AmandaNYC

Wow. Thanks, Michael. I look forward to seeing Labean on Sunday in WSS. It's always nice to see a corps member have a chance to shine. re: Nichols in Mozartiana. Just remember that everyone is different in who they like and don't like, so it might not be that Nichols went over people's heads. While I have always appreciated Nichols's technique, I have never much enjoyed her performances. I know that is sacrilege to some, but there it is. And, I don't believe it's because I missed something. I just see her differently; she's just not my cup o' tea. But, I do agree that crazy amounts of turns seem to equal "great performance" in many an audience member's mind, rather than more subtle artistic dancing (if that's what you were implying). -amanda

Yay: Fairchild and Korbes are back Nay: Bouder is only dancing in one performance (Shambards) -amanda

Program and Casting Subject to Change * First time in role + Guest Artist # SAB Student FEBRUARY 8-13, 2005 TUESDAY EVENING, FEBRUARY 8 AT 7:30PM Mozartiana: NICHOLS, NEAL, DE LUZ* Intermission Thou Swell: KISTLER, RINGER, TAYLOR, KOWROSKI, SOTO, FAYETTE, MARTINS, ASKEGARD Intermission The Four Seasons: Janus: FOWLER Winter: VEYETTE, FAIRCHILD*, SEVERINI, HENDRICKSON Spring: HANSON, RINGER, LIANG Summer: MEARNS, KÖRBES, FAYETTE Fall: SETH, ANSANELLI, MILLEPIED, CARMENA WEDNESDAY EVENING, FEBRUARY 9 AT 8:00PM [Kaplow] Emeralds: WEESE, HANNA, RINGER, FAYETTE, EDGE, RIGGINS, ORZA* Intermission Rubies: ANSANELLI, WOETZEL, REICHLEN [Walters] Intermission Diamonds: WHELAN, MARTINS THURSDAY EVENING, FEBRUARY 10 AT 8:00PM Chichester Psalms: KÖRBES, RAMASAR Intermission Afternoon of a Faun: TAYLOR, WOETZEL Pause Andantino: FAIRCHILD*, DE LUZ* [McDill] Intermission Stars and Stripes: ANSANELLI, WOETZEL, TINSLEY, BAR, GOLD FRIDAY EVENING, FEBRUARY 11 AT 8:00PM Apollo: MARTINS, KISTLER, SYLVE, RUTHERFORD Intermission Chichester Psalms: KÖRBES, RAMASAR Pause Eros Piano: ANSANELLI, TAYLOR, HÜBBE [Moredock] Intermission Shambards: WEESE, SOTO, KÖRBES, la COUR, BOUDER, FAIRCHILD, DE LUZ, ULBRICHT [Grant] SATURDAY MATINEE, FEBRUARY 12 AT 2:00PM Emeralds: WEESE, HANNA, RINGER, FAYETTE, EDGE, RIGGINS, ORZA Intermission Rubies: ANSANELLI, WOETZEL, REICHLEN [Walters] Intermission Diamonds: WHELAN, MARTINS SATURDAY EVENING, FEBRUARY 12 AT 8:00PM Fanfare: Piccolo: KEENAN Flutes: HYLTIN, PAZCOGUIN Oboe: ARTHURS Violas: RUTHERFORD, J. ANGLE Harp: REICHLEN Celli: RICARD, BESKOW, KROHN Major Domo: LOWENSTEIN+ Clarinets: TINSLEY, LIANG Bassoons: FOWLER, FROMAN Double Bass: la COUR Tuba: ULBRICHT Trumpets: CARMENA, HENDRICKSON Percussion: SUOZZI, GOLD, RAMASAR Intermission Afternoon of a Faun: TAYLOR, WOETZEL Pause Andantino: FAIRCHILD, DE LUZ [McDill] Intermission The Four Seasons: Janus: FOWLER Winter: VEYETTE, FAIRCHILD, SEVERINI, HENDRICKSON Spring: HANSON, RINGER, LIANG Summer: MEARNS, KÖRBES, FAYETTE Fall: SETH, ANSANELLI, MILLEPIED, CARMENA SUNDAY MATINEE, FEBRUARY 13 AT 3:00PM Mozartiana: KOWROSKI, HÜBBE, DE LUZ Intermission Concerto for Two Solo Pianos: ANSANELLI, la COUR, RAMASAR [Grant, Moredock] Pause Liturgy: WHELAN, SOTO Intermission Glass Pieces: TINSLEY, HIGGINS, RUTHERFORD, FAYETTE, KROHN, la COUR*, WHELAN, LIANG* [Chelton]

