Marta

2 hours ago, matilda said:

"mediocre" is not a word I would use to describe a company with talents like Skylar Brandt, Aran Bell, Christine Shevchenko, Catherine Hurlin, Devon Teuscher, Cassandra Trenary, Daniel Carmargo--plus up-and-comers like Chloe Misseldine, Sunmi Park, Zimmi Coker, and Jarod Curley, among others. But they do need to recruit more male danseur principals ASAP. It's hard to imagine how they'll cast Basilios, Siegfrieds, and Albrechts in the near future given the company's current state. Male casting for the 2023 season already leaves much to be desired. 

Just the dearth of stellar principal males casts a mediocre aspect on ABT.  Aside from Cornejo and Simkin, maybe Camargo, most of the males are  lackluster. The loss of Ratmansky is significant.  What is ABT going to do to become more attractive?

I also agree with both Drew and Vipa.  I'm a long time fan of Lane's even though I didn't see her that many times at ABT.  I  especially loved her Giselle with Simkin and her SB with Cornejo.  Veronika Part, another great dancer badly treated by ABT,,  didn't continue to dance after she left ABT.  At least it's encouraging that Lane is still dancing, although  it doesn't look as though her career is going to flourish again.

Jerome Robbins' Brandenburg will now be performed on the spring's Masters at Work: Balanchine & Robbins III program on the following dates:

• Sat, May 27 at 2 PM
• Sat, May 27 at 8 PM    

     Argh. Don't hate me for saying it .  I think Brandenburg is a masterpiece, but I don't want to see it that night!  

2 hours ago, volcanohunter said:

I'm pretty sure Google is mistaken. By the time The Sleeping Beauty reached the Paris Opera, it had been running on electrical power for a long time. More likely Petipa was inspired by the recent electrification of the Mariinsky Theater.

I was a bit skeptical. The explanation was attributed to Doug Fullington, but  there were other "theories". 

1 hour ago, BalanchineFan said:

Oh yes, First Ring center would always be my first choice... except for the price.

And how!  I only know how good the first ring is because I sat there twice to see Paul Taylor.  Price was much lower for PT!  

35 minutes ago, BalanchineFan said:

I love the First Ring left. The vantage point on the stage is good. The ladies room is close by. A lot of company members (Wendy, Jonathan) watch from the First Ring. The AA seats are decent, unless something is upstage right.

The first ring center is the best.  Second ring center is  very good, especially in the front.  My seats are in E, the last row. Right next to the exit and nobody behind you kicking your seat.

21 minutes ago, BalanchineFan said:

Welcome to the board, pirouette and YES! I would love to see your chart of soloists in principal roles.

 

I'd love to see the chart too.  Great idea!

Agree that Davide Riccardo is a strong dancer.

Just now, FPF said:

I think Wendy was around 5'4" and Darci was around 5'6".  The other original Auroras that I can remember were Judith Fugate and Margaret Tracey. Not sure about their heights.

Agree, I would have guessed the same, and for Fugate about 5'4".  The only Auroras I saw at NYCB were Kathryn Morgan and Hyltin both of whom were probably 5'5.  Sarah Lane in Ratmansky's production at ABT is also a short dancer.

I'd go for Peck or Fairchild.  Hard to choose which!

On 2/4/2023 at 5:18 PM, KikiRVA said:

Allegro Brillante was just beautiful.  The corps was ON FIRE, and Megan and Tyler looked great.  Like the comment above on the other Tiler, his extensions are wanting, but I thought he danced very well.  
Unity looks like she will grow in Gounod.  I saw a lot that looked mature, and some that looked comparatively restrained (but Sara is my only comparison).  She took a spill at the beginning of her solo, which probably didn’t help her feel super-secure.  I was thrilled there were 3 Black women in the supporting casts with fabulous braids and natural locks when the hair came down at the end.  

I saw these two ballets  two weeks ago and loved Fairchild in Allegro.  As others have said, in the past I didn't seek her out. But in recent years her dancing, always technically impeccable, has become much more expressive.  Based on some comments here about Tyler Angle, I had low expectations.  He danced well although is clearly not in his prime.  I enjoyed seeing Liturgy, in which I had previously seen Kowroski.  Sara Adams, new to me, was excellent.  All the dancers in Walpurgisnacht were great.  Phelan did seem restrained. Maybe this is not her role. I was so happy to finally see Emma Von Enck in a featured role.  She's ready for promotion along with Nadon and Gerrity. I wonder though if Nadon would be promoted this soon to Principal after only 4 or 5 years at City Ballet.  I don't love Firebird but am still always glad to see it,  The Firebird has some exquisite moments.  The total work is such a masterpiece: dance, music, sets, costumes together create  another world.  

