and hard before committing good money to a series when casts change on a dime.

A couple of more points about the De Luz farewell performance, which I attended. Yes, the last woman to come out, throw her bouquet onto the pile, and break into dance with him was his mother, dressed in hot pink that probably played well to the 4th ring. What a happy occasion! Second point: In Todos Buenos Aires, I watched the quartet of principal men who danced with De Luz. The only one who was really and meaningfully dancing was Taylor Stanley. I couldn’t take my eyes off him, he put so much of himself into it and he is so musical, lyrical, has an exquisite line and dances with heart. More principal roles for him please. Yes I can see him as Apollo—his own interpretation. The three disappointing men, going through the motions with hardly any movement or energy, were Andy Veyette, Jared Angle, and Ask la Cour. Taylor Stanley—and De Luz— danced rings around them. I know it was the last performance of the season, but they could have tried.

The De Luz farewell was great fun. He has more energy, pizzazz, technique, and charisma then any of the other men dancing at today’s performance. He and Tiler Peck were joyous in T&V. I also liked the playful solo with the cellist. He can certainly command the stage by himself. Too bad he is retiring, the company still needs him in light of the current situation. Hopefully the new promotions will help fill some casting holes.

I was there last evening (Thursday) and as manhattangal says, it was a balm for the soul. So transformative. Best: the 2 Ashley’s—Laracey and Bouder. Laracey, in Emeralds, was regal, majestic, her head held high, her inscrutable expression hiding mysteries of the character she played (even though this was a plotless ballet). Everything about her performance was perfection, just what I would expect of the best principals at NYCB. Please promote her. Bouder, with her wonderful partner Joaquin De Luz, lit up not only the theater, but New York, in Rubies. The joy, the dizzyingly fast pace, the energy and precision—words fail me. This is the perfect vehicle for Bouder. And they had so much fun together! I also applaud the corps in each section. They were all wonderful. A special shoutout to Sterling Hoxha in Emeralds for his seemingly weightless jumps, one almost stopping in midair. What a relief from all the troubles the company has been having.

I agree with Kathleen O’Connell’s footnote on Tiler Peck and Sterling Hyltin. Although one should never have to choose between two of the world’s greatest ballerinas, my personal preference is Sterling, and I consider myself so lucky every time she is listed as dancing in a performance for which I have tickets. She has an ethereal quality, yet spontaneity, which transform her into every role she plays. In many ways she reminds me of the great Allegra Kent. I am sorry she just retired the role of Juliet, I loved her in that. But I love her in anything she does. I love Tiler too—no one can touch her in so many roles—she’s just a different ballerina. Lucky to have both of them, and Ashley Bouder, Sara Mearns, Teresa Reichlen, Megan Fairchild (come back in the spring please!) —all different, each in her own way, and all superb!

I also will not continue to contribute as a donor to the company until all those who participated in this travesty are gone. That includes the unnamed “company principals” in addition to Finlay, Ramasar, and Catazaro. The reference to rape by someone in the company is a criminal charge. Is someone being charged? There is so much speculation and innuendo, which the board should address. The company is only as solid and solvent as its support from the public, which includes all of us who are posting on this forum. It’s hard to believe that just yesterday I was waxing euphoric about my excitement for the fall season. I hope the board will do more to clear this up—for the artistic and economic health of the company, its dedicated dancers, and the public that supports NYCB. Btw, it is standard practice for personal injury cases to be taken on contingency, usually a contract between the plaintiff and his/her attorney in which they agree that the attorney will be paid a specific escalating percentage of the settlement depending on the amount of the award. Attorneys will take those cases on contingency which they expect to settle in the client’s favor.

How repulsive that so-called professionals whose mission is to create magic for an audience have so besmirched themselves, their art, their fellow dancers, and those who pay to see them create beauty. I am appalled and don’t know how I can ever again believe in the magic. I have a subscription and am scheduled to see Jewels, the DeLuz farewell, and a program in the spring,but have such a bad taste in my mouth for it right now. It costs me a lot of money to arrange to be in New York for these performances, but I do it because, during the performance, absorbed in the beauty of the ballet and the music, I feel transformed. I doubt I can feel that anymore. I also feel so badly for all the innocent dancers who have been affected by these men and their behavior. The innocent have dedicated their lives to realize their gift, and at this company they have been tainted through no fault of their own. I will have to rethink my commitment to this company.

