BalanchineFan
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Posts posted by BalanchineFan
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1 hour ago, KikiRVA said:
Just now on NYCB Instagram stories,
- Savannah Durham
- Zoe Magnussen
- Samuel Melnikov
- KJ Takahashi
- promoted to corps. Congrats!
YAY! I was hoping they would each get in.
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20 hours ago, abatt said:
I vote for Emily Kikta as soloist among the women. I think Miriam Miller is also a viable candidate.
I had to look to see that Emily Kikta is still in the corps. She certainly deserves a promotion to soloist.
NYCB has added to the number of apprentices listed. IIRC, all last year the only apprentices were Savannah Durham, Zoe Bliss Magnussen, Samuel Melnikov and KJ Takahashi (who was in Kyle Abraham's When We Fell). In the documentary On Pointe (still on Disney+) Zoe and another dancer are seen receiving news of their apprenticeships.
APPRENTICES
- Savannah Durham
- David Gabriel
- Ruby Lister
- Zoe Bliss Magnussen
- Samuel Melnikov
- McKenzie Soares
- KJ Takahashi
- Quinn Starner
- Rommie Tomasini
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With all due respect to traditional, Christmastime ballet afficionados, I've never loved Balanchine's Nutcracker. Sure, the music is glorious and there's some nice dancing, but it's a lot of showbiz: the growing tree, the costumes, the decor and the cute children (I do like the Angels and the Candy Canes). There's not a lot of adult dancing in it. The majority of the first act is the party scene: highly trained dancers pretending to be at a Christmas party, some pretending to be servants, then you get them pretending to be mice with their bodies hidden. They might as well be sitting near the fountain waving a rose. I can see why corps members tire of it. If you are reading a behind the scenes story, you're going to get behind the scenes info.
Snow is great, Flowers, too, the SPF ppd, (Hello? a ballet where the lead ballerina doesn't appear in the first act?) a few divertissements... It's mostly NOT about the dancers, not in the way 4T, Concerto Barocco or Agon is. No one is pretending in Concerto Barocco, they're just dancing, it's all them and their artistry.
I much prefer Baryshnikov's Nutcracker. He had a lot more dancing in the first act.
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I've just finished Swan Dive: The Making of a Rogue Ballerina. Yes, the style is conversational. Yes, there is profanity. You almost feel like you're sitting down with Gina over drinks or coffee, probably after a long, physical work day. It's a quick read, and I wish it had been longer. If she writes another book I'd like to hear more about her preparation for specific roles in the ballet, even how she learned she was cast, what rehearsals were like. Her love of the art form really comes through, and her dedication to ballet and dance in general.
There is substance to how she recounts her journey. I would caution those that have only read excerpts, or have only read reviews that the book is much more than its excerpts. I thought the most damning account she had regarding Peter Martins was the Hippolyta incident.
[mild spoiler]
SpoilerIt showed him letting his temper get the better of him in a way that obstructed the rehearsal process. There was no reason for him to yell at anyone (particularly the way she explains it) and no reason for him to start the music before the performer was ready.
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21 hours ago, canbelto said:
I hope MSND will not be canceled due to the large child cast.
One would hope that by the spring there would be vaccines approved for children. Pfizer and Moderna have been doing trials aimed at children as young as 6 months old and are expected to release results in September, according to the Connecticut Children's website. I don't know how NYCB is planning to cast its Nutcracker. Will they limit the casts of children to vaccinated kids over 12? Has this already been discussed?
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Obviously I cannot stop thinking about this...
I'm going to continue unless the moderators decide to remove my post. I am a ballet patron and I loved to attend the working rehearsals as often as possible. IN 2015 or 16, during a break in the invited dress rehearsal for a full length ballet, Peter Martins wanted the leading ballerina to repeat her variation. They were standing downstage with a Rep Director and other dancers. He pulled the ballerina's wrist and began walking upstage so abruptly that the ballerina bent over and had to take a few running steps to keep up. My companion gasped. She had never seen anything like it. It was not assault, but blatant physical aggression and casual disrespect In front of a full theater, 2500 patrons. I'd seen it, but it hadn't registered. He's the choreographer, the AD, the maker of careers, etc. The one who got board members to resign when they opposed him.
Is she seriously supposed to report that to HR? What do you think would happen if she did?
Remember how Larry Nasser abused at least 160 young women during their medical treatments, often in the presence of the girl's parent? He did that for 20 years (that we know of ). No one found it credible ... that a respected doctor would abuse teen and preteenage girls.
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38 minutes ago, Kathleen O'Connell said:
I think requiring proof of an FDA or WHO approved Covid-19 vaccination in order to gain admittance is the right call.
I was somewhat surprised that there is no exception for children under 12: since they can't (yet) be vaccinated, they will not be allowed to attend NYCB repertory performances. While both the Metropolitan Opera and Carnegie Hall have also decided to bar children under 12, Broadway theaters will allow children under 12 to attend performances if they've been tested for the virus. Broadway will also require masking, however. (San Francisco Opera is also requiring proof of vaccination and masking, and will allow children under 12 to attend, with the proviso that anyone planning to bring a child to a performance should call the box office "to discuss seating and safety options.")
