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BalanchineFan

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About BalanchineFan

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    Bronze Circle

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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
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY

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  1. 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.
  2. 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.
  3. 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.
  4. Merrill Ashley is just a treasure! I hope she continues to coach for NYCB as well. I seem to remember seeing her in the audience when one or another dancer debuted in Sanguinic in 4T, and I'm sure she did some coaching then. They should make use of these great dancers who worked with Balanchine before it's too late. I also thought her remarks about support for the apprentices were salient. I hope someone follows up on that in some way. It's possible that more is currently being done for them than happened in her time (apprentices are usually at least 17, routinely finish high school and e
  5. They have added 24 hours of streaming so Wethersfield Nutcracker is still available! Until Sunday midnight Eastern Time, I believe. It's well worth watching if you haven't already, and very inventive, imo. The setting is a large house and grounds in Wethersfield (CT or NY) one might presume. I found the use of the different rooms and grounds quite compelling. You never knew exactly where you were going to be led next, which room, which snowy field. The theatricality of it and the music are amazing before you even get to the dancing. Claire Von Enck dances the Doll in the First Act. Sara
  6. They won't be paid regularly, unless something changes. From the interviews it sounds like the dancers were paid two weeks rehearsal to make the New Works Festival pieces this fall. NYCB might be able to do something similar in the spring or summer, but it won't be ANYTHING like months of steady rehearsal and performance pay. From the New Yorker article about the making of the New Works Festival. "The couple had given up their New York apartments, and the next day they were flying to California, to stay with Woodward’s parents. “There was just no way we could pay our rent without a salary
  7. I am loving the new leadership. They don't have a lot to work with, due to the pandemic, but I'd be lost without the digital seasons, and I think the intent of the programming has been quite good. I would never blame producers for a few dud new ballets, especially under these conditions. There seems to be a lot of creative energy around the company which is different from the 1990's. Hearing the way Justin Peck spoke about NYCB as his "home," (and of his responsibilities to NYCB's dancers) after Stafford mentioned all his outside projects and acheivements was another positive indicator.
  8. OH, I remember that period in the 1990's quite well. It was so depressing to see the state of NYCB at that time. I stopped going. Still, during that time, SAB kept on turning out excellent dancers, many of whom went to dance with ABT and with regional companies, enabling them to perform the Balanchine rep well. SAB is another institution that kept the Balanchine legacy alive, as Helene notes. Those SAB dancers go all over the place, taking Balanchine's approach with them.
  9. Thank you for responding! I get your point, and thanks for the education. I don't think that Balanchine's work is, or will ever be, treated that way at NYCB. The new works we're seeing online are a response to the constraints of the moment, albeit a looooong moment. And if people were a tad concerned seeing dives into the pavement in Andrea Miller's work, the danger of anyone having to do hops on pointe ON PAVEMENT as you might see in Symphony in C really precludes them performing Balanchine's work outside during the pandemic. After a walk in Central Park this weekend, what I'd like to s
  10. The New Yorker article says that Indiana Woodward and Harrison Coll moved to California to live with her parents " The couple had given up their New York apartments, and the next day they were flying to California, to stay with Woodward’s parents. “There was just no way we could pay our rent without a salary,” Coll said. While furloughed from the company, they would collect unemployment, or maybe teach remote dance lessons. “I’m from the city, and I’ve never lived anywhere else, so it’s weird for me,” Coll said. “When the company has stable employment for us, we’re going to be back in a f
  11. They have scheduled Kowroski's live farewell performance for Sunday, October 17, 2021. They have yet to announce the pieces that will be on the program.
  12. I agree about Thank you, New York, though I also really loved the moment where the camera comes up behind Georgina, showing her looking at the Met, and then the camera pivots to show the view West, while she turns towards the camera. Her arm gestures emanate away from her heart as if she's expressing her love for New York in an attempt to embrace the city. It was interesting to me that the Mearns section was filmed so differently, but, for me, the big payoff was the turning montage and her finishing flat on her back.
  13. I don't like Stafford's mustache either. The interview was good, though. I thought Wendy and Justin were the best interviewers, and Justin the best "interviewee". What he's trying to do as a choreographer is so specific and so deep. Plus, he knows NYCB dancers, the classical idiom, the Balanchine rep, and is interested in so many other kinds of dance.
  14. The thing with new works is that you never know how they're going to turn out. Some are good, some bad, it's a given. No one wants to watch a lot of bad ballet, but the process can be interesting, and the bad ones are usually quickly forgotten. I always thought that was part of Balanchine's meaning when he gave a young choreographer the advice, "make a ballet, then another, then another, then another, then another, then another, (etc) and then maybe you'll make a good one." Sure, I'm dying to see 4T, DAAG, the Bizet, etc live and in person. Until then... what's good and interesting to wat
  15. I'll second that, Buddy! Fall for Dance was fabulous, though I loved the Calvin Royal solo even more than the Mearns-Hallberg duet. (The titles of the dances aren't coming to me presently. I was introduced to Kyle Abraham, who choreographed the Royal solo, through NYCB, so I feel it's connected to this thread.) I was also so energized and moved seeing Justin Peck's new film with Jody Lipes, Thank you New York. I particularly loved the Taylor Stanley and Georgina P sections. Seeing the camera move and show all those different views from the Rose rooftop was stunning, plus the dancing! They
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