AmandaNYC

Actually, as someone who has been watching NYCB for 10+ years, the corps- female, specifically-- is particularly young right now. Even the older corps dancers with whom I have spoken have said they go to class and don't know who a lot of the dancers are. In '95 there was the mass... turnover, too. So, there are bursts. But, right now there are a great deal of dancers who came of the school 1999-2001 (counting apprentices). I usually pride myself on knowing who all the dancers are by the time they get a contract. Not so anymore. -amanda

More info about dancer injuries. I don't know if anyone had posted some of this last season. I was talking to one of the dancers who has been in the company a long time yesterday, and she agreed with me that last season saw an unusual # of injuries. She added that many were major. Both Weese and Sloan have hip injuries. Angle and Crenshaw broke a foot. Abergel had a foot injury. She should, at least, be back in Vienna Waltzes. Weese apparently has a ways to go in recovery. Sad to hear. BUt, I guess it's the nature of *beast*. -amanda

It always takes me a performance or two to get back in the *swing* of things, but I did enjoy last night's performance, though not as much as I had hoped. Having seen Raymonda three times last season with perfection from the soloists and Ringer, I was a little disappointed. Of course, there's nowhere to go from perfection but down. Ringer, Boal, Natanya, and Hanson all seemed less polished than usual. There was a lot of saving falling out of turns or more difficult sequences (Natanya's hopping on one leg) from complete disaster. Having seen the piece so many times recently, I noticed the difficulties. Bouder, Edge, and A. Stafford were in their usual beautiful form. I still get a thrill during the bounding corps part after Ringer's last solo. Stafford and Bouder were slightly not in sync for the first few fouettes, but seemed to rally together somehow by the end. One thing I enjoy about Bouder is that she relates to others on stage. She does not perform as if she is the only person on stage or in the universe. If she's paired with someone, she does not simply dance side-by-side. There's a relationship there. Even with another female dance, like A. Stafford. And, it was there even more so with Ramasar in Reunions. It was a great pairing, as both are young and have a sense of humor about them. The audience loved them. But, the ballet truly belonged to Carmena. Wow. He captivated me with his performance-- one that was all about artistry and not also about high jumps (Which is the only type of solo I had seem him do previously). With his performance, I was reminded why I wasn't totally dreading a Diamond-packed season. Even with ballets I didn't like in the past projects, I usually had a great opportunity to see the dancers in a new light, since they were being used in different ways. I might have issues with many contrived aspects of much of modern ballet (just b/c a piece is made today doesn't mean it has to have jarring or modern dance-like movements), but I do enjoy seeing NYCB dancers perform these pieces. I gain a better appreciation of their talents as dancers. Nowhere was this more clear than in Carmena's performance. I wonder if it'll hold up today, on second viewing. Ansanelli is always an interesting dancer to watch-- she really moves like no one else. In the case of Reunions, I don't think she had the chance to sparkle as she can--- the part was made on Ringer, who, even then, had a softness to her that Ansanelli does not quite have yet. I don't know if that's what was missing, but something was. Orza, honestly, did not make an impression on me. Sure, I had seen Stiefel perform this part 10 years ago, so maybe, deep down, I wanted to see him. Orza just seemd rather bland to me. For the amount of time he has on that stage, he neither had (yet?) the command of the stage/ presence nor the beautiful artistry to involve me. Maybe this will change on 2nd viewing, when he's gotten the nerves out of the way. Ah, Symphony in C. The audience did not merely exclaim the polite bravos at the end-- there was really cheering. It was almost as if this audience was craving the piece. Great audience. As I had thought, it was absolutely wonderful to see Somogyi back in the 1st mov't. You all know I adore Ringer, but I think her more suited to the 2nd mov't (even if she doesn't have the extension for it). Somogyi is the one who invites me into to see the dance. I truly see the movement and appreciate it on whole new levels when she performs. While seeing RInger perform the part last season was nowhere near like seeing Irin Dvor...'s (I can never spell her last name) "Look at me" performance, it was still less about the steps and more about her as a person/dancer. That's why I love both Somogyi and RInger both-- they offer me different experiences-- and rarely do I like them both in the same role. IMHO, La Source is more suited to Ringer and Bizet 1st mov't is more suited to Somogyi. Since I had a nearly religious experience seeing Kistler do 2 mov't just last season, I can't really comment on Kowroski. Kistler's performance still hangs over me. I'm sure we've had this discussion before, but I would like to comment that, just b/c one can get the leg beyond a 90 degree angle in arabesque, does not mean one should. I find it distracting-- more about the ability. The cast was not the same as opening night for 3rd mov't. Bouder, who had already danced twice, got a well-deserved rest. Instead, Janie Taylor joined Millepied. I prefaced this entire commentary by saying how I'm not totally back into the swing of things. Definitely not here. Easily distracted was I. Knowing that Ethan Stiefel was in the audience, I kept wondering during 3rd mov't, what he might think of it. Ah, well. 4th mov't sped by so quickly that I hardly had a chance to enjoy van Kipnis. This mov't could easily be a throw away mov't, since, I think, the demi soloists in 1st mov't (Hanson and Rutherford) have more stage time. But, van Kipnis makes the most of it. "There are no small roles" attitude. Ok. I think I have made up for my lack of postage last season. :-) On to the dance... this afternoon... -amanda

