DC Export

It seems like Catazaro will also be making his belated debut.

So sad to hear when anyone, famous parents or not, has an addiction. 

4 hours ago, abatt said:

Laracey is a lovely dancer, and I hope she is promoted, but she doesn't seem to be on management's radar as a top tier talent.

 

Fingers crossed that they decide otherwise. I truly think she has the talent and the attitude.

Spotify has access to a ton of the music that NYCB programs are choreographed to. Happy to share the playlists I've compiled over the years. (Though I don't have playlists for In the Night or In Creases.) My user name is MayRea if anyone would like to use them!

Would love to see her in that role.

2 hours ago, canbelto said:

 

She simply changed her Instagram name.

https://www.instagram.com/tilerpeck/

Thank you Canbelto! Not sure how I missed that.

Has anyone noticed that Tiler Peck's instagram has been out for the past week? Twitter is still up though. 

I attended last night. It was first impressions for all three ballets on the program.

American Rhapsody: They ditched the costumes the ballet premiered in, (probably for the best) but the alternative bordered on ice-skating costumes. You can definitely see Wheeldon's Broadway showiness, truthfully some of the choreography would have translated pretty well to figure staking too. I was surprised this was Stanley's debut. He looked like he's been dancing the role for years. The corps was incredible though and I thought the set and lighting was smartly used. The moment I really thought had some punch was during those big moments of the full orchestra playing the RIB theme, especially in the end. The corps, in a line downstage, quickly formed into still architectural formation. I wish more had been done with that motif- it seemed out of place, but it said something.

4Ts: This was, I assume, a pretty standard performance of this ballet. Gonzo Garcia in Melancholic, Mearns and J. Angle in Sanguinic, La Cour in Phlematic, and Reichlen in Choleric. I really loved the phlematic variation, though there were points where la Cour looked like he was just marking, and others where he was living the role. It seemed wrong and right-- suppose that fits in with the undecided nature of phlematic, but I didn't feel it was intended to be inconsistent. Reichlen was a little shaky at points in Choleric, but power power all the way through. The ensemble was strong, especially enjoyed Ashley Laracey in the themes section. 

Times are Racing: All the energy that 4Ts lacked was made up for ten fold here. It showed and the ballet was magnificent. I was disappointed when I opened by program and found that Ashly Isaacs would not be performing the Robbie Fairchild role as planned. Instead Justin Peck filled in. I find it a bit ironic when J. Peck is not able to fully articulate the steps that he, himself, created. Something I also noticed in Rodeo on Tuesday night.  That's not to disparage his dancing-- seeing him perform the part enriched my understanding of the aesthetic and point of view. (What would we have learned from watching Mr. B?) The big standout here was Claire Kretzchmar- she was absolutely wild with energy and seemed to dance apart from her costume. (Which was difficult, her outfit was extremely billowy and distracting.) Tiler Peck dazzled as well. I know many BAers have said that this piece was just noise. I have never been one for this kind of music, but I try and spend time with the music ahead of time (helps me "hear the dance" much better). When I started listening ahead of the January premiere, the score started out as "noise" became a much more complex landscape that I really appreciate today. Highly suggest spending some time with the music. 

Overall, I found the sense of community (standard Peck) a huge comfort. I left feeling that there is hope-- maybe for ballet, maybe for my community, society, life, etc. But it was exhilarating. 

As an aside, Indiana Woodward was in all three of these ballets and my eyes would naturally zero in on her, even if she was back row of the corps. Looking forward to seeing more and hearing about her Tarantella debut this weekend. 

8 hours ago, Natalia said:

Spartak Hoxha, on the other hand, was spot-on in his musicality and seemed to be having the time of his life...although I may have blinked when, at one point he seemed to slip and/or dropped the tambourine. I literally looked into my purse to grab a cough drop, when I heard a slight thud and the audience gasping. So what exactly happened?

He hit the tambourine with so much gusto, one set of the symbols flew off. 

Just returned from opening night of the tour at the Kennedy Center. Few thoughts from the performance:

Square Dance

-Megan Fairchild's port de bras was lovely, she brought out interesting bits of music with her arms that I would not have otherwise noticed. 

-Chase Finley always comes across the debonair, but I can understand the notes I've seen in recent reviews regarding a lower aptitude in partnering. My husband didn't notice anything, but I saw little fumbles during the quick steps

-Corps stand outs: Sarah Villwock, and Christopher Grant. Apprentice Kennard Henson had some missteps. 

Tarantella

-I've never seen this one before and it was a small joy. Erica Pereria was darling.

-Spartak Hoxha brought so much character and life for those eight minutes. Is the male part normally so virile and lively, or was this just a particularly good performance?

Odessa

-This one is still settling in for me

-I can appreciate how the play of shadow and light via the corps' movements was almost used as extension of the scenery (A la the second movement of Robbins's Glass Pieces), but the lighting was so dark I wasn't able to see the corps, whom I always enjoy watching. 

