BalanchineFan

I would advise new ballet goers to choose programs based on the music they enjoy. Still, you can hardly beat the following programs Balanchine IV: Concerto Barocco, Prodigal Son, Symphony in C Balanchine V: Serenade, Orpheus, Theme & Variation Balanchine III: Apollo, La Sonambula, Tschaikovsky Piano Concerto #2

In Merrill Ashley’s book she goes through the rehearsal process and her injury shortly before the premiere.

Thank you. I"m glad to hear how it worked for you. Fingers crossed.

I"m a subscriber. I clicked on "Renew" in order to see what was in my subscription (It's like 12 performances). Then there's a countdown clock saying that if I don't purchase in 18 minutes my seats will be released. Is this correct? I've had those seats for YEARS! It's a huge outlay of money and I usually have months to figure out exactly which subscriptions I'm going to purchase. Has anyone else had this issue? Is the time clock just some weird left over feature that doesn't apply to subscriptions? (I'm hoping)

You are triggering my own memories! They danced Square Dance the very first time I saw NYCB as well, back in 1979 or so. Merrill Ashley was the lead and she was amazing. I believe Balanchine remounted the ballet for her. She has said in interviews that it felt like he was choreographing it on her, on her body. I was hooked.

I agree wholeheartedly! I find it sad to see a highly trained 17 year old stepping into B plus and proclaiming in mime "I am a peasant, here is my harvest." It's not on any schedule, just my imagination.

Ooh, Spring 2024 maybe we'll get Indiana Woodward and Emma Von Enck in Coppelia! Soubrette central.

New promo for spring.

Hi @vipa could you talk more about your take on Homan’s treatment of von Aroldingen? I just finished the book. I didn’t find it unsympathetic, just interesting to hear how people configure their lives.

Olivia Bell was invited to Vail (and performed there) as an apprentice. That may be a sign of her “up and comer” status. Bell also has more followers on IG than Mira Nadon (who doesn’t have that many; 6k). She was part of “Rising Stars” at Kaatsbaan while at SAB. I guess WWD is repeating the name. Stafford’s comments about “energy” reminded me of my own experience in rehearsal. There are people that lift everyone up with their dancing, their attitude and their energy (for lack of another word). They make other people want to dance better, they understand what the choreographer is going for, they further the creative process in the studio. You want them around. Different people describe it differently. Of course technique is important, but IMO, they all have that. Or could demonstrate it on a given day. Do they elevate those around them? Do they still do it 5 minutes before the end of a 12 hour rehearsal day? also: @matilda mentions three big hits with sold out houses and huge social media presence in 6 months. ABSOLUTELY FABULOUS!

I also loved LaFreniere in the Sunday performance of SB (her 2nd one). She was assured and radiant. I loved her Danses a Grande Vitesse (a previous season, fall? spring?). Commanding. She had such enthusiasm for the movement and dove into the partnering and the lifts. So musical. For all the doubters, the people promoting have watched these dancers day in and day out. Seen what they could do in rehearsal, seen how they work back from injuries (or what they are capable of right before an injury). Sometimes I think the audience sees dancers at their worst (in performance). Of course performers have a responsibility to deliver in performance, but if you've seen someone killing it in rehearsal (and class) A LOT you can be excited at the prospect that they'll pull it together onstage. Especially if you are impressed with their preparation and mindset. In NYCB, imo, 80% of the dancers have soloist level skill. Though I may disagree at times, I'm not sure they can make REALLY bad promotions. *Also, looking forward to news of Kikta's a debut in Kammermusik. I wrote earlier that she needed a few more Balanchine roles under her belt. Neither she nor Miriam Miller have been forgotten.

Did you see Megan Fairchild's picture of the four (uninjured) women principals celebrating making it through the winter season? Phelan, Woodward, Peck and Fairchild, plus Woodward's dog, Luna. https://www.instagram.com/p/CpJIR-oOYof/

I know I've seen Mearns dance it with Reichlen. It was like two blondes, one running hot, one running cold, in the best possible way. Which Concerto Barocco role does the ppd? First Violin or Second? I can't remember who did it then, but my best guess is Reichlen.