I shall! Tonight and tomorrow afternoon are my first performances this season. Alas, I think I shall miss seeing Bouder in Symphony in C. On the other hand, I am getting to see her in her glorious role in Raymonda and in a debut in Reunions. I'm not complaining. -amanda

Oh, I did forget to mention Miranda Weese. She did have an operation. Sounds like healing/recovery is slow-going. It didn't seem clear whether she could return this season or not. -amanda

Sorry for the delayed update. Didn't actually find out much more than what's already posted here. Nichols, Higgins, and Korbes are back taking class. No date of first performance yet. Lauren Toole was not listed on the roster we were given. No reasons or whereabouts info. given for her, Pepin, Kelly, or Walter. I'm back at the theater Fri. eve and Sat. mat., so I'll keep my ears *open*. -amanda

I have orientation for the new season tonight, so we usually find out about changes in the roster. Not much info. usually about corps changes, but we'll see. I'll let you all know tomorrow. -amanda

http://www.nycballet.com/about/casting.html If you can, try and catch Somogyi in Symphony in C. It's about time they put her back in that role. So, do we think Bouder is going to give Millepied a run for his money in jumping height? :-) I don't think there are any surprises here, exc. perhaps... the opening night Serenade debut casting. I promise to post more this season than I did in the Winter... -Amanda

van Kipnis has performed the girl in purple role before. No senility there. I'm wondering if she switched roles, since Edge would be a better size fit with Millipied for the pas de deux. I hope someone out there who attended the performance last night chimes in! -amanda

Salands' farewell was, indeed, in that piece. And, it was during the marathon final night of the Balanchine Celebration, so you can see it on video. -amanda