-Even though I've been listing to the music for this piece for the past several weeks on spotify (I make playlists for all the NYCB programs I can find music to-- feel free to follow me @MayRea), I didn't expect what I felt was a bit of an abrupt ending. 

-I think most of us come up with stories in our minds about what is occurring. I could easily follow the in-the-moment plot, but I found it difficult to string together. My husband had a poetic thought: the three principal men and three principal women are just one man and one woman at different stages of their relationship. Interested to hear what it mean to other NYCB fans who have seen this ballet since its premiere last month.

Rodeo

-Everything I could ever want in a ballet. I have been waiting since its premiere to see this piece and it exceeded all my expectations.

-Justin Peck danced the male lead for the pas, he had some missteps, but with Here/Now over, I'm not sure there were many options to assume the role originated by Amar Ramasar.

-Tiler Peck, as always was 10/10

-The whole ballet was meaningful while being very lighthearted. Hope and humanity was the core of how I saw this piece, I look forward to seeing it again.

-High five to Andrew Litton and the NYCB Orchestra on their own performance

-Corps Standouts: Harrison Coll, Peter Walker, Russel Janzen (not corps, but I wish he had a larger role in this one!)

I'll be at Thursday's performance of American Rhapsody, 4Ts, and Times are Racing and am looking forward to seeing more.

Any official word from NYCB? Company member for 13 years, five as a principal. Odd to leave without a hail from the organization. 

19 hours ago, Natalia said:

Not sure what's up but...I just received a snail-mail flier from the Kennedy Centre on the NYCB appearances in June. They no longer seem to be presenting Peck's DECALOGUE...just "one of Peck's newest ballets." Yet, the flier specifically states that Ratmansky's ODESSA will be performed.

 

All year long, DC audiences have been promised the new Ratmansky & Peck ballets "from the Spring 2017 NY season..." So will DC get the sneakers instead? (TIMES ARE RACING"...NY Export: Opus Jazz II)  Maybe it will be easier on the dancers?

Website is a little cryptic:

June 8 & 9 at 7:30 p.m. | June 10 at 1:30 p.m.
A new work by Justin Peck D.C. PREMIERE
To be announced, one of Justin Peck’s newest ballets created this season will begin the program.  
 

I wouldn't mind Times are Racing-- I find the concept of unisex roles to be intriguing. Would like to see it in practice-- especially since the opportunity to see the company is so rare for me.

10 hours ago, Natalia said:

 

We'll be getting this in DC next month, as well as the newest Peck. Yeah!

I can't wait! I have tickets to both programs and am crossing my fingers I can get cheap tickets the rest of the week through MyTix.

I find this conversation particularly relevant after reading the NYT profile of Ratmansky, Wheeldon, and Peck, Ratmansky mentioned the impact of the shadowy criticism at the end of "Apollo's Angels": Ballet is dead. There is naturally a fundamental difference in the way the public sees a company post-founder: is it a living museum for the founder's creation? Or an incubator to support the creation of works that build on his foundation? Can it be both?

The see-saw is undoubtedly tilting to one side with the Here/Now Festival, and I agree with many of you in saying that it's just too much. NYCB needs these bursts of energy to enrich the repertory, but Here/Now is a bit of an over-correction. They’ve packed the schedule so it’s impossible for regular ticket-holders to get the opportunity to appreciate the nuances of the works being presented with multiple viewings.

That said, I don't think anyone can doubt the strength of NYCB and Balanchine has been variety. Balanchine worked on Broadway, in Hollywood, he created Stars and Stripes (campy and frivolous) a month before Agon (harsh rawness). He liked variety and the company should continue to honor that part of his legacy. If we stop with the masters, then ballet is dead. Let’s just watch Peter and Suzanne on youtube and call it a day.

If I had one wish for the leadership in the company, it would be to restore and revive shelved Balanchine works while those he created them on are still with us. The Balanchine Foundation may be the official caretaker of his work, but NYCB is where it takes life. They need to expand that legacy with the wealth of talent SAB has fostered and create programs that go beyond the signature works. I want to see Tzigane in the State/Koch Theater where it belongs.

Casting for week three is up:

http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB_Casting_May-2-7-2017_lobby.pdf

A little surprised that there are two casts for the new Ratmansky. Suppose it's to give some of more seasoned principals a break during Here/Now?

New promo out today for the Here and Now Festival

On 4/5/2017 at 6:48 PM, cobweb said:

...Maybe they are saving debuts for the "Here/Now" festival. I keep getting served ads online for this. It looks like Miriam Miller and Aaron Sanz (I think it's him, not sure) are taking over "After the Rain." Something about the tenor of these online ads doesn't appeal to me. They're trying so hard to make it look "sexy." Glad to see Georgina Pazcoguin back. 

