BalanchineFan

7 hours ago, volcanohunter said:

I don't have the quote on hand, but Balanchine seemed to have objected to the adaptation of the poem. Russian audiences have also objected to deviations from the text, which absolutely everyone reads in school. I can understand that, because even allowing for necessary modifications when switching genres, I have a lot of problems with a lot of balletic and operatic adaptations of Shakespeare. ("This idiot person couldn't possibly have read the same play I did! )

I also don't have the old Ballet Goer's Guide on hand, but  I remember Crisp/Clarke described Union Jack as  "affectionate," but clearly told from the other side of the Atlantic, which many British audiences find "disconcerting."

Wasn't there someting in the objectionable translation about a "lump of snow" sliding down a mountainside? In I was A Dancer, Jacques d'amboise quotes Balanchine objecting to that part of the translation from Pushkin's original Russian. Google Balanchine + "lump of snow" and you can see an excerpt of Jacques book (if you don't already have it). Gliba snegovaya.. or something like that.  Jacques says a sheet of snow would have been more accurate. It comes at a particularly significant dramatic moment.

4 hours ago, abatt said:

I have to wonder about the direction the new works are going, and how Wendy Whelan's personal taste is driving the choreographers who are selected.  More and more we are seeing modern dance choreographers who don't work in the idiom of ballet getting commissions from NYCB.

I'm glad that they're giving new choreographers a chance. New ballets are always a gamble and the creative process enriches all the dancers, whether the ballets themselves are keepers or not. Who do you think they should be commissioning new works from?

I haven't seen that many traditional ballet choreographers that interest me. Jessica Lang? Meh. I'm really not a fan of Ratmansky either. I like a lot of Christopher Wheeldon's work, but he seems to have moved on to more lucrative venues. Modern dance is traditionally where you would find someone willing to push the envelope. If Bill T Jones had any interest in ballet I'd love to see what he would do. Mark Morris, too, but they are both busy with their own companies. Kyle Abraham has been a huge success, imo, and Wendy brought him to NYCB. Kudos! People pooh-pooed Twyla Tharp when she first choreographed for ballet dancers. She is one of the few who is interested in ballet technique and the ballet idiom, but they'd be lucky to get her now. Finding choreographers is always a challenge and I think Wendy is trying to stay ahead of the curve, which is where new work at City Ballet belongs.

In the vein of this conversation it would also be interesting to look at the reviews Balanchine got in his day. Not everyone was ready for him either, and not everyone considered it ballet. 

22 hours ago, cobweb said:

I’m curious too for any reports. 

23 hours ago, canbelto said:

Anyone go to the new Miller and Bell works?

I have tickets for Sunday. After the NYTimes review my expectations are not high. The fashion gala doesn't usually lead to great ballets. I'm just happy to be seeing NYCB.

21 hours ago, mille-feuille said:

😭 I will miss her!

I'll miss Lauren King, too. I always think of her in the Bizet, PC2, and DAAG. She's fabulous.

13 hours ago, FPF said:

I just did some digging around--she is now on the NYCB alumni list. And she seems to be listed as a production assistant for the Southhampton Arts Center. https://www.southamptonartscenter.org/team

Eliza Blutt is, indeed, no longer with NYCB. She is still on Instagram and you might find more news about her activities there. https://www.instagram.com/elizzzzaaa/

On 9/24/2021 at 1:15 PM, Lauren said:

https://www.royalalberthall.com/plan-your-visit-essential-safety-information/visiting-during-covid-health-and-safety-faqs/

https://www.roh.org.uk/visit-us/attending-a-performance-safely

Tourism depends on so many factors- obviously many people want restrictions, but there are others that aren't interested in returning until the theatrical experience is normalized. Going to the ballet or any theatrical event is should always be enjoyable, and if it's not, people won't spend money on the experience. Seems London, despite having  gone through one of the most restrictive lockdowns in the world, is working with a different approach.

 

 Countries are also limited by their government's policies and laws. Contact tracing in the UK and in Europe seems much more robust than what large cities can put into effect in the US. 

It's hard to find exactly comparable measurements, but compare the new Covid cases and deaths, New York City vs London (from Google). London is somewhat more populous.