This is more about falling into like... For me, Weese and Kowroski at NYCB were pushed forward before I saw anything in them. For a few years, I couldn't see the big deal about either (well, i did recognize that Kowroski had the most gorgeous ballet body). As they matured, I grew to enjoy them much more. Weese seemed to use her upper body more, and really make use of her great musicality. Over time, Kowroski looked, well, less scared. I also think seeing Kowroski do the humorous role in the Stroman piece awhile back (Duke!) helped me see a more "human side" to her. On my end, I think all the big talk surrounding her early years in the company pushed me the other way for awhile. -amanda [edited to remove text that fit when this post was starting a new thread]

TO NYCB-goers-- how does Bouder's jumping compare to Melinda Roy's? I only saw Roy a few times before she retired. -amanda

I only know ABT and NYCB: Julie Kent Irina Dvorovenko Jenifer Ringer Darci Kistler Suzanne Farrell Helene Alexopoulos Margaret Tracey (more pretty than "beautiful") -amanda

While I always expect to be disappointed by the nominations, I was particularly disappointed that Paul Giamatti wasn't nominated for Best Actor for Sideways. It's quite ironic coming after his Saturday Night Live appearance, where there was a skit where he played himself. His driver didn't know who he was, and kept going on and on about Foxx winning the Golden Globe (Giamatti was also nominated in that category). In his portrayal of himself, Giamatti is quite upset and frustrated by not winning. BUT, at least he got nominated! -amanda

Last week, Tinsley replaced Fairchild in Divertimento No. 15, so she may be out temporarily (NYCB doesn't report on injuries, so that's all we might know). -amanda