It's been a little quiet regarding NYCB, so I thought I'd take a break from my paying job and post my latest reviews... By ballet Raymonda Variations (3x now, once with Ringer, two with Borree). How much do I love Ashley Bouder as a dancer? Let me count the ways... She sure knows how to make a debut (at the same performance as Borree in the lead). I had been enjoying the overall performance- the soloist casting is superb this season. Then, shot out of a cannon comes young Bouder. It's not that she jumps so high. Or is so sharp and musical. Or that she so obviously enjoys herself up on stage, and makes others enjoy themselves too (watch her interactions with other dancers on stage). Or that she commands the stage like a true ballerina. Or that she is fast, but not in a rush to get to the next step. It's all of those things and more. I truly let out a laugh when she did her first x-stage jumps (i don't remember the specific steps). It was a truly joyous laugh... in awe. Though I have seen her stunning debuts in other parts, I don't ever seem to be prepared for her effect on me. I crave more when she finishes. I honestly felt sorry for Abi Stafford, both having to follow Bouder's solo and having to be beside her in their big corps section that ends with the fouettes. The contrast in energy, passion, life, whatever you want to call it, was startling. Stafford is not a bad dancer. It's just that Bouder seems to have an extra special something. It was just too bad she was not the lead ballerina. At one of Borree's performances, she fell out of her turns (the ones where the leg starts in passe but moves down to the ground), unlike the soloist girls who did it. And, she didn't even do one of the final pirhouettes (sp?). It was quite bad, even for Borree. Ringer, on the other hand, did a beautiful job. THis ballet is not one that stands on its own for me, looking great no matter who performs it. It very much depends on the ballerina. And, here, her warmth worked to great effect. Philip Neal was her partner. I can't ever say anything negative about his dancing. He can be quite beautiful. Personally, though, he does nothing for me. Damian Woetzel, on the other hand, excites me even if he does not seem to be so into what he's doing. Go figure. As far as the other soloists go, Natanya was gorgeous and joyous. And, Edge was simply perfect. In my numerous years (< sarcasm &gt of attending NYCB perfs., I don't recall seeing someone execute those turns (where the leg goes out and back in again. What's it called?) so perfectly. She's having quite the season, with her perfect Marzipans, perfect Raymonda, and finally getting a principal role that shows her off at her best (Barak's Telemann ballet). Tschaikovsky Suite No. 3. To start off on a bitter note, I must admit to taking the 2nd mov't (waltz) and 3rd (scherzo) as opportunities to figure out who all the new girls are (read: I don't watch much of the principals). I saw K. Tracey. So wrong a role for her. She doesn't convey the drama or the beauty of this role. Jennifer Tinsley did nothing for me in the Scherzo. It's a small principal role that needs to balance the excitement and *big-ness* of the music. She's not exciting enough as a dancer, I think. Of course, we know who I would truly want to see in this role... Bouder (until she gets Theme). By the time I saw Abi Stafford in Theme & Variations (Fri., Jan 25th), I think she might have relaxed a little bit more. I do agree with others that she does not (yet?) have the ballerina presence required for the role. But, watching from Orchestra row L, I must say I thought she was quite beautiful in it. She drew me in and made me see the dance clearly- graceful articulation. She pushed through the air at the required moments (a big pet peeve of mine is when the ballerina does not take such care with her arm). While I would have preferred to see Somogyi in the role, I was nicely surprised by A. Stafford's performance. I'm Old Fashioned. For a few years, I got quite tired of this ballet. But, seeing it with a new cast has led me to enjoy it quite a lot. Although I often find Kowroski too internal a dancer for me, there's just no denying (IMHO!) how gorgeous a dancer she is. And, I am very glad to have Ringer in the blue dress role, over the very small yellow dress role. She's a natural for this part. Van Kipnis was great as the blue girl, but I still just don't find her feminine enough in these *womanly* roles. Back to Bouder-- she seems to be dancing A LOT across all types of roles (me=worried, but also happy to see her)). She seems to be in the corps of anything that has a costume for a small girl. She ended up replacing someone in the corps of I'm Old Fashioned on Sunday the 3rd, and was gorgeous. I can't help watching that girl. ;-) Swan Lake-- Everything I seem to say seems to have a negative and positive paired together. No different here. There are a limited number of parts that I can watch Wendy Whelan do these last few years, as I honestly find her body not pretty to watch (I wouldn't say ugly). But, the tutu seemed to cover her up enough as a swan. She really became a bird on Thurs. the 31st. When I first started attending performances over a decade ago, I thought her a rather affectless, but fascinating dancer. She has grown into a commanding presence, enjoying herself, and passionate in the roles she undertakes. All this she conveyed in Swan Lake. I was sitting rather close (row L again), so I could see faces more clearly. Not sure if her passion would have carried several rings up, but it did several rows out. Allegro Brillante. I am quite upset to admit that I was a bit disappointed in Somogyi's performance (thurs., 31st). I went especially for her performance so excited was I. I could have had too high expectations. She articulated the steps beautifully-- no one has a neck quite like that. But, something seemed missing. I didn't get excited. I recall seeing Ansanelli's debut and finding it thrilling. I'm not saying everyone needs to dance Allegro that way, but Somogyi's energy level did not seem to match the music's energy level. She certainly has it in her (Dewdrop!). Maybe she just needs to get more comfortable and reacquainted with the role (this was her SAB workshop piece, right?) Div. from "Le Baiser de la Fee". My final performance seeing Margaret Tracey. As with Philip Neal, I don't think she does anything necessarily *wrong*-- well, I don't think she's musical, but she is never really off the music-- She just has never moved me or excited me... Didn't think Raymonda and Baiser should be on the same program. Great difference b/w the music and *stories*, but a lot of similarities, as well-- For me, it was instructive, seeing the similar uses of the corps. But, for an audience that sees the ballet a handful of times a year, I though it bad programming. Good programming, great programming, in fact, was Sunday the 3rd: Raymonda, Stravinsky Violin Concerto, and I'm Old Fashioned. I enjoyed the Royal Danish guests quite a lot. I saw new things in their roles that I hadn't seen before. Lindstrom was not as achingly beautiful as Mazzo (on video), but she brought her own quiet passion to the role. Both Lindstrom and Bowman are beautiful to behold. Watching Bowman highlighted for me how much NYCB is lacking in the premier danseur type. Sure, all Martins, most Robbins, and a great deal of Balanchine doesn't require such a type (some may argue), but still. I wouldn't mind seeing more of him at NYCB. He has a perfect male dancer body-- not too short (sorry Tom Gold), legs not too short (sorry, Ben Millipied), lean (sorry Jock Soto and Nilas Martins), and commands my attention (sorry Philip Neal). I loved seeing Bowman and Evans dance side-by-side. Reminded me how NYCB does have a great male dancer in their midst, but for political or whatever reasons, does not get to dance so much (I mean Evans). Boal and Woetzel can't do everything. A silver lining to the huge number of injuries and illness this season has been getting to see who replaces whom. Tess Reichlen and Genevieve Labean seem to be among those getting to dance more. Sarah Ricard, too. Ok. Now it's others' turns... -amanda

