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

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  1. Megan has a conversation with Lucien Postlewaite up. They cover some pretty deep topics, in my opinion. Very enlightening, about human growth, expectations, dealing with adversity and waking up to the possibilities before us. I feel like she's providing a service for humanity, but REALLY entertaining, too.
  2. Not all coaches are equally adept, however. The von Aroldingen sessions were surprising for what she brought to it. She really focused in on the dancers and the dance, as it should be. Certain others (not generally people who worked for NYCB as repertory directors) seemed to view the coaching as an opportunity to talk about themselves, what they did when they were performing, the importance of their own lives, almost entirely ignoring the dancers in the room and the current possibilities for the ballet. and you're reminding me that the Blake Project is something I paid for, and missed the streaming window. Never saw it.
  3. Donors to NYCB? >>> Sorry for the poorly worded post. I should have said "Donors to NYCB have access to a film of Karin von Aroldingen coaching Who Cares? and Suite #3 for the GBTrust." This past year NYCB has had a number of online events for donors, and/or seminars... one was with Silas Farley interviewing former NYCB dancers (Patricia McBride). I remember an event about The Concert with Stephanie Saland and Sterling Hyltin (they both danced the woman with the hat) ... a seminar on Jerome Robbins' West Side Story with Jenifer Ringer and Nancy Ticotin (who took over for Debbie Allen in the 1980 revival and taught the work when NYCB first did the WSS Suite). Some events were good, other's ... meh. They may have charged for them. They had a title... Ballet Connoisseurship... maybe that was it. They are best when they get a performer (or a former performer) to moderate them. Silas is quite good. IMO, they shouldn't depend on the people who work in the development office for that, not when they've got access to stars with personalities like Jenifer Ringer, Nancy Ticotin, Patricia McBride, etc. Real artists of depth and experience who have something to say. Sometimes you'd be sitting on Zoom waiting for an office worker to badly explain the history of something you already knew, watching the stars nod along, silently for 15 minutes before they got a chance to talk. Just my humble opinion. Still, I stayed until the end every time.
  4. Audience left is closest to the ladies room, which always has a line at intermission. I tend to sit on the left to be able to dash in before the line forms. I know it's mundane, Nanushka, but I had to wonder if that played a part in your decision making. I agree that having a professional film director added to the entire event. The dancers introducing the evening seemed so much more at ease, for one. I loved the program, but also, it's like I'm starving to see NYCB. I've been NYCB deprived. The film style added to DaaG and Liebeslieder, imo. They are such intimate pieces that it seemed entirely appropriate, necessary even. I found myself wondering what the new Peck solo would be like, particularly the climax, without the camera circling the dancer. The new Solo aside, I've seen all of this repertory multiple times. I loved the moments after they performed, Ashley Bouder with her hands on her knees catching her breath. The Divertimento cast bursting into laughs, hugs and congratulations at the end. It's some of what I miss about being able to see them rehearse. All the dancers are so good that, without that break, without the change in demeanor, it's easy to forget just how difficult the dancing is. I love this company so much. I can't wait to get back into the audience. I'm so glad SAB is doing a workshop, too. PS, there's a film available to donors of Karin von Aroldingen coaching Who Cares? and Suite #3. Has anyone been able to see it? Tess Reichlen and Robert Fairchild dance Who Cares? I miss his dancing at NYCB so much. Sara Mearns and Ask LaCour dance Suite #3. I know I've posted derogatory things about that ballet, but seeing Karin coach it is well worth it. I can see why the dancers rave about her, all energy, focus and enthusiasm. So supportive and respectful. And what a depth of knowlege!
  5. YAY!!!!!! I'm so glad they figured out how to put outdoor performances together. It took awhile... Here's hoping for good weather.
  6. I really enjoyed this ballet. For me, it reminded me so much of the journey of coming into that theater. Being in the lobby myself, then going in and watching dance on the stage, then the camera backs up and you can see the central, globe chandelier and the lights around the "rings" of the balcony. I loved the journey of it, When We Fell. I enjoyed the quiet of it. The spareness. I love the look of the bodies on the lobby floor seen from above. I've been there so many times. What I remember about India Bradley is her promenade in that crazy 6 o'clock penchée, her legs in a vertical line. I didn't notice the hand holds at all. The section onstage had more dynamic dancing, faster tempi, more jumps. Christopher Grant has a solo. I think it's KJ Takahashi who does a phenomenal sequence of jumps and turns, ending on one knee and extending his hands to... another man. Surprising, totally modern. Taylor Stanley and Claire Kretschmar were particularly great, and I don't think I've ever seen Lauren Lovette more lovely and beautiful. She is just exquisitely beautiful in that last duet. I miss her already.
  7. 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.
  8. 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.
  9. 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.
  10. That's it! Thank you!! Kirkland and Baryshnikov did seem a bit .. detached. Spectacular dancing, though.
  11. 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.
  12. 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 configurations of dancers that held my interest. She can move people around a stage. Nothing is static. I don't think Ratmansky moves people around as well, though he makes some nice stage pictures. Other experienced choreographers (I won't name them, from foreign companies performing at the same theater) put their corps onstage, evenly spaced, and have them execute steps like it's a dance class. I'm interested to see what she does next.
  13. 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 live very much because NYCB always programs it as Tschaikovsky Suite #3 and I so dislike the earlier movements, but this broadcast shows what I've been missing, and it's A LOT.
  14. 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 it so long he doesn't remember his debut!), Kathleen Tracey as repertory director and Russell Janzen interviewing and hosting.
  15. 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, for instance. All fairly tall, even dancing some of the same rep, TOTALLY different. I've seen Lovette in Serenade many times and she was always lovely. I never saw any struggles.
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