Program and Casting Subject to Change * First time in role + Guest Artist # SAB Student FEBRUARY 1-6, 2005 TUESDAY EVENING, FEBRUARY 1 AT 7:30PM Prodigal Son: BOAL, KISTLER, FAYETTE, GOLBIN, ABERGEL, SUOZZI, HENDRICKSON Intermission After the Rain: WHELAN, SYLVE, KOWROSKI, SOTO, LIANG, la COUR [Moverman, Moredock] Intermission Who Cares?: NEAL, RINGER, ANSANELLI, BOUDER [McDill] WEDNESDAY EVENING, FEBRUARY 2 AT 8:00PM Mozartiana: NICHOLS, NEAL, GOLD Intermission Thou Swell: KISTLER, RINGER, TAYLOR, KOWROSKI, SOTO, FAYETTE, MARTINS, ASKEGARD Intermission West Side Story Suite: MILLEPIED, FAYETTE, WOETZEL, ARTHURS, RINGER, LABEAN* THURSDAY EVENING, FEBRUARY 3 AT 8:00PM Mozartiana: WHELAN, HÜBBE, GOLD Intermission Thou Swell: KISTLER, RINGER, TAYLOR, KOWROSKI, SOTO, FAYETTE, MARTINS, ASKEGARD Intermission The Four Seasons: Janus: FOWLER Winter: VEYETTE, BOUDER, CARMENA, SUOZZI Spring: HANSON, RINGER, NEAL Summer: MEARNS*, RUTHERFORD, FAYETTE Fall: SETH, WEESE, MILLEPIED, ULBRICHT FRIDAY EVENING, FEBRUARY 4 AT 8:00PM Fanfare: Piccolo: KEENAN* Flutes: HYLTIN*, PAZCOGUIN* Oboe: ARTHURS Violas: RUTHERFORD, J. ANGLE Harp: REICHLEN* Celli: RICARD*, BESKOW*, KROHN Major Domo: LOWENSTEIN+ Clarinets: TINSLEY*, LIANG* Bassoons: FOWLER, FROMAN Double Bass: la COUR* Tuba: ULBRICHT* Trumpets: CARMENA, HENDRICKSON Percussion: SUOZZI*, GOLD, RAMASAR* Pause Liturgy: WHELAN, SOTO Intermission Orpheus: Eurydice: KISTLER Orpheus: MARTINS Dark Angel: ASKEGARD Bacchantes: BAR Apollo: J. STAFFORD Satyr: HENDRICKSON Pluto: SETH Intermission The Four Seasons: Janus: FOWLER Winter: VEYETTE, BOUDER, CARMENA, SUOZZI Spring: HANSON, RINGER, NEAL Summer: MEARNS, RUTHERFORD, FAYETTE Fall: SETH, WEESE, MILLEPIED, ULBRICHT SATURDAY MATINEE, FEBRUARY 5 AT 2:00PM Fanfare: Piccolo: KEENAN Flutes: HYLTIN, PAZCOGUIN Oboe: ARTHURS Violas: RUTHERFORD, J. ANGLE Harp: REICHLEN Celli: RICARD, BESKOW, KROHN Major Domo: LOWENSTEIN+ Clarinets: TINSLEY, LIANG Bassoons: FOWLER, FROMAN Double Bass: la COUR Tuba: ULBRICHT Trumpets: CARMENA, HENDRICKSON Percussion: SUOZZI, GOLD, RAMASAR Intermission Concerto for Two Solo Pianos: ANSANELLI, la COUR*, RAMASAR [Grant, Moredock] Intermission Stars and Stripes: SYLVE*, ASKEGARD, BOUDER, BAR, GOLD SATURDAY EVENING, FEBRUARY 5 AT 8:00PM Agon: KOWROSKI, EVANS, LIANG, KROHN, BAR, SYLVE, HANNA, FOWLER Intermission Prodigal Son: BOAL, KISTLER, FAYETTE, GOLBIN, ABERGEL, SUOZZI, HENDRICKSON Intermission Stars and Stripes: ANSANELLI, WOETZEL, TINSLEY, HANSON, ULBRICHT* SUNDAY MATINEE, FEBRUARY 6 AT 3:00PM Eros Piano: ANSANELLI, TAYLOR, HÜBBE [Moredock] Pause Apollo: BOAL, BORREE, BOUDER, RUTHERFORD Intermission Concerto for Two Solo Pianos: ANSANELLI, la COUR, RAMASAR [Grant, Moredock] West Side Story Suite: MILLEPIED, FAYETTE, WOETZEL, ARTHURS, RINGER, LABEAN

According to the Playbill Arts site, some NYCB dancers will be there, too, incl. Jennie Somogyi: Playbill Arts item on Book Signing "Round About the Ballet is a coffee-table book with photographs of and interviews with 15 NYCB and ABT principals, including Angel Corella, Albert Evans, Nikolaj Hubbe, Julie Kent, Maria Kowroski, Vladimir Malakhov, Gillian Murphy, Ethan Stiefel, and Wendy Whelan."

I'm glad you noticed that, too, oberon! I was sitting very close, so I thought others might not see it. I have noticed on numerous occasions that Bouder very much interacts (with her eyes) with others on the stage and often gets great smiles back from them. She seems to bring out the best in others with whom she dances. And, it was wonderful to see that happen with Taylor. Taylor often does not look happy on stage, which is a shame since there's a such a vibrancy to her dancing when she does look like she's enjoying herself. She did react to Bouder with a big smile and seemed to enjoy the next passages much more. And, so I enjoyed her much more.