On the all Balanchine program, I loved Donizetti Variations with Tiler Peck.  Some have commented that she's lost height in arabesque and back flexibility in recent years.  These are not her strengths.  I'd watch her in anything. Musicality, speed, precision, ballon, the personification of joy are what draw me to her.  Veyette danced well.  I really liked Valse Fantaisie and can't say enough positive comment about Woodward and Mejia.  They were fabulous.  For me, the highlight of the evening was Stravinsky Violin Concerto. in which there were stellar performances by everyone.  All of the principals, and  especially Nadon and Gordon, were just wonderful.  The all Balanchine program was one of the best I've seen  in terms of variety since the start of the Stafford/Whelan team.  

9 minutes ago, abatt said:

I went to yesterday's matinee.  Remember when there was a Vodka toast to Mr. B on his birthday.  Not anymore.  Remember when the company scheduled special demonstrations and lectures for his birthday?  Not anymore.  Now we are down to a note in the program.  ...

And now we turn to Tyler Angle. NYCB has entirely abdicated its duty to regulate who is allowed to appear on stage.  At this point, his appearance is embarrassing.  He is  very overweight - way worse than Bouder looked in the fall.  At least Bouder had a legit reason for weight gain - out with injury for an extended period.   Quit applying a double standard to women and men.  I don't care how good he is as a partner.  Either train someone else in the role or don't perform the ballet if you don't have anyone suitable.  I'm sure that for an ordinary person of his age his weight is fine, but he is not in the job of an ordinary person.   He should succeed into the character roles of Jared at this point.

 

I was just thinking about the Balanchine birthday toasts last night.  I remember especially the 100th birthday celebration when Baryshnikov walked onstage  with  glasses and vodka on a tray.  What is going on with the administration at NYCB that they can't manage more than a program note? 

 Also, regarding  Tyler Angle,    I haven't seen him in a long time.  I'm embarassed to say that the double standard wasn't prominent in my mind.  You're so right.

brokenwing said:

4 hours ago, volcanohunter said:

Another weird advertising campaign. You'd think it would at least use the actual music.

 

UGH.  The 30 second visual doesn't evoke SB in the slightest.  Does NYCB have a new designer/photographer for visuals?  They are so unsatisfying.

21 minutes ago, Rock said:

Isn't that Miriam Miller?

Looks like Miller.  Is the man Gilbert Bolden?  I also was underwhelmed by the teaser.  It did not make me want to see the ballet

14 minutes ago, ABT Fan said:

Wow. In the article he says he needed a change and there was the danger of knowing the dancers too well, they’d know what to expect of him. But, he’s been choreographing at NYCB during his entire time with ABT and for longer, in fact, so he would know the City ballet dancers even better than ABT’s. Hmmm.

However, hasn't he made more ballets for ABT than for CB?

Wonderful news that Ratmansky is going to NYCB!!!  

On 12/4/2022 at 10:58 PM, canbelto said:

7 minutes ago, Jane Simpson said:

Her Twitter page now says October 2023.

Thanks for that info.  

@ Helene:   Harss is a terrific writer.  I've been reading her reviews and articles for many years.  A few months ago on her Instagram, I think she said the Ratmansky book was being published in spring of 2023.  I did see her interview Lynn Garafola - somewhere, but not on Facebook.

On 12/2/2022 at 12:09 PM, abatt said:

I wish the NY Times would hire her.  The folks they have writing dance reviews at NY Times now are unimpressive.

That was my first thought too. I wondered if the NYT would ever lay off their critic[s].  I do like Marina Harss very much but she usually writes articles rather than reviews.

Welcome to Ballet Alert!

I just returned from Spain. Although I missed the national ballet company in Madrid, I did see a lot of fabulous flamenco. Thanks for mentioning your blog.

Lopatin and Stashkevich, Bolshoi 2014.  I  especially love Lopatin.

https://www.youtube.com/watch?v=0R04EBmjnCQ&t=23s

31 minutes ago, California said:

There is a documentary about Osipova, "Force of Nature," which is available on Marquee. I have no idea what program is planned for City Center, but it seems possible some of this material will be included.

Here's a trailer for the documentary: https://www.imdb.com/title/tt10308160/

The documentary is excellen; I watched it twice.  Some of the contemporary material was interesting. However, the costly tickets and potential dud factor of this performance  are turning me off.