Thank you so much, Leigh. This is why I love this site. yet, again, someone has articulated that which I have been unable to articulate for years! I think one of the reasons I have never really cared for Nichols is because I don't enjoy the *flaunting*, as Manhattnik called it. I didn't enjoy the daring to be late. Perhaps, it goes against my own personal musicality. As far as Weese goes, her musicality, as described by Leigh, is exactly why I like her as a dancer. I've never found her particularly warm... soulful. But, I have seen tremendously exciting performances from her because of her musical precision. At one Cortege Hongrois so-so performance, she ended so *in sync* with the music that it felt like a rush of energy-- a perfect moment where the music and the dancer were one? Another to add to the list... Ashley Bouder. One of those aforementioned perfect moments came, for me, and I think the entire audience, when she does her first jump (the one in an attitude-like pose where the leg is facing upward? what's it called). That's why I find her jumping so... beautiful. It's not b/c she jumps high (that's a bonus!), but she really becomes the music embodied. I don't think I find her performances so energizing simply because she is so energetic but because her *interaction with the music* creates an added energy. I did have to laugh when she did her first diagonal of jumps in her Raymonda debut last Friday. I really did start giggling. (well, that might also have been b/c of the contrast b/w that debut and that of the ballerina that night) it is in the musicality or lack thereof that I find the key difference b/w Weese and M. Tracey. They both have solid technique, but, to me, the former has musicality added to it. Tracey dances to the music and doesn't really generate any heat, as a result. It's all about that extra energy/passion that is generated from the dancer meeting the music in perfect moments... for me. Well, and soulful and *pretty* dancing. :-) -amanda

