AmandaNYC

Some echo others, some not. Serenade-- I just need to hear the first few notes. Even with the curtain still down. Balanchine's Swan Lake, after Odette exits, when the white swan prop appears on the lake. I love the poetic ending. Vienna Waltzes, final section, when the lights go up fully and all the couples are on stage. Stars & Stripes Men's Regiment-- pretty much the entire section. Especially when they do the turns in canon, or whatever it's called. Theme & Variations-- what BalletNut said. La Source- Secondary principals first piece, with the jumping side vertical attitude (Oh, I don't know what to call it!)... with Ashley Bouder doing it. After all this time, the tree growing in Balanchine's Nutcracker. Also, Waltz of the Flowers when they all *bloom*, from their bowed over position to upright. And, with Jennie Somogyi performing, when Dewdrop pushes through the Flowers before the final flourish. That's enough for now... -amanda

I am always grateful to see Albert Evans perform, as every movement he makes, to me, is a work of art. But, perhaps, b/c the renowned Dance in America performance was all that I knew for years, I have always felt like Evans was miscast in Phlegmatic. I have thought him more suitable for Melancholic. When, at downstage right, he does the initial, upper body isolations, it always seems *too pretty* to me... Still too beautiful and controlled for someone who is supposed to be lethargic... Perhaps, I'm misremembering Adam Luders. But, somehow I feel like I don't get the distinction b/w the two main men's parts with Evans in Phlegmatic and Boal in Melancholic. Given, there may not be a huge difference b/w feeling lethargic and sad... but I still get the distinction in two main women's parts, though both are of a more firey nature. It's been so long since I've seen anyone besides Evans do the part. What are others' thoughts about this section of Four T's? -amanda

Terry, it depends on what you consider a *major* role. She certainly has had principal roles in the last year-- In Saratoga she did the Fairy of Generosity. And in NY, she's done one of the five leads in Divertimento No. 15, led the Bach section of Episodes, and Kowroski's part in Organon, in addition to her own part in Soiree. But, I would agree that taking on Titania does seem a bit more major... esp. when you consider who else does it in the co: Kowroski, Kistler, and Whelan (most of us probably wish Meunier were on that list, too). As for Elizabeth Walker's teaching ability. Another volunteer told me Albert Evans compare Walker to Ashley in her teaching ability. -amanda

While I'm creating new topics... NYCB had a seminar on Monday that was moderated by Peter Boal and whose panelists were Jenifer Ringer, Maria Kowroski, and Jennie Somogyi-- the newest principals. One set of answers interested me most. Boal asked about whom in the corps they admired most. He asked for two names each. Ringer: Elizabeth Walker (w/ whom Ringer attended SAB). Ringer said she had the technique of a Merrill Ashley. Carla Korbes Kowroski: Carla Korbes Amanda Edge. Kowroski described how Edge's love of dance and performing is evident every time she is on stage Somogyi: Amanda Edge Rachel Rutherford (who entered the corps when Somogyi did). Somogyi said that you can tell that Rutherford's dancing comes from some place deep inside her. That's what I recall. I found it quite interesting to hear what other dancers admire. -amanda

Among those listed for Midsummer's corps rehearsal is Mandradjieff, whom I am guessing is Lindy Mandradjieff, who joined San Francisco after the '97 SAB workshops. I guess we'll learn soon enough if she has joined the corps. Amanda Hankes joined around this time last year. A new tradition of bringing SABers who have spent a few years elsewhere? Well, I guess two does not a tradition make... -amanda

I heard the rumors around the theater a week or two ago, but now people seem to be saying it with certainty. The word is that M. Tracey will be retiring at the end of the winter season next February. Can anyone confirm or refute? I shall withhold any comments about my feelings on this possible retirement... -Amanda