I should add a general congrats to all the dancers. I was so taken aback that I forgot my manners! Like bobbi, I'm especially thrilled with Bouder's promotion. I was selfishly hoping Bouder would get a promotion without others... as I'm one of those who sees her in a league of her own. Tomatonose-- I echo the others when i say that you captured my sentiments about what a promotion that seems premature (In an interview last year after her soloist promotion, Fairchild seemed to imply she felt her soloist promotion came too soon). Welcome to the board! Was 1989 the last time so many dancers were promoted at once? -amanda

Wow. I so did not see many of those comings... yet I certainly thought Bouder and Reichlen on their way to promotions this or next season, but, wow. While I certainly think Hendrickson and Ulbricht deserving, it seems odd to promote them when they have been dancing so little lately. But, bravo for them. To others-- has there been another time where three dancers were promoted to soloist together only to be promoted to principal together within a year? -amanda

I can't remember-- do they usually "star" NYC debuts if the company debut was in another city... That might be why her debut is noted, since it's "new" for us in NYC. -amanda

Program and Casting Subject to Change * First time in role + Guest Artist # SAB Student JANUARY 25-30, 2005 TUESDAY EVENING, JANUARY 25 AT 7:30PM [Kaplow] The Goldberg Variations: Theme: REICHLEN, FOWLER 1st Sect.: BOUDER, HANNA, J. ANGLE, TAYLOR, HIGGINS, HENDRICKSON 2nd Sect.: WHELAN, EVANS, KOWROSKI, NEAL, WEESE, BOAL [Grant] Intermission Agon: WHELAN, SOTO, BOAL, TINSLEY, HANSON, REICHLEN, HANNA, FOWLER WEDNESDAY EVENING, JANUARY 26 AT 8:00PM Prodigal Son: WOETZEL, KOWROSKI, FAYETTE, GOLBIN, ABERGEL, CARMENA, FROMAN Intermission After the Rain: WHELAN, SYLVE, KOWROSKI, SOTO, LIANG, la COUR [Moverman, Moredock] Intermission Who Cares?: MARTINS, WEESE, ANSANELLI, TAYLOR [Chelton] THURSDAY EVENING, JANUARY 27 AT 8:00PM [Quinn] Apollo: HÜBBE, WHELAN, SYLVE, WEESE Intermission Orpheus: Eurydice: KISTLER Orpheus: MARTINS Dark Angel: ASKEGARD Bacchantes: BAR Apollo: J. STAFFORD Satyr: HENDRICKSON Pluto: SETH Intermission Agon: KOWROSKI, EVANS, LIANG*, KROHN*, BAR*, SYLVE, HANNA, FOWLER FRIDAY EVENING, JANUARY 28 AT 8:00PM [Gemignani+] The Goldberg Variations: Theme: REICHLEN, FOWLER 1st Sect.: BOUDER, HANNA, J. ANGLE, TAYLOR, HIGGINS, DE LUZ 2nd Sect.: WHELAN, EVANS, KOWROSKI, NEAL, WEESE, BOAL [Grant] Intermission West Side Story Suite: MILLEPIED, SOTO, HÜBBE, ARTHURS, RINGER, EDGE SATURDAY MATINEE, JANUARY 29 AT 2:00PM Prodigal Son: WOETZEL, KOWROSKI, FAYETTE, GOLBIN, ABERGEL, CARMENA, FROMAN Intermission Octet: BOUDER, KISTLER, MILLEPIED, HANNA Intermission Who Cares?: MARTINS, WEESE, ANSANELLI, TAYLOR[Chelton] SATURDAY EVENING, JANUARY 29 AT 8:00PM La Source: RINGER, NEAL, BOUDER Intermission Eros Piano: ANSANELLI, TAYLOR*, HÜBBE [Moredock] Intermission Octet: BOUDER, KISTLER, MILLEPIED, HANNA Intermission West Side Story Suite: MILLEPIED, SOTO, HÜBBE, ARTHURS, RINGER, EDGE SUNDAY MATINEE, JANUARY 30 AT 3:00PM After the Rain: WHELAN, SYLVE, KOWROSKI, SOTO, LIANG, la COUR [Moverman, Moredock] Intermission Orpheus: Eurydice: KISTLER Orpheus: MARTINS Dark Angel: ASKEGARD Bacchantes: BAR Apollo: J. STAFFORD Satyr: HENDRICKSON Pluto: SETH Intermission Who Cares?: NEAL, RINGER, ANSANELLI, BOUDER [McDill]