When I saw Cortege last week they did, indeed, omit the pas de quatre. At the time, I believe it was because someone (I think probably Alina Dronova, since she was listed but didn't appear, had to pull out at the last minute. There was an emergency rehearsal beforehand, and Laura Paulas took her place. Not sure why it's still not in, as there's been time to rehearse someone new. Ah, well. One less opportunity to focus on Ashley Bouder... Kate... I agree that Duo is a good piece for Martins. He's good in pieces that are more about the form and music and less about the... jumping. I think he's great in the Square Dance solo. As far as Cortege and Meunier. I saw her do it last week, and can't say I am as fond of her in the role as many of you, and, even, as much as I had thought I'd like her. I felt she was too glamour queen, and not enough Hungarian passion. When the music goes threw those tense, typically Eastern European moments, I want someone who is deeply feeling it, as opposed to simply dancing. I just didn't get that from Meunier, though I know she has it in her (I LOVE her Brahms-Schoenberg 4th). As people sometimes say about an actor's performance, she didn't interpret the role as I see it and feel that it needs. Same goes for Kathleen Tracey, though I wasn't as surprised there. The czardas even more so has those plays with tension in the music. She was having fun with the role. That's good. But, she didn't seem to be *feeling* it. I guess my issues with dancers and performances say a lot about my audience... aesthetic! When the choreography, music, and dancer's performances come together as one, it's definitely something more than the sum of the parts. So, for example, I appreciate Abi Stafford's technical skills. But, I love the Symphony in C music and choreography, and her performance did not quite match it in umph. She seems much happier on stage this year than in the last two, so I am hopeful that she will continue to develop presence. As much as I love Ringer, I wasn't crazy about her 1st mov't performance either. As Kate described Kistler's Valse Triste perf. so would I describe Ringer's. I felt she was performing-- and I still prefer her performing to most others' dancing-- but the choreography got overshadowed (not so nearly as much as it did when Dvor...-can't remember how to spell her name... did it). When Somogyi does 1st mov't, she invites you into the dance and makes you truly see the choreography as if it were the first time you were seeing the dance. So, I have managed to chime in here while getting in some of those other comments I have been holding onto needlessly... -amanda p.s. i'm at nycb fri night and sat matinee, so stop by the gift shop and say hi... for those of you who know what i look like! [ January 18, 2002: Message edited by: AmandaNYC ]

I think they were unsuccessful in selling a sufficient number of tix. Although it was a special program, it was also not subscription (which we cannot forget makes up a large portion of each audience, w/ a few exceptions) and cost more than the usual ticket. The semiannual Evening with Friends at the Ballet, sponsored by the Business & Professional Committee (next on is Feb. 1, not sure if tix still available-- contact volunteer office), donates proceeds to the Fund. Not quite the same, but still an event that helps contribute

Michael... re: Soiree New cast- Debut cast Bouder- Taylor Taylor- Korbes Mandradjieff- Bouder THe middle, most soulful duet is quite different with Taylor instead of Korbes. It was in this pas de deux last year that I truly discovered how beautiful a dancer Korbes is. Although I believe Bouder can do anything, I think her original role showed her off better than the one made for Taylor. I think the Taylor-made pas de deux(pun somewhat intended) is the weakest of the three, so it could just be that. While I can't say I agree with Michael about Borree, in general, I do think that she has done quite nicely this season in several parts-- ones that suit her very well-- Dances, Romeo & Juliet, and La Somnambula. I am, however, quite... um... not happy that she's doing Raymonda. Ringer had been rehearsing back in December. I totally agree with Michael about the Coquette. Something always bothered me about that part, and reading comments here helped me figure out just what it was. Thank you. And, it was lovely to see Amanda Edge. For years upon years I've been wanting to see her do more solos and pas de deux. The Barak piece really showed her off nicely. The way Michael thinks of Borree is the way I think of Edge: "beautiful dancer, with a gorgeous line and total sincerity and committment to her craft". Even in her corps and demi roles you can see how involved she is in her dancing. No emptiness there. Ok... one of these days I am going to write up the rest of my thoughts about Nutcracker and the first two weeks of the rep (I have seen 6/14 perfs). -amanda

For Hell, I'd have to go with Manhattnik initial comment. Dvorovenko's 1st mov't was a revelation for me in a not good way. I finally understood what it would mean to say that there was too much Dvorovenko and not enough Balanchine. For Heaven... having only seen dancers of the last 11 years and mostly at NYCB... 1st: Somogyi (she was a revelation in this part, for me, in the good way). I don't care about the male. 2nd: Kistler, Martins (not that I ever saw him dance) 3rd: Bouder (though she'll do a stunning 1st mov't, as well, at some point), Stiefel 4th: Ringer, Evans Then, we have my favorite females all taken care of. My reasons for not putting Ringer in 1st mov't will come in my elaborated comments on NYCB Winter Season 2002 Week 1 elsewhere.

