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BalanchineFan

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

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  1. I agree, though I bet they got a some nice financial support from Van Cleef and Arpel's. That company is running an online ad on the streaming webpage. NYCB, or at least Balanchine and Farrell, did a photo shoot at VC&A as part of the promotional run up to the ballet's premiere. https://www.vancleefarpels.com/br/en/la-maison/icons/legends-of-van-cleef---Arpels/george-balanchine-dancing-jewels.html
  2. I find that performers gain a lot of depth when they can relax their facial expressions and react in the moment as they dance. There's more variety, more truth to the emotions that come out. For the reality is that quite a lot is happening onstage as they dance. There are the rises and falls of the music (usually played live, so it's different each performance). There is the interaction with their partner, and the other dancers onstage. (Here you are close, now, two counts later, you're so far away). There is the choreography itself, the physicality of it, the changes of movement dynamic, now sharp, now smooth, now narrow and tight, now wide; the amplitude, from the finesse of quick pointe work to space devouring jumps. A frozen smile says one thing, and often it communicates more tension than happiness. Balanchine's work shines through this production and there are many stand out performances. (I haven't yet looked up his name, but the male lead in Diamonds was a true joy to behold). I hope that the corps, and some of the soloists were smiling out of nerves and eventually relaxed into a deeper experience of the ballet.
  3. I"m not sure how long this link will be active, but Bayerishes Statsballett is streaming a performance of Jewels from April 2019 with Ashley Bouder as a guest in Rubies. I believe Patricia Neary set it. https://operlive.de/jewels/
  4. She says "I don't know, at this moment, when the next time will be..." Let's not get ahead of ourselves. We don't know.
  5. I don't know how many of you are dancers, or know young dancers who might be at home while dance studios are closed, but a few NYCB ballerinas (and others) have online offerings. There is such a sense of community and people being creative to help each other out in our new shared circumstances. BRAVO DANCE WORLD! Ashley Bouder youtube channel offers classes live at 11 am, the classes remain on her youtube channel Tiler Peck is doing a class via Instagram Live, at 1 pm EST/10 am Pacific Time https://www.instagram.com/p/B9z-kFtFSv8/?utm_source=ig_web_button_share_sheet Over at Juilliard, Alicia Graf Mack, head of the Dance Division, offers class via Instagram each morning, M_F at 8:15 AM. Those classes remain online for 24 hours. https://www.instagram.com/tv/B9y06YtjVDD/?utm_source=ig_web_button_share_sheet
  6. How exciting! I've been watching bits of this tour through the dancers' Instagram posts. It looks fascinating. I love Robbins' choreography, but In the Night is like an afterthought to his two Chopin masterpieces, Dances at a Gathering and The Concert. Do you remember the entire cast? I love your account of Miriam Miller in After the Rain. I haven't seen her in leading roles as often, or as recently, here in NYC and I'm glad she's getting opportunities.
  7. I would never say "too bad"about Rodeo. Nearly every ballet has a male-female pdd. When have you ever seen an adagio male quintet? Rodeo is a gift.
  8. For me, the standout movement in Rodeo is the quintet for the men. Seeing those men dancing with such tenderness, and with such beautiful lines is the heart of that ballet. The opening section and the finale, with their energy (dancers running across the stage full tilt) and the solo figure turning and jumping, or the men being thrown up in the air, are a close second. I've seen Rodeo 4 or 5 times and I can barely remember the pdd. It's nice enough while it's happening, and I remember Tiler and Sara dancing equally well, but it pales in comparison to the new territory Justin Peck explores with the men. just my 2 cents.
  9. Mejia often dances corps roles. He was a youth in Firebird in January. I didn't see Swan Lake, so I can't speak to that. There are also benefits for the dancer to being in the corps of a particular ballet before dancing a lead role in the same ballet. You learn to count that music without the pressure of solo work and things like that. I'm not saying any particular person should or shouldn't be promoted, I can just see a lot of reasons why management might go slowly on this. Gelsey Kirkland and Darci Kistler were promoted quickly (for different reasons, all Balanchine's) and many think they had injuries as a result. Chase Finlay was once the youngest male principal dancer -another negative result. They don't ever de-promote people.
  10. Many dancers say that being promoted to soloist is a difficult transition. While they appreciate the recognition, they miss the cameraderie and support of the corps. All of a sudden they're performing much less, away from the people who gave them emotional support or lifted their spirits when they first joined the company. They have new challenges (usually) and might be singled out for criticism or competition more often both in the press and in rehearsal. They're left to their own devices to prepare certain roles. Dancers need a certain maturity to make the adjustment smoothly.
  11. I came late to the van Hove parade. Network was the first of his productions that I saw. I thought it was an assault on the senses, between the many video screens, the reflective surfaces, the audience and bar onstage, and video of things present and not. A viewer might spend half of any scene watching large format video and be surprised when the two actors involved stand up and exit, 'Gee I could have watched it live in front of me instead!' I've heard his View from a Bridge, and even Crucible were somehow better and less confusing. Arrogance is never a good look for an artist, but I don't begrudge van Hove's efforts to reimagine classic plays and musicals. That's what directors are supposed to do, whether they make big changes or not. With any luck, next time the results will be better.
  12. I'm curious, do you (or others) only feel that emotion when there's a hint of narrative? I find I don't need narrative to feel emotion. Not that I've seen the new Peck. I find there's plenty of emotion in the adagio of the Bizet, in Concerto Barocco, in 4T or In G Major. Maybe it's adagio music that makes me emotional. the 2nd movement of PC2 also comes to mind. In Rodeo, I find the emotion comes from the section where the 5 men dance together and help each other... where Taylor Stanley is suspended by men lying on their backs, all of them gazing up at the sky. I'm not thinking story or narrative, just that sense of being with friends totally supported on a perfect day. Or is what I've described a "hint of narrative" to you?
  13. Well, we'll know about Megan Fairchild and In G Major after Saturday. Give her a chance. Maybe she's the one who's replacing Maria K (or Sterling). We might have expected to see one of them in In G Major. Maria must be injured she hasn't danced all season that I can remember. I'm seeing this program Sunday, but I'm considering getting a ticket for Friday to see Unity Phelan's debut. Then I'll probably see two casts of DGV as well.
  14. It does look like they're going to perform soon. Maybe the new Peck is short and they're adding Tarantella to the program.
  15. I've never seen Sylvia live either. There are YouTube clips of ... maybe Allegra Kent or Maria Tallchief doing it. I couldn't find the IG story on nycballet or on Phelan's IG. Were the dancers wearing costumes? Where is this Instagram Story? What I meant by "principals can request rehearsals of anything" is that different biographies mention principal dancers having the right to request a studio and a pianist to work on their own on any piece of repertory. I'm not sure if soloists get the same privilege. If there's time in the schedule onstage they might be able to slip in whether they have a performance coming up or not. Or maybe they've got an outside performance during the upcoming break. I could also see wanting to rehearse something before the break and then return to it closer to performance time, particularly if it has a new technical challenge for the dancer(s) or if it's difficult cardio. Or, you're right, maybe one of the new ballets is short. How did they look?
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