Marta

Congratulations, Ivy. Excellent review. I've read a lot about this company but have never seen them.

I saw the production when it was new and after one viewing I never wanted to see it again. As Rock said, those tempi made this beauteous score into something very different. There's no sense of breath or air in the music, I really missed the port de bras and epaulement despite that I know NYCB is not known for dancing with the upper body. Maybe Martins should have streamlined some other classic with "speed and energy". I did like the garland dance and the many children, but no amount of lovely costumes or clever projections would draw me to a ballet.

You make some excellent points, especially about the household word status of Picasso and Bach. I live in Boston and know intelligent people who have never heard of Balanchine or read the New Yorker. They have no interest in dance or opera, visual arts or music. I do think the NYT writers try not to assume a certain level of dance knowledge or sophistication of their readers.

Makes my day.

I saw this ballet a few years ago with Kowroski and Ulbricht. It was spectacular! They were perfect in this work, as they are in most ballets. It was on a program with newer and very new ballets, but it was the most radical and most creative work in the whole performance. It is quite static spatially and some think it's related to Agon or The Cage. I don't see that, other than the movements are very angular Really you can't take your eyes off it for a second. Go see it!

Thanks for posting this, cubanmiamiboy. Clifford said it was a home movie, yup. If only the quality were a little bit better! I was just reading through this thread and just about every youtube link led to a frowny face "sorry, this video is no longer available". There are still some terrific clips of GK on youtube, though.

I like Taylor Stanley but haven't seen him dance much. I thought his Apollo was fine but definitely lacking in the "wild half-human youth" quality, as well as the godlike nobility. His facial expressions didn't help the interpretation, not that I think Apollo should ever be smiley. You mention Ib Andersen whom I saw once as Apollo and he was wonderful! I wonder if Stanley and others making their debut can hear the "footsteps of giants" behind them. I always enjoy Tiler Peck although I don't think Terpsichore is her best role . I also like to see a taller dancer-- have to confess a preference for the "goddess" type. Woodward and Pollack were both good. Kowroski was magnificent in Agon. There is no one greater! I've seen her in Agon several seasons ago and she is still memorable. Although I think the Angle brothers are both declining, I was surprised that Angle in Agon was satisfying and more than just a good partner. Megan LeCrone also surprised; she is clean, precise, light. Only the tense facial carriage is a negative. Huxley in Agon was spectacular, I loved him! Although I don't think Orpheus is an easy work to love, it has a poetic aspect that I found appealing. I really liked Garcia's performance and he's never been a favorite. Yes there are some silly aspects to the ballet and parts of Noguchi's design are ugly or awkward. It's always interesting to see an unfamiliar Balanchine.

I think Taylor Stanley is a fine dancer. I have to say I haven't found him incredible, although I'm very happy to be seeing him in Apollo instead of Garcia. Garcia has never moved me in any role. Agree that the decline of the Angles and Veyette is quite glaring. While I liked Catazaro, I was underwhelmed by his Apollo last year. I think Joseph Gordon is terrific!

How I would love to see Farrell as AD, but I also don't think she's inclined to take on NYCB. Her age has been mentioned as a signifcant minus. Neither Kent, Kowroski or Ringer are likely possibilities to me. Are we going to be completely surprised by the final choice? I'd be shocked if it were Woetzel.

I love this ballet and have watched the youtube clip possibly hundreds of times. Makarova and Baryshnikov are sublime together. They created the roles and in some way "possess" them as no other dancers can. Do you also like the solos and the ending duet? There are some interesting comparisons on youtube of other dancers in the solos, emphasizing to me that the original is the gold standard.

I completely agree. Both films had corny and trashy plots, but still worth seeing for the dancing.

I love Balanchine's Nutcracker the most. I also love Baryshnikov's film and have seen it dozens of times. I've seen both the Maryinsky and Bolshoi versions on film and disliked both intensely, despite wonderful dancers.

Wonderful film that I'd never seen. Thanks for the link!

Dirac said: Also, given the apparent emphasis on hiring a woman, in the recent past Whelan hasn’t exactly been outspoken on behalf of, say, female choreographers: I’d hate to think of women not getting a crack at opportunities because Whelan senses weird energies coming from them, or something. If she's going to run the company, I just hope she's now ready for that woman-to-woman connection ....... Weird energies that clash and weird connections ... "physically and emotionally not ready for ... the woman to woman connection"? It was her right to choose whom she wanted, but her answers, or rather her responses [she didn't really answer the questions] are disappointing and seem to hail from another decade. However it isn't fair to prejudge what she would do if she becomes the AD.

Signs aren't pointing to Lopez because she was in the company while Balanchine was still living.

Thank you so much Katia for posting this. I love Makarova. I'm watching it now.

Maybe there are mystery candidates that none of us have yet mentioned. All of the mentions are unlikely. Either happy where they are, have no experience, too old, combinations of those. Woetzel to me would have been the best choice, but I would be very surprised if he left Juilliard. I agree with fleurfairy that the interim team is managing very well yet I don't think they should remain permanently. Many people have advocated for Jon Stafford. Lopez or any other woman shouldn't be considered because she ticks the female and minority boxes.

That is exactly how I feel. Farrell created that role, and without her it's another ballet.

I'm quite sure you're correct. When I read that Farrell was invited back to stage DQ and refused, I thought that couldn't be right. Somehow this ballet without the original cast doesn't seem "viable". Not that I ever saw it in the theater. Clifford has clips of it on youtube however.

Thanks for posting this, Ivy. This video is wonderful for those of us who couldn't see it in person.

Good point, you're right.

True ... except for point two. Very few SAB alumni get jobs with NYCB? I thought it was more like very many.

Drew and Vipa, thank you both. I was also struck by the interim team's invitation to the great dancers who have returned to coach. I recall the video clips of Verdy just a few years ago coaching Tschai PdD. What a fabulous treasure for a dancer!

Mamma mia! I can't believe anyone still says "colored". That definitely disqualifies him. Also, as someone here said, he seems to have neither interest nor much awareness of contemporary choreographers like Ratmansky, Peck, etc. I doubt he would be the successful candidate. However, I said that about the current occupant of the White House too.

I never loved the theme idea that NYCB came up with 10 or more years ago. I do love the all Balanchine or the Balanchine B & W but as Vipa said, I also would be thrilled to see a program with an indisputably great Balanchine and two new works, or two by other choreographers, new or not. I'd be curious to know which programs had higher ticket sales.