The theme for my experience of the last week+ of performances was, unfortunately, of miscasting (that's not to say I didn't enjoy most of what I saw, but I shall focus on the bad first). 4 T's: Ansanelli, though small, would seem more appropriate for Choleric. She didn't have the sharpness that I have come expect in Sanguinic. There's wasn't an "edge". There's still more of nervous energy to her work than the type of control needed for this part rather than Choleric. I also don't think Sylve has the "edge" needed. She certainly is crisp in her footwork, but she's still too much of a ballerina in her approach (I felt the same way, but more strongly, when she did the blue girl in who cares? and seemed to be too much of a "ballerina" in it). Old miscasting- I still think Evans more suitable for Melancholic than Phlegmatic, as there is just a natural ease and control to what he does that doesn't seem to fit with the lethargy of Phlegmatic. Todo Buenos Aires. I cannot think of more inappropriate male dancers to put with Bocca. Neal, Evans, and Tewsley have gracefulness ingrained them in to the degree that I felt like they were dancing a different piece from Bocca. The differences in costumes made the distinction even worse. Placing the NYCB men next to Bocca only highlighted their shortcomings. I think the piece would have been better served by a dancer like Ramasar. And, as much as I ADORE Kistler, she seemed too innately "sunny" for the role. She can do sexy-- she has before. So, perhaps, it was the choreography. Either way, it just felt unnatural to me. Other recent "bummers". WHile I loved Sylve's expansive dancing, virtuosity, and ballerina presence in the solo work in T&V, in the performance I saw, she did not seem to indicate any awareness of her partner whatsoever during the pas de deux (and I don't mean she needed to look at him). She did not relate to him in any way I could see. At one point I used binoculars, thinking that it might be too subtle to see from the back of the house. But, even through binocs I didn't perceive any consciousness of Askegard. After getting so worked up by her solo bits, it was a bit of a comedown for me to see her dance the pas de deux as if it were another solo. Weese in La Source. The ingredients were all there in her technique and upper body, but I felt no warmth. With the knowledge that the part was created on Verdy and having seen Ringer in the part, I was left feeling cold... and oddly bored. I had the opposite problem with Weese here that I had with Sylve in Four T's. In La Source, Weese was not ballerina enough in her presence and warmth. The highlights: The other ballerinas in Suite No. 3. I saw Bar in a new light (ironically when she was under dim lights) during this piece, and gained a new appreciation of her. She was quietly tragic. Rutherford and Bouder continue to dance these roles as if the pieces were made on them. Hanson and Fowler in Four T's. Hanson has generally been a dancer who doesn't draw my attention, but when she does the third theme, time slows and I see the beauty in every little movement. Polyphonia. I dismissed this piece when I first saw it as just a copy of every Balanchine-Stravinsky piece all in one. Now, I don't mind that aspect-- I was able to see it as more of an homage. And remind myself that Balanchine often echoed himself when Stravinsky also echoed himself across pieces. Wheeldon might even hear those echoes in Ligeti. Whatever the case, Wheeldon knows how to use his dancers so well that I enjoyed seeing different aspects of them. I certainly prefer Wheeldon in this mode, than in his Carnival of the Animals mode... I reserve judgment about Suozzi and La Cour in 4 T's, as I need to adjust to seeing others in parts I am used to seeing the same people in time and time again. -amanda

I'd find it hard to believe the Boal and Soto didn't have say into what their final performances would be. I think Soto gets to show himself off exceptionally well in Chiaroscuro, and then gets to have some final fun with part of Union Jack. I do agree, however, that it's weird to have WSS and not the farewell ballet programmed at the end for Boal. -amanda