For Hell, I'd have to go with Manhattnik initial comment. Dvorovenko's 1st mov't was a revelation for me in a not good way. I finally understood what it would mean to say that there was too much Dvorovenko and not enough Balanchine. For Heaven... having only seen dancers of the last 11 years and mostly at NYCB... 1st: Somogyi (she was a revelation in this part, for me, in the good way). I don't care about the male. 2nd: Kistler, Martins (not that I ever saw him dance) 3rd: Bouder (though she'll do a stunning 1st mov't, as well, at some point), Stiefel 4th: Ringer, Evans Then, we have my favorite females all taken care of. My reasons for not putting Ringer in 1st mov't will come in my elaborated comments on NYCB Winter Season 2002 Week 1 elsewhere.

The closest I have ever come to believing in a Higher Being was seeing Darci Kistler in Symphony in C on Friday night. And, I left her a note saying just that. -amanda, who will be back after her hiatus with much more to say. much.

I'm ok, living 5.5 miles north of the WTC on the Upper West Side. My two friends who work there are ok, one being a pertually late person-- the rest of my circle has vowed never to give her a hard time about being late ever again. My bro-in-law comes in on a train (PATH for those who know it) into the WTC, but was already at his office a few blocks away, where he witnessed the 2nd crash. He managed to get out of NYC quite early, taking a ferry across the river. It's not really 6 degrees of separation, is it? Strangely I was most overcome today when my sis told me what my 3.5 year old nephew had said. She managed to get from Brooklyn to NJ with him, where they could clearly see the smokey NYC skyline and all the emergency personnel going in the opposite direction. My sis was also awreck. He asked what was going on. My sis told him that some bad men had made a plane crash into a building. He, in turn, said that he wished he were Superman so he could kick the plane. My nephew, I hope, will not lose his innocence through all this, with the real world events just seeming like a movie to him. But, as I mourn all the physical lives lost, I also mourn for all the children who will be forever traumatized by this event and lose their innocence. It'll be hard enough for normal adults to cope with these events. My best wishes to all. -amanda [ 09-12-2001: Message edited by: AmandaNYC ]

Film and TV. For the last two years, the better writing seems to be on TV (where writers are king). I've enjoyed Six Feet Under on HBO immensely. It's season finale is this Sunday. Other shows of high caliber that I watch during the regular TV season: Buffy the Vampire Slayer, Angel, The West Wing, Gilmore Girls. I watch plenty of other shows (I'm a TV junkie), but those are top-notch. Film-- summer is not the time for great film. It's popcorn movie time (my fave movie of the summer being Legally Blonde-- haven't seen Shrek). Again, here, too, TV has good movies-- HBO and SHO, that is, e.g., a recent movie (I forget the name) with Laura Linney and Gena Rowlands, I believe. Also, books. I highly recommend (though it's not new) A Short History of a Prince by Jane Hamilton. It's not without plenty of ballet mentions. -amanda

Well, there's my usual general highlight of Kistler, Ringer, Somogyi, Bouder, and Hubbe in anything. but, to be more specific. Ringer in Four Seasons, Romeo & Juliet with Hubbe (breathed new life into that eh piece), Tributary (though I hate the ballet) the entire cast performances of Ash, Morgen, and Soiree Somogyi in Ash, Brandenburg, Midsummer's Bouder in La Source, Firebird, Midsummer's Weese in Theme & Variations, though it was the very speedy version, & Swan Lake Korbes in Midsummer's Evans, too, in Midsummer's Boal in Square Dance Hubbe in Brandenburg Whelan and Neal in Chaconne and, of course, Kistler in Duo Concertant alas, i did not see the Whelan, Hubbe, Ringer cast of La Somnambula The season is also notable for how many people were injured (missed my Ringer for the last half :-( ). At least Jessy Hendrickson and Jenny Blascovich finally made it back from what seemed like eons of being gone from everything but Four Seasons. -amanda