I note that vaccines will be required for "all employees and visitors to the David H. Koch Theater and Samuel B. & David Rose Building." Will children under 12 be allowed to attend classes and rehearsals at SAB? NYCB's announcement states that children under 12 can't attend repertory performances, but doesn't state that they can't otherwise enter the theater or the Rose Building.
During this summer session, all the dancers at SAB have been masked because there are children under 12 present in the building.
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On 7/15/2021 at 8:36 PM, Rock said:
I went back to the NYT article to make sure I read it right. Yup, "for years" greeting her in class Ramarsar was "tweaking my nipples." In company class. In front of oh easily 40-50 other people. No one batted an eyelash. Am I the only one who has trouble with that? Those aren't little girls. Those are professional women. I don't believe for a minute plenty of them wouldn't have said something - to GP, to Amar, to the AD and the ED.
I find it entirely credible. She's describing something that happened in a split second. Who would be paying that much attention? Did he move his hand/arm in front of her chest or did he actually hit her nipple(s)?
I, personally, have had strangers (MEN)...
1. slap my bottom on a crowded subway car,
2. twice had men flash me, one holding a newspaper so that I was the only one who could see his penis in the fold, presumably sticking through a hole in his pants. He was on a subway car, the other man was walking by in a public park visible for all the world to see, of course there was no one else around.
3. had a man approach me, yell out "I love this woman!" put his hands around my neck and strangle me in front of a group of my friends. Only lasted a few seconds. Seven people that I know well and would trust with my life all nearby, talking. Only one came up and asked what was up.
4. press a credit card on my vulva in an overnight train when I was sleeping curled up. I thought I had the worst wedgie in the world and to this day I don't know how long it lasted. I remember when I finally woke up, turned my head and he stopped though!
Violence against women is everywhere. If you haven't seen it yourself you have truly NOT been paying attention. I know it's my issue, but It makes my blood boil when people say they "don't believe" or "she should have stopped him" like it is the woman's responsability alone. It's an insult to anyone who has experienced the abuse. Forgive my rant, but those who qualify socially as clinically blind shouldn't then say "I never saw that." WAKE UP WORLD!!
Ask the women you know, they'll tell you what has happened to them. Some may even have buried the memory, but within 10-20 minutes they will begin to remember and those of you who "don't find it credible" may have your eyes opened. If you listen.
Also: read Pazcoguin's book, Swan Dive. She's not a literary genius, but I haven't been able to put it down, VERY entertaining.
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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.
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4 hours ago, pherank said:
I think the cannibalization notion may well turn out to be another needless fear. Sports are televised 24-7 and fans still go to the games (and pay truly outrageous prices for seats). Once the companies figure out how to make a steady stream of income from digital releases, they won't want to loose that revenue stream.
Yes, there's a lot of that going on. 😉
All these presentations should get better with time.
Totally agree with BalanchineFan and Cobweb. Perhaps we're not average audience members, but I just don't need endless superficial comments about Balanchine. Coaching and rehearsals are much more interesting, and to the point. One of the things I liked about The Barre Project: Blake Works II was seeing something of how Forsythe worked with the dancers (even over Zoom). Listening to a staff member reading a bunch of bio notes would not be the same.
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.
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PS, there's a film available to donors of Karin von Aroldingen coaching Who Cares? and Suite #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.
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On 5/7/2021 at 12:42 PM, nanushka said:
I had similar thoughts about the DaaG excerpt, actually. (And I teared up as well!) When Duo Concertante was filmed with a very frontal orientation, I thought, "Ok, good, the 360 approach was fine for that first piece but I hope we don't go back to that."
I also tend to sit to the side — primarily due to cost, but I similarly appreciate the oblique view. And when I see multiple casts of the same show, it can be interesting to try both sides (though I tend to be most comfortable audience left, for whatever reason).
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!
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6 hours ago, California said:
School of American Ballet just sent out email that they are planning outdoor performances June 8 and 9 for their spring workshop:
We are thrilled to share the news of the School of American Ballet’s Spring Showcase at Damrosch Park on June 8 and 9, in lieu of our annual Workshop Performances at the Peter Jay Sharp Theater. There will be an exclusive ticket opportunity for Members in mid-May, so please keep an eye on your inbox for additional announcements and information in the coming weeks. Featuring students in our Advanced Division, the program will include variations from nine ballets:
Cortège Hongrois
Divertimento No. 15
Donizetti Variations
La Source
Raymonda Variations
Square Dance
The Four Seasons
Tschaikovsky Pas de Deux
Who Cares?
Staged by:
SAB Faculty Members Aesha Ash, Arch Higgins, Katrina Killian, Kay Mazzo, Allen Peiffer, Susan Pilarre, Suki Schorer, and Andrew ScordatoTickets will go on sale in mid-May. Stay tuned for more information on ticketing and performance times.