Stan, Dronova is still an apprentice, at least according the casting sheet posted in the lobby. And, as for returning to the corps after a star turn, so did Korbes, Veyette, and Orza. The joy that is dancing in NYCB! Drew, re: Taylor. I actually don't have huge issues when I see her in pieces made on her, as the choreographers seem to recognize what she's good at. But, in other pieces, I find she distorts the choreography too much. In what I had always considered a *throw away* piece-- the jumpy 3rd mov't of Suite No. 3, I took offense. She seemed to be running away from something the whole time. One doesn't get a chance to *see* the steps, as she is already moving onto the next one. I've always looked more for beauty in movement than attack or technical perfection. In Four Seasons, I saw both Carrie Lee Riggins and Taylor in Winter. Riggins had the technique, clear articulation of the choreography, and a lovely flirtatiousness in the role. Taylor just seemed to have the former, which is actually not always evident either (nerves affecting that, I presume). While people say Taylor is fearless, I actually also sense a great deal of fear, nervous energy. If she's not enjoying herself up there, I can't enjoy watching her. Right now, I think Taylor has too much unbridled energy. Maybe I'll like her more when she matures. I hope this wasn't too harsh. I tried to be constructive in explaining what bothers me. As for the Tanner ballet, I actually enjoyed it much more on the second viewing-- I really like the music, there's a bit of a sense of humor to it-- too bad it doesn't seem to be available on a recording. I agree that the real star turn is by Korbes. Tanner knows what's going to make this young, leggy dancer look gorgeous, and he makes sure to put in plenty of such poses and combinations. And, while I said I enjoyed the ballet, I don't think it nearly a masterpiece. But, that's ok. Certain parts of it work well, while others just don't seem to work-- for example, in the opening movement, it seemed overly chaotic with the principals moving through a crowd of corps. Even on the second viewing, I was waiting for dancers to bump into each other. It's an enjoyable, fluffy showcase for the young ones. -amanda

Drew, I also thought it an extradordinary performance. Having already seen Whelan do the piece before, I wasn't even looking forward to it that much. But, last night was amazing. She was a real ballerina last night. As someone who has always preferred her in *unitard* ;-) ballets, it takes an amazing performance to push me to be more open-minded about her. She was so musical, flirtatious, brought your attention to each detail. I felt like I was seeing the ballet anew. I guess that's what people mean by a *revelation*. Alas, I only wish I could have the experience with the female role in Square Dance. Please let me see Somogyi in that role someday! -amanda [ 06-17-2001: Message edited by: AmandaNYC ]

Every two or three years, NYCB does audience surveys. This year they did the surveys on programs that had Swan Lake on the program, presumably b/c it brought in people who don't normally attend programs with ballets of which they have never heard. That's another issue for NYCB-- not only might they have trouble bringing in the less affluent (I volunteer a lot since, besides helping the company, it allows me to see many performances for free), but they also have trouble bringing in people who only think ballet is Swan Lake or Sleeping Beauty. Never having *clicked* with the full-lengths while still liking ballet, I only started attending perfs regularly when I discovered Balanchine. I also want to note that a year or two ago the Post or Daily News (I don't remember which) raffled off/ gave away tickets for a NYCB perf-- they bought the house. The house was not nearly filled, but there were most definitely people there who had never been before (I worked the perf. and heard their comments). The audience was also more racially-balanced than a regular subscription perf. I wonder how many of the attendees ever came back. -amanda

Thanks, Leigh. So, I know I wasn't the only Ballet Talker there last night-- what did others think? I'm going to wait until I see the ballet again tomorrow night before adding much more to what I wrote based on the rehearsal. I shall say that I think the performances were better than the ballet itself (as often happens with Martins ballets, too). That Tanner chose young dancers is quite understandable once you hear the music-- very young in tone-- much is playful. Korbes was simply beautiful in the pas de deux. I still don't get much of a vibe off her, but she's young. Taylor was her usual self (I'm restraining myself, b/c I have become quite biased against her way of dancing in recent weeks). If you have a choice of seeing Bouder in this or Firebird or La Source, I'd go with the latter two, as (just as I said in my previous post), this piece really focuses on her jumping and turning ability. I still love watching her, as she is an especially musical and mature dancer for her age, but this just did not use her in way I'd like to see her used in future choreography made on her. Veyette, I thought, came off great-- he nailed some of the difficult turn combinations with which he had problems during rehearsal, and his energy was palpable. As for the rest of the choreography itself... I leave it to others to describe, esp. until I have seen it again. -amanda