I’m confused on this point too. In my reading the article does not say to whom the complainant reported the communications. Is this right?

Also shocked. I read the Times article twice and it seems that texts and emails were sent by these dancers to the complainant. These pieces must be very damaging for Finlay to resign immediately (shades of Marcelo Gomes?) and the other two to be suspended. The article says nothing about accusations of sexual or physical abuse, only accusations of inappropriate written remarks—verbal abuse? I don’t know what to make of it, but it will be devastating to the company. I was so looking forward to my performances of Jewels and the De Luz farewell. What kind of performances will these be for the dancers and the audience?

In my dreams! I would LOVE for Ethan Stiefel to get this job. He has already proven himself as an artistic director of proven leadership (New Zealand Ballet) and a careful, respectful coach and teacher. I hope he is considered.

My subscription tickets just arrived in today’s mail. I have a flex plan of three performances.

I also have still not received my subscription tickets in the mail. Has anyone here received them?

According to an article in the New York Times today, NYCB has just posted the job opening for artistic director and states that interviews will begin in September. I couldn’t find an existing topic here so am proposing to start one. Please move this post to an existing topic if there is one. I hope members will read the Times article and official job description and begin a discussion of what focus you think the job should have, the direction the company should take, and any candidates you think should be considered, from within and outside the company. My two cents is only about the repertory. Although I think new choreography should continue to be supported, I would love to see more of the Balanchine classics revived, especially those not seen for some time, maybe on mixed bills that offer both classics and new choreography. I would love to hear your thoughts. Already salivating about the fall season, for which I can't wait!

Thank you!

Any idea when ABT will announce casting? I have in mind to see one program but won’t buy tickets until I know who is scheduled to dance. Of course, with ABT, casting could change, as it often does, but I might give it a shot.

The box office is now open, almost all orchestra tickets are available, and no casting has been announced. I think if casting had been announced I might be tempted to try to see Symphonie Concertante. No recent clips are available anywhere that I could find. I saw a long clip of In the Upper Room on Youtube and the Philip Glass music sounds exactly like the music for NYCB’s Glass Pieces. Is that true? I have no interest in seeing Fancy Free for the umpteenth time, ballets in sneakers or paired with tap or hip hop don’t move me, and based on comments about the subject matter of Afterite I would never see it, so it’s likely that despite availability of lots of good seats at reasonable prices, I won’t come in. As someone else posted here, NYCB has a good fall season, I have tickets to Jewels and the DeLuz farewell, so I’ll probably pass unless some casting I can’t resist is posted. Why didn’t they revive a Tudor ballet as was discussed on this board? That would have been something to see.

How lucky I was to have seen her as Juliet in February of this year, bookended by my first viewing of her Juliet in 2007 to Robert Fairchild’s Romeo—that partnership one for the ages. I commented in February how enriched her interpretation has become since 2007. I don’t quite understand why she wants to retire the role when IMO she is one of the great contemporary interpreters of it and she is younger than many ballerinas who still dance it. Is she tired of it? Does she want to take her career in a new direction? Concentrate on more contemporary roles and new choreography? Any clues?

About a month ago I received a call from an NYCB sales rep asking me to renew my subscription. I couldn’t commit then, but on receiving a follow up email from her a couple of weeks later I called her and ordered a flex subscription of 3 performances of my choosing. Tonight I received an email from her giving me my seat assignments. Luckily I was able to be seated in the section of the orchestra I requested. It was worth it to spend upwards of half an hour with the rep when I ordered. She was attentive and pleasant and noted my specific seating request on the order. I was very satisfied with the experience. Tickets will be mailed in August. Very excited about the fall season!

Thank you for this video of Jacques D’Amboise. I had forgotten how amazingly he danced. His height enhances his line, and despite his height he seems lighter than air. Then I watched the video right below of Angel Corella—as good as he is in this role, to me D’Amboise surpasses him in a jaw-dropping way. If I run into D’Amboise at the ballet (as I did about a year ago) I’ll tell him I saw this clip. Thanks again.

Well put, nanushka, I agree with your definition. However you see it, the dancer becomes the dance, and that is the magic.