YAY!!!!!! I'm so glad they figured out how to put outdoor performances together. It took awhile... Here's hoping for good weather.
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On 4/12/2021 at 2:01 AM, pherank said:
Getting back on topic...
NYCB - When We Fell
https://www.youtube.com/watch?v=U8A9xFs31rgA visually arresting work. The look is kind of mid-century modern in greyscale. I like it as an art film.
The "balcony" viewpoint camera position is initially effective in this particular piece, but I never recommend sticking with that for too long. Front camera and occasional side views are added as dancers are added (Claire Kretzschmar is joined first by Taylor Stanley, and then perhaps Jonathan Fahoury?). But that doesn't last long. The angled overhead viewpoint returns, and gets to be tiring, imo. But that viewpoint does give me the impression I'm looking down at sculptures on a museum floor. In the 2nd section of the ballet the camera view switches to a more standard front positioning - although the camera is now looking up slightly at the dancers - as well as an overhead positioning. In the 3rd section (a PDD with Lauren Lovette and Stanley) we get a simple lighting effect and a return to the front position camera. Here the overhead spot creates long shadows from the dancers bodies and that too reminds me of sculptures displayed in a museum.
I need to rewatch this piece to have something to say about the choreography. I was neither thrilled nor bothered by what I saw - it may well grow on me. I did like the initial section of the choreography - the slow, deliberate movements. Everything very pensive. Villarnini-Velez's partnering of India Bradley was however, a bit clumsy looking. He just didn't move about her in a grounded, graceful manner. And there was too much effort being shown in the holds. That 'group' section of the piece was rougher looking in general than other sections, and simply felt under-rehearsed.
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.
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On 3/18/2021 at 9:41 PM, Drew said:
It was a separate video. It does seem to be down now...
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.
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On 3/7/2021 at 12:33 PM, canbelto said:
There;s actually a rather blurry video of Krohn in Violin Concerto:
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.
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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.
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On 3/6/2021 at 10:33 AM, California said:
If you have Gelsey's book, Dancing on My Grave, see pp. 196-7. This was their last performance together. They had all sorts of quarrels during rehearsal and at one point Baryshnikov said he would refuse to dance with her that night and had to be talked into it. But there was also tension with Bujones, who had lifted some of Baryshnikov's turns from T&V to show him up.
That's it! Thank you!! Kirkland and Baryshnikov did seem a bit .. detached. Spectacular dancing, though.
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10 minutes ago, sohalia said:
I sadly missed Prodigal Son, and I made it a priority to take time to watch T&V. I've reached the conclusion that Tiler Peck can never retire. Her musicality, her speed, yet her ability to make it seem like she's taking her time... She's truly one of the best.
I appreciated the close-up shots during the partnering of the PDD. I was fascinated to watch how sometimes Peck literally just hangs on to Veyette by one finger. That was lovely. I miss live performances.
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.
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On 3/4/2021 at 8:45 PM, nycvillager said:
I can't say that I'm surprised. While she didn't possess the strongest technique or the depth that others did, I am sad to see her go as she still had a lot to offer as a dancer. I saw her in the December 2019 in The Nutcracker and she was beautiful and warm, very charming. I haven't been wowed yet by any of her choreography. I do think that with more time and focus dedicated to it, she'll produce some great work. She's still young and establishing herself. Once live theater performances are on again, I'd definitely go see a new work by her. Wishing her great success in her new endeavors!
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.
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15 hours ago, nanushka said:
Not joyful, no. But to me her performance has always seemed rather regal. And perhaps because I came to know the piece by watching that recording many times, before I ever saw it onstage, that interpretation has always seemed quite valid and appropriate (though not necessary) for the role.
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.
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On 3/4/2021 at 11:59 PM, cobweb said:
My, that was lovely. Makes me eager to be back in the theatre. I wasn't sure if Russell Janzen was serious when he described the start of the polonaise as "not an emotional moment," since he choked up and his own emotions betrayed him. Like Drew, I feel the same!
I am partial to the video with Darci Kistler and Igor Zelensky. Zelensky's line is to die for, I find everything he does beautiful. Also the music in that version is different from tonight - it's more forgiving, quiets down at time, which I find eases the mind. Also the violin playing is so beautiful in that version. I'm not a musician, not sure I'm describing the difference very well. I didn't catch the coaching session earlier in the week, did anyone see it? (I'll go back and watch it over the weekend.)
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.
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13 hours ago, canbelto said:
She doesn't dance as heavy of a workload as the other principals. Part of it is injuries. But part of it is technique -- for instance, she struggled as Waltz Girl of Serenade and that wasn't a role I expected ballerinas to struggle in.
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.
Gina Pazcoguin's "Swan Dive"
in Writings on Ballet
Posted
Yes, beautiful description @cobweb. Thank you.
I also think it's worth noting just how generous Gina Pazcoguin is in the On Pointe series when she greets a group of children performing with her in the Nutcracker. She's warming up backstage for Arabian and they come by. She asks if they're nervous and gives them encouragement. It's a very sweet backstage scene.