Well, we all know what a NYCB devotee I am, but I actually found something I could love at NYCB. I, too, discovered Irina Dvorovenko. Even from an Orchestra seat in the last row and in the corner, I was thrilled by Dvorovenko. She had mastery of both the character and the technique. While I'm not into pyrotechnics, I was amazed at her fouettes. She had the speed of a Balanchine dancer ;-). I really appreciated how easy it all seemed and how much fun she seemed to be having with it. Nothing knocks you out of the moment more (or, at least, knocks me out of the moment) than when someone looks like they're working hard and unhappy to be up there. I was more impressed by Piccone than Dvorovenko's hubbie (I can't spell his last name either). And, also by the passion of the Cornejos. -amanda

btw, does my love of my signature quote make sense now? -amanda

I think we can get into (if wanted to, but I don't think we do) a larger question and issue-- I happen to think NYers (me included) tend to be very NY-centric. Unless you lived elsewhere (and I don't mean LA, SF, Chicago or most places in the Northeast...), I think you get a skewed view of things here. Of course, everyone has his or her own biases. My mature ballet education (as opposed to classes when I was 7) came from watching NYCB and mostly Balanchine repertory. And, I love it. So, I fully admit that I tend to look at other dance through that lens. I even have trouble watching other companies do Balanchine. I'm not Balanchine-centric. I'm NYCB-centric! But, back to the larger point-- I think many NYers tend to be NY-centric. I think our defense mechanisms take hold as we try to rationalize living in a place that costs so much, that we must love the city dearly and think what we see and do hear is like no other city. And these processes take hold quite unconsciously. Ok, now i have gone off on my social psych (my grad school background) theory on NYC. I know these are vast generalizations, but I think there is much truth to Balanchine-centrism, as part of a larger NYC-centricism, though there are plenty outside NYC who are Balanchine-centric. (Hope all the NYCers don't hate me now.) Personally, I find that once I see something that just clicks with me, it is hard not to have a negative feeling (or just less than positive) reaction to things that aren't in line with what clicks. For example, I fell in love with Kistler's dancing on first sight. TO this day, I can't enjoy a Nichols performance in any of their shared roles. And, I also fell in love with Balanchine (first subscription perf: Square Dance, Prodigal Son, Symphony in C). It's a tribute to Robbins' genius that I can enjoy his ballets in their own right, as he is master of another type of ballet. But, so when Martins or Wheeldon attempt ballets in the Balanchine mold... I just pine for Balanchine. So, I'm not really sure I should call myself a real ballet fan, as I tend not to enjoy other ballet companies I see. I like to be educated and take in other companies, but, enjoyment-wise, they tend not to do it for me. They leave my unfulfilled. -amanda