I received the Spring Season subscription brochure. Of note: NYCB premiere of Robbins's N.Y. Export: Opus Jazz New ballets from Evans and Millepied, in addition to Martins and Wheeldon. The June 5 program for Boal's retirement: Agon Opus 19/The Dream West Site Story Suite The June 19 for Soto's retirement: Barber Violin Concerto Liturgy Chiaroscuro Excerpt from Union Jack 17 ballets by Balanchine (Allegro Brillante and Apollo included) 8 by Robbins 5 by Martins 4 by Wheeldon 4 by others, including Musagete Double Feature before it "rests" from the repertory Carrie Lee Riggins and Stephanie Zungre are on the cover in what looks like costumes from Tanner's Soiree... not sure, though. -amanda

I have often purchased the Balanchine calendar in the past, but I had little interest in most of the photos in it this year. I just wasn't impressed with those photos. -amanda

THANK YOU, Alexandra! -amanda

Nothing shocking or exciting here... I only really saw NYCB (lack of funs to spread on other companies). *Wall-to-Wall Balanchine* - Just a great idea, event, and experience. *All the global Balanchine Centennial celebrations. I had become so cynical. I was so pleased by all the attention that was properly given to Balanchine and his works. *Bouder in almost everything, particularly La Source and Sleeping Beauty. *Fairchild in Double Feature. What a hoot. *The increased casting of and promotion of Stephen Hanna. I'm forgetting a ton, I'm sure... -amanda

Now that I'm finally getting to this thread... Musgète, by far. No Somogyi dancing. I have missed her so! Shambards pas de deux. Performance-wise, I utterly despised Sylve's approach to the Who Cares? girl in th blue. The technique was there. But, I spent the whole solo going "what ballet is she dancing?". I realize she's not American, but still... it pained me. The choreography for Kyra Nichols's solo in Double Feature. I might not be a Nichols fan, but I certainly wouldn't wish a solo on her that makes someone squirm in their seat (I did) for it's lack of... everything. I can "deal" with the rest of Stroman's choreography, but this was just bad. The inclusion of choreographers barely influenced / far indirectly influenced by Balanchine in the Balanchine Centennial (Stroman, Eifman). I do know they need to sell tickets. But, I would have loved to have seen works by choreographers either schooled at SAB or NYCB or closely linked companies. But I guess we have lamented the Centennial programming enough. -amanda

Did anybody see Fairchild's debut in Square Dance? If so, care to comment? thanks. -amanda

Let me just add that this type of "odd" reaction is probably also due to the HUGE expectations I have for Bouder. For better or worse, I have gotten used to performances that leave me on a high for days... As I recall Leigh noting last year, "poor" Bouder has set a lot of our expectations very high (though he said it differently). -amanda

I have been refraining from writing reviews and leaning more toward just factual posts for the last few months as I found that I was not enjoying performances as much when I thought I would be writing about them (that "thinking" thing got in the way of the pure emotional reaction, i guess). But, I felt like popping back on... I had an odd reaction to the Bouder performance. I don't think there was any way of improving the performance she gave on Friday night, with the only improvement on Sat. matinee the proper finishing of the fouettes (on friday, she not only did all the fouettes, but finished with what seemed a triple pirouette). I thoroughly enjoyed each moment. Both performances were fully realized-- with innate musicality and exceptional technique, as well as a gorgeous use of the upper body and a ballerina presence. At times, she played with balances, but not to the detriment of the subsequent sequence (as she often did during her "early" years of doing Dewdrop). But, I wouldn't say this was the one performance not to miss- not really close, in my opinion. So the "odd" reaction being that I thought she was near "perfect" but I was a bit let down. You all know I adore Bouder, and several of the my top ballet-going experiences come from having watched her. These performances were not close, and I think it had to do with the ballet. I am not in love with the ballet. It's like divers who might do a perfect dive but do not do the hardest dive possible, so they can't get a perfect 10. I'm not talking difficulty here, though. I just don't think any performance of this ballet can knock me over. I saw Ashley's early performance of the ballet on video and live performances of hers during the later years, too. This ballet just has its limits for me. For those of you who adore Bouder but are missing the Ballo performances, I just want to let you know that, depending on your reaction to the ballet itself, the experience might not have been as incredible as it was for some on this board... just so you don't feel as bad about missing it! -amanda