The ballet premieres tonight, but I saw a partial rehearsal yesterday. There are dangers in commenting on parts of a ballet when one hasn't seen the whole, so I am going to focus on only the parts: For those going: try not to be distracted by the costumes. For the two pas de deux I saw (Bouder/Veyette & Korbes/Orza), they seemed quite inappropriate and the men's and women's did not seem to go together. The men look like card dealers-- vest, white shirt, with black arm bands-- and the women are in sherbet-colored tutus, and very odd tutus at that. I think they're playing on the fact that the leads are young, but the tutus are the very short kind and go upwards as they move out from the body. Even the dancers thought them odd. The Bouder/Veyette pas de deux is quite difficult. Tanner takes advantage of what they're good at and pushes them. Bouder has a lot of jumping (many of those pas de chats with one leg out-- is there another name for them?). In this section you don't really get to see her lyrical gifts. I can't say I'm a fan of all the swimming-like arm movements Tanner has her do soon after her entrance. As for Veyette, I can't help seeing Hubbe everytime I see him, as they do bear quite a resemblance, though not the same passion... yet. But, I do find him an interesting dancer to watch in this piece. The dancing is very jagged, maybe a little jazzy/modern, allowing him to channel his energy quite well. The Korbes/Orza pas de deux is a dark, adagio. There are definitely beautiful moments. Beyond that... we'll have to wait until after tonight's performance. -amanda

For me, there can be an intellectual appreciation (e.g., Sheezno Nichols' technique was not up to snuff tonight), but that's not why I go. I go for the emotional response. A performance can click for me, just as I can click with another person. So, just as we are attracted to different people (fortunately) we are attracted to different aspects of a performance (alexandra's diamond). But, I still cling to the belief that seating can make a difference. I have seen the same ballet frm the fourth ring and the orchestra with the same cast (sure, different night) and had very different reactions. There are fewer dancers and ballets that I can fully enjoy from up in the fourth ring. I have found that my optimal enjoyment ('cuz, I have studied this and done the stats!) ;-) comes from sitting in the 2nd ring. For me, basically, Orchestra = the trees and no forest, while fourth ring = forest and no trees. Clinging to this belief, I often wish that certain members of the artistic staff of NYCB would go and sit higher than orchestra or 1st ring level-- believing that if only they saw how Sheezno Ringer does not project at all to the 3rd ring, they'd cast ballets differently. I can dream... -amanda

I know I tend to know the news of NYCB, but this time I don't... Anybody know if Ringer and Meunier are injured? From the looks of NYCB casting, it would seem so. I hope not! their concerned fan, :-) -amanda

Jenifer Ringer, Jennie Somogyi, and Ashley Bouder in just about anything! But, to name just a few for the first two (I still haven't gotten a full sense of Bouder-- I would like to see her do at NYCB her SAB role of Liberty Bell in Stars & Stripes)... Ringer in Afternoon of a Faun, Chaconne, Scotch Symphony, In G Major (with Hubbe, please), The McBride part in Who Cares?, Farrell part in Vienna Waltzes Somogyi in Square Dance, Theme & Variations, Allegro Brillante, Walpurgisnacht, Stars & Stripes (Liberty Bell), McBride part in Vienna Waltzes And, for other dancers... Meunier in the part she did at SAB: 2nd mov't Symphony in C Hubbe in Who Cares (he hasn't done it, has he?) Weese in Allegro Brillante -amanda

Just as different dancers dance the same roles differently (or the same dancers on different nights), different conductors conduct the same music differently (or the same conductors on different nights). We still find the ballet recognizable though, for example, Maria Kowroski and Miranda Weese are very different dancers. When a performer cannot handle the technique or gives an interpretation with which we vehemently disagree, however, we might say she or he did not dance the ballet properly-- that the ballet was not presented, in many respects. Now, what about conductors? Tempo can make a huge difference, esp. considering clean footwork is so important. Last week (Thurs. night, though another attendee told me the same thing happened at an earlier perf), Hugo Fiorato's conducting of the Theme and Variations section of Tchaikovsky Suite No. 3 left even me, an audience member, out of breath. I thought Miranda Weese deserved a medal just for making it out alive, let along having managed to do most of the footwork precisely. Now, I know NYCB and Balanchine are known for their speed, but this was, well, pushing it. Instead of enjoying the dancing and the ballet, I was shaken out of my reverie-- what's going on? is she going to make it? <<< breathe >>> -- that was what was going on inside my head. The beauty was lost as one step was barely finished before another one had to start. Instead of an art, I felt I was watching a sport. What do others think about the responsibilities and effect of conductors on a ballet? Do conductors have more or less freedom than the dancers do? Other thoughts? -amanda

