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About Emma

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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    New York/DC
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  1. Hurlin does have an extensive presence in traditional dance media: she's had multiple covers in Pointe Magazine (one solo, one with Aran Bell) and was recently featured in a NY Times piece. Her mother was also a Paul Taylor dancer and runs Dancers Responding to AIDS. Not that that should detract from how outstanding a dancer she is! But she is connected.
  2. Nina Fernandez danced Firebird in the second cast (per MCB casting). I greatly appreciated Morgan's video, and although I thought she walked a find line, didn't find her to be complaining or resentful, just disappointed.
  3. Megan Fairchild has said that her early promotion was mentally tough even though she didn't have injuries, but then Tiler Peck seems to have been perfectly ready at age 19 to handle a principal spot. Well, she did have a pretty terrible injury not too much later so scratch that. But that's still no reason to hold back Woodward or Kikta, who IMO have both been overdue for months if not years.
  4. As of the 2005 contract, there were various hourly rates a dancer would be paid based on how many hours they already worked that day, and whether the rehearsal hours were consecutive or not, on top of base salary.
  5. Back in 2005 (the only publicly available AGMA contract for NYCB I could find a few years back), the base principal level performance week salary was $200/week higher than the base soloist level.
  6. She also posted on instagram about "humility" on the night of Cornejo's 20th anniversary performance, so I'm less surprised by the "shade" than the Hope Hicks quote since so many of her colleagues are members of groups targeted by the current administration. I'll try to find that post when my wifi connection is better.
  7. I appreciate your insight as well! From the article, I also understood that Tiler would only perform 10 fouttées and then do something else for the remainder of the music, even in performance. Your explanation makes more sense.
  8. From my understanding, the Lakeside scenes are adapted from Balanchine's one act version. Has there been further changes from that?
  9. Swan Lake Week 2 casting has been posted, and week 1 casting updated. Still no pas de quatre.
  10. I'm a bit late, but I thought I'd share my impressions from a few weeks ago. All in all a great night at the ballet. I’m Old Fashioned: This was fine. It was a long piece, repetitive, and reminded me so much of Tharp’s Nine Sinatra Songs, which incidentally MCB will dance in the upcoming program, and Martins’ Thou Swell. My grandma loved it—it was far and away her favorite piece of the night, so I gather MCB knows its demographic. A red headed man in a principal role really got the style, perhaps Alexander Peters. This piece reminded my grandma of a scene in the movie Flying Down to Rio where women dance on the wings of the plane. Lucky for us, I found it on Youtube. I enjoyed the video very much so will share the link. This Bitter Earth: Mesmerizing. I can’t say anything more, since I was basically entranced during the entire piece. The dancers were Emily Bromberg and Rainer Krenstetter. Tschai Pas: Dynamic as always. The fish dives were so daring it looked like Katia Carranza was at risk of falling out of Carlos Quenedit’s arms. Carranza interspersed her fouttées with piqué soutenus, which looked particularly sparkly. Symphonic Dances (Ratmansky): I may have ranted about Ratmansky’s choreography on this blog before. If so, I apologize for the following. Symphonic Dances has three parts: a drab first section, a carnival-esque middle, and a drab finale. I couldn’t begin identify any dancers. The first section was my favorite, if you can call it a favorite. Least hated may be a more accurate description. It had the most interesting, least twee, and least disturbing choreography, and didn’t seem to go on forever. The second section. Oh my. I never asked to see a ballet about long lost twins. Well here it is! The beginning has two woman in blue in the spotlight run to the middle of the stage, throw out an arm as if to embrace, but there’s this ~invisible force~ so they can’t touch. The spotlight and twins disappear and the stage turns into a carnival of dancers in bright colors with a black background reminiscent of Moulin Rouge or Brazil. Then that goes away and the twins come back, still separated by the invisible force. The back and forth between Moulin Rouge and twins happens, I don’t know, five times. At some point the twins break the force and hold hands and dance together. Yay them. How lovely. That was sarcasm. Third section. We’re back to drab costumes. But now women are writhing on the floor in the fetal position with men standing above them holding one hand. Multiple couples are doing this thing on stage simultaneously. I have many questions, but particularly: why? Why is this happening? What am I seeing? In the program Ratmansky says he “want(s) the audience to leave with the images and feelings that the movement gives them.” Well, I have a lot of images and feelings about this ballet. I know I said it was a great night in the ballet, but honestly as many feelings as I have about Symphonic Dances, it certainly was entertaining! It’s rare I still need to rant about anything artistic days let alone weeks after viewing.
  11. Swan Lake casting now posted. A Cote, I assume Guillaume from National Ballet of Canada but (?), is guest starring as Siegfried for Sara Mearns' Odette. Also the pas de quatre casting was omitted—I do enjoy that section so I hope it was omitted in error and not cut from the production. https://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_February-11-16-2020_lobby.pdf
  12. If you haven't already seen it, City Ballet live streamed an Allegro Brillante rehearsal on facebook last week. LaFreniere was stunning.
  13. Agreed. That choreography is so fast and complex I had to watch the clips about five times to even begin to understand it! I love seeing dance clips on Instagram and am glad Brandt posts frequently.
  14. Agreed. Coming from out of town, I was able to make it to a number of performances this fall (will write about them soon!), but Spring 2020 is slim pickings. There's a few programs I'd like to see but they're not scheduled near enough together for a single trip.
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