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About 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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  1. I went to the Inside NYCB event on Serenade last night. I hadn't realized that the skirts are attached on an angle with the right hip slightly higher than the left. As Happel said, it gives the appearance of longer legs on one side and a longer torso on the other, and prevents the skirt from being attached at the widest part of the womens' hips. They're quite beautiful, and the yellow stripe does seem to be fading. Happel also said that Karinska was against dyeing fabric on principle and bought fabric in whatever colors she needed. He said they have to dye alot themselves these days because the fabrics are no longer made in those colors. It's one of the few ballets where the women principals, soloists and corps de ballet wear exactly the same costume. I hope they NEVER change them.
  2. I saw Sara dance Mozartiana last spring and it was just magnificent. When she started the Preghira it was like silence and simplicity itself. I thought she was going to bourree right into my heart. I have no idea who her partner was, but I can't imagine it was Finlay. if it was I must have blocked it out. Tyler Angle was great in Mozartiana with Maria last week. Crisp footwork and everything. T. Angle can't partner everyone, though I would love to see Janzen in Ballet Imperial.
  3. THANK YOU for the clips! My guess is that the steps have not been passed down incorrectly. In Merrill Ashley's book she said that when Balanchine was coaching her in Sanguinic there were a lot of things Balanchine asked her to do that other dancers hadn't been comfortable doing. She worked on them, sometimes successfully getting what he wanted, sometimes getting closer, other times finding another sort of compromise. I'm thinking some version of that is what happened here. He always wanted the stepping on the heels, but he wouldn't push for it if the dancer couldn't master it. I wonder if earlier casts mention that particular step in their memoirs.
  4. Anything is possible, but honest to god, I don't think the panels were ever lemony yellow. They seemed beige before.
  5. I love, LOVE, Taylor Stanley's dancing. Glad they're giving him new opportunities. He seems like he ruminates on lots of things. He could be talking more about taking outside artistic projects than leaving NYCB. Most of the dancers seem to have something else going on (even historically), whether it's school, modeling, guest gigs, or working with other choreographers. There's a long Nutcracker season where NYCB sells out regardless of casting. Principals often take side gigs. I'd really miss Taylor Stanley if he left. And I still wish Amar could come back.
  6. I see your point, Kathleen. I had such a different experience. I think co-directing is working well with the four interim directors, and they have all those same decisions to make. Any two, or four, people in that job will have different natural talents. If they're smart they recognize that the job is big enough for all of them. Certain ballet masters already have areas of the rep that they specialize in, that would continue with AD's. They would have to come to agreement on all issues where one person didn't have more say than the others. If you can't convince your other Co-ADs then it's not the right thing to do. And once you can convince your Co-AD then you can convince all the naysayers. At least that's how it should be. Seriously, good parents do it all the time. That's how a workplace functions where there's real respect.
  7. I've run a company with a partner. IT WAS WONDERFUL! If you have the right chemistry and can back each other up it can be like having three people; each of you as individuals playing to your own strengths, and then the two of you together on the things that are the most difficult. It's like parents, it helps if there are two points of view. But the Co-ADs have to really respect each other and recognize that the job is easier with two people.
  8. I thought Ashly Isaacs was injured. Glad she's back even if it's in tennis shoes.
  9. I know Ashley Laracey has her fans, but she doesn't project enough for me. She seems kind of small and pretty and bland. Miriam Miller reminded me of a baby swan in Agon (not incredibly commanding as nanran3 said), but she held the pencheé (when the man falls to his back) so long it showed real guts and determination. I'm interested to see how she develops.
  10. I think this is the order, but someone please correct me if I’m mistaken: Eurydice : Sterling Hyltin Orpheus : Gonzalo Garcia the Dark Angel : Peter Walker leader of the Bacchantes/Furies : Unity Phelan after looking at wikipedia, the Furies and the Bacchantes seem to have a different dancers leading them. I saw Orpheus on television in the 70's or 80's but I don't remember the ballet well. I do remember being shocked though. I'm not sure what roles the men dance who follow Phelan. Perhaps one of them is Apollo.
  11. Miriam Miller has danced the lead in Agon numerous times. She danced it last performance of the spring 2018 season. That and Titania put her on the map as an apprentice, I believe. (Or maybe it was only Titania that she danced as an apprentice). What’s the head scratch?
  12. From Whelan appearance at Balanchine at City Center (she spoke on opening night) I believe she worked on that festival. She was an artistic associate at City Center 2014-16 and both Restless Creature and her other projects have had considerable touring.
  13. I thought the POB couple performed Agon PPD well enough, but something else struck me about the whole thing. NYCB tends to have taller women. Most of the foreign companies have women that are short and tiny. Sae Eun Park, is an example. Hugo Marchand had to duck under her leg in arabesque when he was on one knee. I've only seen the woman's leg sail over her partner. Agon should be danced by a taller woman, or at least a couple that are more closely matched in size. There's another section where the man supports the woman under the arms as she does a series of splits, two or three times going upstage on alternating diagonals, twice coming downstage. Marchand was so much taller that her pelvis couldn't reach the ground. Do these companies have enough tall women for Balanchine rep?
  14. I was at the SAB open house this year and they had a presentation on costumes. It wasn't Happel, but a man spoke about how costumes for Concerto Barocco and Serenade had changed over time and about how each costume has a book showing design, decoration placement and fabric swatches, (including fabric costs, where to purchase etc.) for all of its elements. The costume shop is on top of it!
  15. I haven’t spoken to any dancers about the floor surface, but I trust it won’t surprise anyone to read my differing opinion of the reason for the slips and falls. I think it’s part and parcel of the occasion; bringing different companies together, a different routine, the excitement of seeing heros or idols up close, the excitement of the unknown. The first day of the festival Unity Phelan posted an IG film taken just before company class. The little films disappear after 24 hours, but the excitement in the room was palpable. She highlighted a dancer from another company at the barre, a friend and/or someone whose dancing she admired. After a close up view all the dancers are probably comparing their own interpretations to the dancing of this vast number of other people (even if only subconsciously), changing routines and approaches to movement that were proven by time. The snow globe has been shaken and the flakes now fly. Until they settle anything might happen.
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