Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

BalanchineFan

Senior Member
  • Content Count

    411
  • Joined

  • Last visited

About BalanchineFan

  • Rank
    Bronze Circle

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid ballet goer, particularly NYCB, former modern dancer, teaches dance
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. The interview videos began on Tuesday and ran for a week. The performance videos started on Thursday and ran for a week. The dance films that NYCB released last fall seem to still be available on their website, however. I sometimes watch the Justin Peck "Thank you, NY" when I'm feeling low. It's a huge pick me up. https://www.facebook.com/watch/?v=745082016093012 Also, the broadway dancers/singers who sang Let the Sun Shine for the recent inauguration. Major uplift if you ever need it. It's off-topic, but Charlotte D'amboise who is featured in the last part went to SAB, I'm sure.
  2. I love Rebecca Krohn in this role. Her hips are so off kilter in those first moments of the Aria, everything is done to the nth degree, every movement completely fulfilled.
  3. The interview this week, on Stravinsky Violin Concerto, will be with Sara Mearns, Claire Kretchmar and Rebecca Krohn. I checked on the women's roles and this is the first time this season that the repertory director is someone who performed the role we're seeing coached. Rebecca Krohn danced Stravinsky Violin Concerto at her farewell performance.
  4. That's it! Thank you!! Kirkland and Baryshnikov did seem a bit .. detached. Spectacular dancing, though.
  5. Tiler IS truly one of the best! I watched Jonathan Stafford teach a partnering class at SAB on a donor day and he was emphasizing all the support that could be given, in different ways, with just a finger, or two fingers on the woman's wrist, or even by the flat of the hand. He taught a combination that had all sorts of different kinds of uses of the hand and fingers for support. It was so enlightening.
  6. IMO, Not Our Fate is the strongest of the ballets she has choreographed for NYCB. Maybe I just like how she limited the space for parts of it: I remember a section where all the couples dance from stage left to right, sweeping across the stage. Also, the costumes were black and white, original shapes for the women, but attractive clothing that a person would wear. I really dislike the tutu permanently hiked up in the back that Zac Posen designed for Unity Phelan in the more recent ballet. That costume is a kind of worst-nightmare-realized. Just my opinion. All of Lovett's ballets have had
  7. I read somewhere that Kirkland and Baryshnnikov had a major argument the day of the live broadcast. Not sure if that impacted their performance style. Personally, I love that performance. It was the first time I'd seen the ballet. The speed is electrifying. I'm interested to look for the Kistler recording again. I think I may have already seen it online. Tiler seems so incredibly joyful in this performance. I don't remember that from previous performances, most other ballerinas go for a more detached, regal, formal interpretation, but Vive la Différence! I haven't seen T&V performed l
  8. I loved the coaching session. Don't miss it, if you have any interest. Joseph Gordon works on the male solo variations with Kathleen Tracey and his jumps and comportment are just to die for! I've always thought he lands his jumps like butter, and that is very much in evidence here. It ends with footage of Andy Veyette doing the same variation, totally in top form. It's the same general format as the previous rehearsal footage, a younger dancer who has only performed the role once or twice (Gordon), a seasoned dancer with years of experience in the role (Veyette, who says he's been dancing
  9. I just find every dancer has their own rep. Not everyone was made to do Theme & Variations, nor should they be. One thing I appreciated about the Balanchine era was how different the principals were from each other. How different their dancing was. You still see that in many of the women, but when I returned to NYCB it took me awhile to distinguish between Tiler Peck, Ashley Bouder or Megan Fairchild. Now I can see the differences in their performances (and they ARE different), but I don't ever remember that kind of confusion between Merrill Ashley, Suzanne Farrell or Karin von Aroldingen,
  10. What do you mean? She's been a principal since 2015. She has handled the workload for six years. I love her dancing. I remember her in Liebsleider, and a whole gamut of other roles, DAAG comes to mind. She was a fabulous Novice in The Cage. That surprised me. I once thought her a bit sweet, thinking she would grow into more depth with maturity, but her Novice sure wasn't sweet! Why the "early" retirements? I think there have always been dancers who stopped dancing at these ages. Maybe not dancers with such prominent careers. Maybe social media gives dancers today more of a sense of
  11. You've probably seen this elsewhere but.... This was the first of three weeks of NYCB'S new Digital Season. More to come. Interview and rehearsal of Prodigal Son https://youtu.be/Wz1yfSLH3o4 Prodigal Son by George Balanchine https://youtu.be/bFKa6vhTbcQ
  12. Though I wished they had also shown Maria Kowrowski working with Christina Clark, I got a lot out of the coaching session. A few examples: the intricacies of dealing with the cape on those slow bourrées upstage on the diagonal, as the Siren threads her arms through the cape ending with her back to the audience (and the cape, hopefully, beautifully draped behind); the section where the Siren has the cape wrapped around her legs (head in profile, alternating with whatever epaulement the ballerina likes); the image of the dancer's two heels peeking out to the side, making a heart shape with her
  13. I suspect subscribers will get the first option on buying tickets to "special events" but they eventually open up to the general public unless all the tickets are sold. Kowrowski's farewell will certainly be popular. As a non-subscriber I got tickets to Wendy Whelan's farewell in the 4th Ring.
  14. I bought two of the weekend subscriptions. I wasn't too careful in picking because, as a subscriber, you have the right to exchange tickets for another performance. For me, that's easier than doing a flex subscription.
  15. I enthusiastically recommend the SAB documentary, On Pointe. It has casting for Nutcracker and the performance process, and follows a number of students, quite young - D class, through the 2019-20 school year. You see a couple of young women receive their apprenticeships. It's a very positive look at the school and the students' pride and joy at being there.
×
×
  • Create New...