NYC: 0 new cases, 1787 is the 7 day average, as of Sept 25, 2021 

London: 2494 new cases, on Sept 24, 2021.  16,529 positives during the week ending Sept 18, 2021

https://www.google.com/search?q=covid+cases+in+new+york+city&oq=covid+cases+in+new+york+city&aqs=chrome..69i57j0i20i263i512j0i512l2j0i22i30l4j0i390l2.7183j0j7&sourceid=chrome&ie=UTF-8

https://www.london.gov.uk/updates/news-feed

I was wondering if any among you had seen the ballet, Ballade, music by Gabriel Fauré? It was choreographed on Merrill Ashley and Ib Andersen in 1980,  towards the end of Balanchine's life. In her book she says she injured her hip shortly after the premiere so it wasn't performed much. NYCB seemed to do a deep dive in restaging Haieff Concerto before the pandemic and I hope they don't let the opportunity pass to restage Ballade. Both Ms Ashley and Ib Andersen are still working, setting Balanchine ballets.  There do seem to be pictures of it from the post-Balanchine era so maybe it isn't in danger of being lost. I am just curious to see it.

Has anyone seen it? Do you think it would add to NYCB's current repertoire? Who might dance it? Does anyone know which dancers are pictured performing it on the NYCB rep page linked here? Is the woman Miranda Weise?

https://www.nycballet.com/discover/ballet-repertory/ballade-balanchine/

1 hour ago, Kathleen O'Connell said:

ETA: Note how low the women's buns are. Do they still wear them this way for Ballo?

I don't think so. There is video of Megan Fairchild doing the role and her bun seems higher. The costumes and headpieces seem to be different as well.

2 hours ago, volcanohunter said:

I agree completely that this looked much better. Moving hair enhances the kinetic quality of a dancer's movement. More voluminous hair is also better at disguising perspiration.

It's also obvious that facelift buns weren't always standard for women. Recently I came saw a video of a different company dancing a black-and-white ballet, and the gleaming, immovable French twists almost made it appear that the women were wearing racing helmets. A figure-eight bun at least looks like a bun, not like a part of an elongated cranium. I do appreciate that a dancer wants to be certain her hair will stay put while she's turning. But I'm very open to a rethink.

For women, there is something called a Balanchine bun. He had a preference, in certain roles, for buns that were placed kind of where I high pony tail would go. They create a long neck look in profile in a way that a low bun, or even a French twist with voluminous long hair, does not.

Or this:

2 minutes ago, cobweb said:

If you go to Youtube and type in "ballo della regina ballet," the first listing should be a marvelous performance where Debra Austin is one of the soloists and comes in at 6:01. I just love her in this. 

Oh! I have seen that. I may even have the video. Thank you for the reminder.

28 minutes ago, Kathleen O'Connell said:

, Jean-Pierre Frolich with Debra Austin in Symphony in C (Gosh, she's gorgeous ...)

 

She IS gorgeous. I think I saw Debra Austin dance in the corps, but I never saw her in Symphony in C. This looks like the 3rd Movt, the jumping girl and boy. Does anyone else have a take on what role this was, or other solos Debra Austin danced with NYCB?

On a Conversations on Dance podcast from the beginning of the pandemic, I remember Michael Breeden saying that Mira Nadon was being taught 2nd movement. I would also guess that Miriam Miller is a natural choice to be in the 2nd movement pipeline.

Yes to Miriam Miller. Mira Nadon strikes me as not formed enough yet (granted last time I saw her in any featured role was 1.5y ago).

>>>>>

I'm glad these women are starting to work on these roles. Unity has been dancing Agon ppd for years at Vail and if a dancer has the time (and access to a good coach),  that's an excellent way to work on these iconic roles. Mira Nadon and Miriam Miller might work on Bizet, movement 2 for years before they get cast in it in NYCB. Also, you never know who might suddenly get injured during a long season. I'd hate to see a rising ballerina thrown into an iconic role like Agon, or 2nd Movt Bizet with just an hour of preparation.

Wasn't Isabelle Lafreniere also rehearsing Diamonds a few years ago, as per her Instagram? Back when Zach Catazaro was her partner?