Well, I had quite the full Midsummer's week, having attending 2 working rehearsals (W & Th) and 3 performances (Th, Sat eve, Sun). Some of my impressions are similar to others. Titania: Korbes was just beautiful. In rehearsal, Leland (who is fun to watch in her role as ballet mistress) was trying to get Korbes to move bigger and more dramatically. She wasn't quite there yet during rehearsal. But, then, that night, wow. She's one of those dancers who seem to make time slow down when I watch them-- they so carefully articulate the movement and push through the air. Gorgeous. Whelan still has more fun in the role, but Korbes has years to discover news things in the role. Oberon: On Sat. night I think Woetzel gave an uncharacteristically *off* performance. I still can't quite put my finger on what was wrong, but there wasn't that usual energy and polish. The audience seemed to notice, too, as he got no applause as he left stage each time during the scherzo (unlike Boal and Millipied). Boal is always a joy to watch, though I must admit I have enjoyed his performances in other ballets these last two seasons much more than his Oberon. He can have rigidity in his upper body sometimes, and here it came out too much for my tastes. Of course, Millipied can also seem less of a pure classical dancer at times, too. But, it didn't seem to both me here. He really went for broke on Sunday with a clear interpretation of the role-- his Oberon was a spoiled, fiesty king. Puck- Even now the image of Evans sword-fighting with glee and mischievousness (he jogs, tilting his head from side to side, with a huge smile on his face) makes me laugh. It is hard for me to watch anyone else in the role, as he IS Puck to me. I did, however, enjoy Hendrickson in rehearsal (I didn't see her perfs). Bottom- I just loved Ritter. He also fully inhabits his role. The lovers-- I can't even articulate how horrid I thought K. Tracey was. I have never thought her that graceful a dancers, but whatever grace she had she lost in an effort to be dramatic. Helena is difficult role to do, as it calls for big, rougher movements than that of Hermia, but Abergel in perf and Ansanelli in rehearsal both seemed to balance grace with drama. Rutherford was her usual gorgeous, graceful self as Hermia-- in the 2nd act, I really felt like I was at her wedding, she was so joyous. I am a van Kipnis fan, provided it's the right role. I still see her as more Hippolyta than Hermia-- She still did a nice job as Hermia, but she seems too strong to me. I don't pick up the vulnerable vibe from her, though I think of Hermia in that way. I tend to pay less attention to the men, as they also have less of a dance role. In his role here, too, I loved Ritter. And, also Higgins. Hippolyta: I only so Blascovich in a short reheasal, so don't want to comment. As for Somogyi, well, wow. The power in that body just never ceases to amaze me. That she can be a forceful Amazon in one ballet, and a soft ballerina in another (say, Brahm-S Quartet) just floors me. Butterfly: I'm prejudiced here as I saw Taylor and Bouder, of whom I have polar opposite opinions. I can say that Taylor was fine in the role, still too fluttery and not enough beauty (more moth-like than butterfly?). In her debut, Bouder had trouble with her attitude turns, but she had a better handle on it on Sat eve. Both Taylor and Bouder are extremely high jumpers-- you'd think Bouder was using a trampoline. I think Taylor's fail to impress me as much for the same reason her dancing, as whole, doesn't impress me-- her grand jete seems like a step to getting to the next step. Bouder's has power (she reminds me of Somogyi a lot) and seems suspended in air. Taylor is also quite introverted-- it still seems like it's all about getting through some sort of test, as opposed to expressing oneself and enjoying the moment-- which, two other butterflies do quite well, though they don't have the jumping height--- Edge and Walker (both whom I saw in reheasal). Watching them, Butterfly is not so much about the flying as joy and beauty (Bouder's has joy and beauty, too). Titania's Cavalier-- On a show-must-go-on note, Korbes' curly hair piece fell off during her pas de deux on Sunday. A little later, Fayette gracefully scooped it up and, as he ran near the wings, threw it off. A true cavalier. On dancing notes, both her and Angle were, as usual, gallant partners to their mistresses. Divertissement: I have not always enjoyed Weese in romantic adagio's (e.g., Mercurial...), but she was stunning here. Like Korbes as Titania, time slowed down here, too-- I couldn't take my eyes away). What I would give to see Ringer and Hubbe do this role! It's as if Balanchine knew with this pas de deux and Nutcracker that so many different dancers were going to perform it that all had to look good in it, no matter their style or look. Where am I going with this? Well, as much as I was nearly heartbroken that I wouldn't get to see my beloved Kistler yesterday, I was pleasantly surprised by Borree's performance. The choreography wins out here- I was able to see beyond her... style... and glean some enjoyment from seeing one of the most beautiful pas de deuxes (is that the plural) ever made. On another crazy performance note, Martins fell-- and it wasn't one of those landing on one knee and touching the stage with a hand to keep balance slight falls. This was a trying to recover unsuccesfully and landing on one's tushy type. The hair falling and tushy landing seemed to make perfect bookends to the performance. On a general note about the ballet-- every year when I see the schedule, I always seem to lament that I'd be missing out on other repertory for a week of MND. Then, I see it, again, and am reminded what a piece of genius it is. I, who dread full-length ballets, love this one. Balanchine tells the story WITH DANCE, very little walking around, and with great drama and humor. No matter how many times I see it, I cannot help but laugh when Bottom looks up at the audience, while holding Titania. Or the 4-in-a-row brush-offs that the lovers give to the unrequited ones. And, I agree that the 2nd act is no more an add-on than Sleeping Beauty. In the 2nd act, we do get performances by the three wedding couples, and a journey back to the forest at the end. The divertissement pas de deux has a magical, unearthly quality to it, fitting perfectly into the theme of the night. I so wish Balanchine had created more full-length story ballets-- I might actually see more of them. There seems to be an irony here in that Balanchine, who is known for his plotless leotard ballets, created my favorite full-length ballets (Nutcracker and MND). Well, whatever genre he chose, he inhabited fully as reflected in his ballets. Alas, five more months until I see NYCB again!!! Where are my Balanchine videos?.... -amanda