I wonder whether Phelan or Laracey will do the ppd. Laracey danced it her first time out, IIRC. She was beautiful, but only speaking personally, I'd be thrilled to see Phelan do the ppd. So glad to see Mearns on the casting sheet!!! Also, JP Frohlich had a picture of Christopher Grant and Dominika Afanasenkov in Afternoon of a Faun on his IG. Really stellar. I think they were just chilling during rehearsal (in costume). I remember her from her time at SAB. She was memorable then, though it didn't occur to me that she would get into NYCB. Regarding Promotions, a new episode of the podcast interviews Megan Fairchild and Isabella LaFreniere on the topic: https://podcast.nycballet.com/episode-83-the-rosin-box-promotions

I don’t blame Homans for the length or breadth of the book. Hers is an effort to place Balanchine in the twentieth century, it’s the title of the book. I figure I’ve got the rest of my life to finish it. I’m currently reading about his physical death. I was wondering what people who have finished the book make of the sections about Balanchine and women, his ballerinas, his affairs but primarily Homans’ assertion that ‘love of woman’ was a central element of Balanchine’s artistry and his purpose in creating ballets. Do you agree? Do you see it in the ballets?

duplicated

Jovani Furlan has had such heartbreaking content on his IG. I think his sister died as a result of complications from childbirth. The infant survived and she has an older daughter, too. He's out for the entire Spring Season. I imagine he's back in Brazil tending to family. He said "I'll be back soon" https://www.instagram.com/stories/jovani.furlan/3072872620811792408/ https://www.instagram.com/p/CqnXm2xsliN/

I am just thrilled for the new soloists, and Alexa Maxwell in particular. She really carried a few evenings in the past seasons, and I feel it was long overdue. Regarding Bouder, I think it's a complete unknown. She won't be the same dancer she was last fall. She'll be different in some way, maybe many ways. Hopefully she can get healthy and rehab all or any injuries fully. It took Alexa Maxwell a long time to return after a foot injury, hopefully Bouder can do the same.

Seven favorite dancers, though, out of the 12-20 some people who are dancing the most and garnering the most attention? It doesn't seem that biased to me. I read your comment before I read the article, and the article didn't make me question Kourlas' fairness. Other things she's written do, but that's a different story.

What a fascinating podcast, @carllovesballet. Thank you! I've been wondering what intimacy coordinators and intimacy directors do, and how it worked in rehearsal and on set for film and tv. The ideas in FRIES (Freelygiven-Revocable-Informed-Enthusiastic-Specific) Consent are a game changer for me. I wish I'd had that language years ago for a couple of dates I went on. LOL! The example of 20 year veterans working with newcomers also rang a few bells. I was recently in a dance company situation rehearsing and performing with people 20-30 years younger, and I could tell my comfort level with certain material and situations was totally different. Veterans don't have power 'over' younger cast members, but we may experience the power dynamics differently. As a veteran, I know what it's like to walk away. I've done it. I survived. I can easily say no, or I'm not doing that, not comfortable with it, etc. It's easy to forget how hard that can be for newcomers.

I think it's just the visual of men clad head to toe in blue.

Thanks! Is the Waltz Girl the one who comes in to the recap of the opening sequence late?

I saw her point more as, why get rid of Peter Martins and keep his lousy choreography? The best parts of NYCB's SB are from Balanchine or perhaps Petipa. Most newspapers reprint a statement rehashing the history of the Martins allegations. I think it's so that they can say to casual viewers, this is the ballet company that you remember from that story, rather than another ballet company. When NYCB stops presenting Martins' choreography, they'll have to stop doing it. IMO, it makes more sense for people who don't read about ballet that often. It's not that great a SB, as SBs go. Better than Martins' R&J... but that's faint praise. I think Kourlas got it right regarding Woodward and Fairchild as Aurora. Phelan too, though I missed her performances. She obviously saw LaFreniere's first night. The only thing I like about this SB as a production is that the hunting scene is shortened. Aside from the Garland Dance, individual dancers make it or break it. If the accompanist played Tschaikovsky I'd be just as happy watching them take class. Thank you @cargill for posting the reviews of Copland Dance Episodes. I thought it interesting that Marina Harss skips over first cast Tiler Peck and goes on to describe Alexa Maxwell in the role they shared. Nothing against Tiler Peck, but Harss is correct, Maxwell was the revelation, the discovery.

Lauren Lovett also danced Waltz “Girl” beautifully at her final NYCB performance. Thanks @Helene and @bellawood obviously I’m not up on how the roles track.

She’s the one getting lifted up on people’s shoulders at the end.