Ashley Laracey had a very nice debut in Concerto Barocco a few years ago (with Silas Farley, who danced beautifully, though there's an enormous height differential).

2 hours ago, cobweb said:

It certainly seems like Unity is up next, however painful that might be for other deserving hopefuls, like Woodward and Gerrity. 

I thought Serenade looked better last night than opening night, crisper and more energetic.

Once Kowroski, A. Stafford and Lovette retire, NYCB will have only six women principals. I think there is room for a lot of promotions to principal, and there are plenty of deserving women, in my opinion. Phelan, Woodward both get my vote, with Gerrity an added possiblilty. They are cast more as principals now anyway. It would also be great to see some new women tackling the Tschaikovsky gut crunchers (does anyone remember who coined that term?): T&V, PC2, Allegro Brillante.

Also, If Mearns is now first cast for 2nd movt of the Bizet, who else has done it: Reichlen, Hyltin... anyone else? They could get some of the younger women going on that. I remember Tiler Peck saying that she started the Bizet in the corps, then danced the lead in the 4th Movt, then the lead in the 1st. Couldn't Lauren King learn 1st movt? Or Indiana Woodward in the 1st? I see Unity Phelan as more of a 2nd Movt type. I hear she danced After the Rain and Agon (ppd only?) in Vail.

3 hours ago, bobbi said:

On the question of ID for under 12 year olds, I asked that very question of a security guard (as I will be taking family, including an 11-year-old, to the Nutcracker).  He said that an accompanying parent is all that is needed. 

I read that under 12s are only admitted to Nutcracker, and only with proof of a negative Covid test. Under 12s are not permitted to the repertory performances.

On 9/13/2021 at 7:59 AM, California said:

Has anybody here been to the NYC Film Forum? I was going to buy a seat for an upcoming NYC visit, but can't get a good sense of seating with Google images. Is there a good slope in the theater seating? Are the front few rows actually too close to the screen to see without having to strain to look upwards?  Daytime seats seem to be plentiful (at least for now).

It's a fairly small theater but there is a slope to it and the seats all seem pretty good, as long as you don't have a really long torso-ed person in front of you. There's space in the front for the interviews they have periodically, so the first rows aren't as neck bending as in other movie theaters. I sat in row L and would have liked to be closer. I moved up to the third or fourth row for the interview.

I got there during the previews and someone was actually sitting in the seat I'd bought, so I don't know that they are real sticklers for the seating assigments.

<<<Balletwannabe I'm a ballet fan and especially a fan of NYCB, so much so that I drive my daughter out of state every day to train with one of the teachers in this documentary.  The students learning from them do not realize how fortunate they are.  To them it's just what they're used to...but to hear "Balanchine told me/us..." on a regular basis; that's invaluable.  >>>

What a spectacular night! I sat in the second to last row of the 4th Ring,  much farther than my usual subscription. It was great to see the choreography from there and the group formations are just beautiful. It was nice to see the new mothers dancing so wonderfully; Sterling is back! I really missed her. With my binoculars I could also pick out one of the new apprentices, Ruby Lister, who was featured in On Pointe in the corps.  Lots of dancing for the female corps. No Roman Mejia. Only 19 men's roles in the whole program.

I didn't notice Megan Fairchild having any difficulty in Symphony in C and I wasn't close enough to see her emotion in the curtain call. Joseph Gordon rocked it and the crowd went wild. Sarah Mearns seems to have grown in the second movement and simplified her approach, she's letting the movement and music carry her rather than adding drama. Everyone seemed so glad to be there. onstage and off.

The State Theater lobby is so open and spacious that having people drinking champagne beforehand didn't seem so problematic to me, particularly since people are all vaccinated. Some got their champagne and took it to the far side of the rings.  I've been on airline flights where you could take your mask off to eat, it's necessary on long flights. I think it will be nice when the mezzanine terrace is open to one and all. It was also nice to get out a bit early, without the intermissions. I work early during the week.

The Clear app combines your photo and vaccination into one digital document, so you can do it ahead of time and only present one thing in addition to your ticket. IF you're presenting any other vaccination proof you need to show a photo ID as well. The Clear/Excelsior line didn't seem to move so fast to me, but it was worth it, even if my photo is now definitively in the facial recognition world. A word of recommendation, arrive early.