Cobweb, I missed that ad. Could you share if it comes your way again?

Part of me wonders if there will be many debuts this season. 43 ballets in four weeks is quite the production-- will they be able to rehearse so many programs comprised of new dancers? Also curious to see who takes over some of the Whelan roles that are in the repertory for the first time since she retired from the company. 

I saw Kowrowski and Tyler Angle perform the second movement during the 2015 NYCB tour at the Kennedy Center.

I vividly remember being completely in awe of her length and control during the developpe balances. After the show my husband and I took the shuttle bus to the metro and she sat night next to us. I remember thinking that she looked so worn out, but then learning a few weeks later that she was expecting! I feel so strongly about treasuring her gift while we can still see her on stage. Very hopeful that her characteristic strength and technique will be in top form.

Thanks for sharing!

I watched and re-watched the specials over the weekend. Really struck by Gwyneth Muller's performance in La Valse. Feel that she will be greatly missed in the corps. Any other dancers stand out to anyone?

I was in town last weekend and was able to hit up the final Saturday matinee of Winter Season. Finally getting around to sharing my thoughts on that day's All Robbins program. I had seen Suzanne Farrell Ballet do The Concert a few years ago at the Kennedy Center, but this was my first viewing of both Glass Pieces and Moves. One huge bonus to me seeing shows at the Koch Theater is NYCB's 30 under 30 program. A $30 ticket got me dead-center of the first row of the first ring. I was floored at the amazing location. I have a few years to go until I'm ineligible for the program, but I'm definitely going to be taking advantage of it more often.

First up, Glass Pieces. Orchestra was in full form, saxophones were beautiful and the drums in the third movement had serious life. I've always admired the sets and lighting from pictures and video, both did not disappoint. The ballet is very regimented in many ways, and I felt the strength of the Corps was really the heartbeat. This was the first time that I've noticed Peter Walker as an individual dancer. His powerful coordination in the first and third movements were striking, and my eyes naturally went directly to him when a group would enter the stage. On the flip side, I felt like there were a few in the male corps who weren't matching the energy level of their peers or the music. Understand that it's the end of season, but I was surprised that the recently-promoted Joe Gordon didn't seem to be very energized when the piece has such a tempo. Krohn and Ramasar were the pas de deux in the second movement. Nothing good or bad really stood out.

I didn't know what to expect when seeing Moves. I thought there was a chance that I wouldn't like the piece without the framework of music, but there was no need to worry. The juxtaposition of complete still silence and then the sudden clap of a point shoe or shuffle of a step was mesmerizing. And I really was impressed with the stillness and balance the group showed, especially Unity Phelen. Look forward to seeing her grow into more principal roles.

The Concert is always a good note to end on. You could tell that Lovette was new to the piece, with some missteps in foot placement here and there. Loved De Luz as the husband and Meghan Dutton-O'Hara as the wife. I love the fluidity of her movements when she's in traditional dancing roles, but I worry they're setting her up for long-term senior corps with no opportunity to progress.

This will probably be my last opportunity to see the company before their June tour at the Kennedy Center. Looking forward to that program so much!

On 2/27/2017 at 9:00 AM, cobweb said:

I don't understand the Troy Schumacher promotion. What new roles do they envision for him? 

I can respect the drive to promote a promising choreographer as a tool for the company to retain talent. But I actually do see roles for Schumacher to expand his current rep. He already covers a lot of the same ballets as Daniel Ulbricht and I'm sure that will expand further in forthcoming seasons.

Watching the first installment of the televised performance felt like seeing the ballets from entirely new eyes. I had not previously enjoyed Walpurgisnacht as much as I did on this viewing. Luckily I have DVR so I was able to record the show for rewatching!

On 2/21/2017 at 2:06 PM, Emma said:

I think Laracey does have the wow factor in certain roles.  I saw her at the Kennedy Center dance both Ash and the Infernal Machine the same night.  She was stunning in the Infernal Machine -- so much that I was shocked it was the same dancer in both roles.  She was a last minute sub for Isaacs in Ash but was scheduled for it later that week.

 

I saw the same show. Could not believe that she did those ballets back-to-back. All eyes were on her in Infernal, and she was truly a force.

Didn't know my personal peeves about Macauley's writing were so universal. Truly wish he would step back from the Sara Mearns gush. (She's great, possibly the best. But the company has nearly 100 other dancers that I would like to learn more about.) I will say that I enjoy following his instagram and articles that trend more toward the academic side of dance. His feed is a consistent flow of information that enriches my knowledge base about the  structure, history, and context of ballet.

On the same-sex partnering: I think there is something to be said for critics cheering on the forward progression of art. Same-sex partnering shouldn't be a prerequisite for a favorable review, but I do think it's important that choreographers feel the support of the community to move beyond Petipa, Ashton, and Balanchine in the medium.