At the NYCB gift shop, the cost depends on rank. Principals=50 Soloists=25 Corps=5 (This went up a year or two ago from the 25/10/5 that it had been for years). So, Wendy Whelan (hard to come by) shoes go for the same as Miranda Weese (who recently gave the gift shop a huge supply). The first shoes to go tend to be the up-and-coming corps members' shoes-- an investment, I guess! Just some more info. to add to the mix. -amanda

I attended the afternoon performance. Coming off last year's great perf of Ashley Bouder (who with her La Source perfs has joined the ranks of Kistler, Ringer, and Somogyi as a fave of mine), Andrew Veyette, and Daniel Ulbricht in Stars & Stripes, this year was inevitably disappointing for me. None of the dancers made much of an impression-- they were lovely, as always-- just no one who stood out. It was quite odd watching Divertimento No. 15, having only recently seen the very young cast at NYCB do it. For once, I wasn't impressed with the coaching the SABers received-- I didn't see the distinction among the different variations the way I did at City Ballet or when Suzanne Farrell staged it with her group. The highlight of the program was seeing Melissa Barak's piece. She might not have taken the Balanchine black & white ballet genre to a new level, but she certainly provided us with an extremely watchable variation. I found the ballet immensely enjoyable-- not an *everything but the kitchen sink* attempt. And, unlike Christopher Wheeldon's Polyphonia, I felt there was a *whole* to this ballet, not just a group of parts strung together. That she's only 21 and a woman only excites me more. I hope this ballet moves to NYCB. -amanda, who still has yet to see any of Leigh's work... [ 06-05-2001: Message edited by: AmandaNYC ]

Kyra Nichols is out on a maternity leave (Best wishes to her!). Boy, do I wish I had been there Tuesday night. Instead, I got to watch Buffy the Vampire Slayer (the character, not the show) die. Amazing, albeit in a different way. Having seen something else so powerful is the only thing keeping me from doing a lotta crying over spilt milk for not getting to see Ashley's debut. I wonder if she'll perform the part at Sat's matinee... I might just risk it, though it won't be the same as seeing the debut. Ok. Enough babbling. Haven't been round these parts in awhile, so had to babble a bit. -Amanda

eWolf, I think you just about summed up how I felt. I enjoyed it, but not for the gestalt. Separately each piece was interesting to watch. But, afterwards, as I thought about it, I could only think of the unifying aspects of the neat lighting and quoting of Balanchine pieces. I agree with Leigh that there's nothing wrong with quoting. Balanchine certainly quotes other Balanchine. But, when that is one of the few things I can take away... that's when it bothers me. I do think that Wheeldon knows how to use his dancers very well. He knows how to show them off to good effect. After seeing Martins' Concerto Armonici, which I think makes both Whelan and M. Tracey look worse than they look in other ballets, I certainly value a lot more that ability to tailor choreography to a specific dancer. -Amanda

Yup, that it is (though not coffee table book size). Got it today, though B&N said it wouldn't be available for 1-2 weeks. Not the kind of book I'd buy for myself, but a good gift book, which it is for my Robbins-loving sis. After one quick page-flip, I already found an error. There's a pic from Brandenberg labeled as Wendy Whelan and Peter Boal. But, it's not them. Looks like James Fayette and Maria Kowroski to me. Ah, well. -Amanda

Does anyone know anything about the new book about Jerome Robbins that should be coming out any day now (it seems to have been delayed)? It's entitled: "Jerome Robbins: That Broadway Man, That Ballet Man". I only know what's posted on Amazon & B&N. There's also another one coming out in the spring. If anyone knows anything about either, please share! Thanks. Happy holiday! -Amanda