I see your point. Though, I have tickets for tonight in the 4th Ring. It's sold out. I had friends try to get tickets and they couldn't. It's expensive for them to open the 4th Ring if they don't sell enough seats, and they're coming out of a huge financial loss.

There was an Executive Order #225 in NYCity that requires proof of vaccination for all those entering restaurants, indoor entertainment, fitness and dance studios beginning August 18, 2021. No exceptions for NYC residents for religious or medical reasons, (i.e. you don't have to be vaccinated but you still can't come in, at least where I work). I teach in a dance studio and I've had to check all my students' vaccination cards. For those concerned about people forging them, forgery is a crime (at least here in NYC) resulting in penalties up to $5000 and jail time up to 15 years. I heard the Mayor speaking about it on TV and looked it up. The Executive Order has exemptions for visiting non-resident performing  artists, non-resident sports teams, repair people and similar short term occupants, who are there to work but not for NY residents, employees, patrons or tourists.

I'm sure the idea is to safely get Broadway, Off-Broadway, Lincoln Center and the related 14.7 billion dollar performing arts industry back up on its feet.  Personally, I'm glad they've taken this step and I've spent quite a bit of money recently on tickets to dance and theater and can now drag my vaccinated bones out as much as I like.

Megan Fairchild said on her Instagram that at NYCB they were rehearsing in the studios in masks, but would do stage rehearsals and performances maskless. I guess the theater is much larger and has better ventilation. My guess is that's the protocol everywhere people are performing in NYC.

Also, @canbeltoregarding Laura osnes, it was a one night concert performance and she says she quit quietly, with no drama.

https://www.mercurynews.com/2021/08/17/broadway-star-mn-native-laura-osnes-says-wasnt-fired-for-vaccine-refusal-she-quit/

I saw the film last night. I recommend it wholeheartedly. I'm still vibrating from the experience.

After the screening, there was a live interview with Connie Hochman, the director, and Merrill Ashley. The interviewer asked how Hochman made her choices about which interviews to include. Hochman had some very interesting things to say. She was trying to make a film about the artist's journey, so it seems to me that many of the interviews were chosen because those dancers talked specifically about how Balanchine's class, and also his coaching helped make them into better dancers, how it improved their dancing, how they were transformed by the experience with him, as a teacher.  Overall, I found that aspect incredibly inspiring. If doing 64 tendus front, 64 side, and 64 to the back most days (among other things), and "The 64th should be better than the first, dear," Ashley quoted him as saying, of course it would be transformative. It just made me want to work harder, more specifically and more intensely at all the things I care about because, "What are you saving it for, dear?"

I didn't feel the film jumped around, though it's not chronological. She's making a point and showing this generation of dancers passing on his teachings, or trying to. So along with footage of Balanchine teaching in the 1970's you see Merrill Ashley coaching ABT dancers, Villella teaching and coaching at Miami City Ballet, Gloria Govrin teaching in Connecticut, and Heather Watts working with dancers in NYC. I was glad Ms. Hochman mentioned the artists' journey, because it's so clear in retrospect. This kind of work and commitment is what it takes to be... not just good, not just proficient, but an artist. Transcendent, transformative, inspiring. There is always more work to be done. 

Heather Watts spoke about an attitude towards performing and life that Balanchine wanted to pass along to her. I thought Lisa de Ribere was a great choice, so that it wasn't all stars and former principals. She has an anecdote about the speed of the class, though maybe that was Darla Hoover. Barbara Bocher (?)  is another dancer with whom I wasn't so familiar. Since it took Hochman 10 years to put the documentary together she might not have known what the connecting theme would be at the beginning so certain people probably just didn't emphasize that aspect. Hochman said, in the live interview, that she'd studied at SAB, wanted to get into NYCB but ended up dancing Balanchine rep at Pennsylvania Ballet instead. She found there was something different, more detailed and deeper about all the coaches she had at Pennsylvania Ballet who had worked with Balanchine and she wanted to shed some light on what that was. I think she succeeds brilliantly.

It's not a terribly long film, around 90 minutes, IIRC. Hochman also said they were creating an archive of all the interviews in their entirety. Go to InBalanchinesClassroom.com for more info on when the IBC archive will be up and running. Whoever you were hoping to see, if they were among the 100 Hochman interviewed (and Kay Mazzo certainly was, along with Patricia Wilde, Arthur Mitchell and many who have since passed) then they will be included.

4 hours ago, ABT Fan said:

He’s taking part in Fall for Dance so that must be why.

Thanks for the reminder! So Roman Mejia hasn't disappeared entirely. I wouldn't think dancing Ratmansky's Fandango Oct 23 in FFD would keep him out of the first few weeks of NYCB. Tiler Peck and Georgina Pazcoguin are in FFD and they're performing w NYCB. They should give Roman one of those Western Symphony performances! 

(I'm just ranting)

10 hours ago, cobweb said:

Same question about Mejia!

Where are you seeing Kikta in Glass Pieces? Unless I’m reading something wrong I don’t see it on the casting sheet, but if she’s in there I want to know when so I can get a ticket!

My mistake. Kikta is dancing Western Symphony, last movement. Gerrity is doing Serenade, Phelan is in Glass Pieces. Those are the roles Kowroski typically danced where others seem to have moved up. 

On 9/14/2021 at 12:54 PM, California said:

I just heard back from the NYCB Membership office that they expect to restart Friends rehearsals in October. You should be getting some kind of notice if you are eligible.

YAY, YAY AND SUPER YAY!! I can't wait for those rehearsals. Imo, they are one of the best things about living in NYC.

It's always so interesting to see the casting. It looks like Unity Phelan and Emily Kikta are taking over for Maria in Glass Pieces (as a general rule).  I'm excited to hear about this new Bigonzetti duet. I'm betting they'll include it in the Kowroski Farewell.

Where is Roman Mejia? I was hoping he would do at least some of the Western Symphony performances, particularly after he and Teresa Reichlen lit the place on fire during the digital season. I hope he's not injured. 

46 minutes ago, bellawood said:

She's definitely doing Opus 19/The Dreamer, I don't know about Serenade.

The NYCB website says Lauren Lovette will dance both Opus 19 and Serenade. It doesn't say which role. I've got my tickets and I'm really looking forward to it.

On 9/8/2021 at 1:30 PM, DC Export said:

Has anyone seen casting for the first week of performances? Usually it's listed here, but not sure if it's being posted in a different place with the website redesign.

I can't find any mention of casting, even though the page says "Principal Casting." I don't think they've posted it yet. I expect they'll update the page when they're ready to make things public.

8 hours ago, cobweb said:

Does anyone have a a sense of how many of the child dancers are typically under age 12? In other words, how much of an adjustment will this be? Surely some costumes will have to be adjusted. For me so much of the charm comes from the children, right down to the littlest ones in Mother Ginger. 

Looking at the program, when you count up the Angels the  Polychinelles, the children at the party who also play mice and soldiers, I think there are two casts of 60 children under 12. It’s a shame for them but I don’t see how NYCB could do any different. And how great for the 12-year-olds!

there are probably a lot of children under the age of 12 at SAB that are small. If they cast them with the taller members of the company charm will be preserved and the company will comply with the New York State Executive order for dance studios and gyms (you must be vaccinated to enter). The governor took some of the decisions out of their hands. And rightfully so in my opinion.

In the OnPointe series they show one studio rehearsal with all 120 children, three sugarplum fairies and the whole female corps ballet, including apprentices. Everyone  dancing hard enough to lose their breath. You might wipe out a generation of ballet goers if the ventilation breaks. (Insert evil laugh). 
This year‘s Nutcracker will be very memorable. Usually it’s the same old, same old. Though it irks me to say anything positive about him, I loved it the year Peter Martins cast only corps de ballet dancers as the sugarplum fairy. Was it 18 debuts in one season?  The Nutcracker can use a gimmick every so often.

On 8/20/2021 at 3:06 PM, GB1216 said:

Just got tickets for the September 23rd production of the classic nycb I program.  So excited to see ballet live again and have never seen serenade which made me choose it.  Curious to see who is going to be cast.

Serenade is a gem, rightfully emblematic of the NYCB in my opinion. I always find it very beautiful and moving.