BalanchineFan
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Posts posted by BalanchineFan
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On 9/25/2020 at 9:06 AM, Peg said:
Sara Mearns had posts on social media this week that she has been in the NYCB rehearsal studio working on something that she can’t give details on yet. She showed a photo of clasped hands, indicating it wouldn’t be a solo performance.
I haven't seen all of her posts, but I know she's been rehearsing a Christopher Wheeldon duet with David Hallberg for Fall for Dance. Do you think that's it?
There's also a Dancers of NYCB fundraiser on the roof of the Empire Hotel Oct 18th. I didn't think Mearns was involved in that, but there will be performances for those who support Dancers of NYCB. For a $100 donation you can have access to the event online. For $250 you can go in person.
https://www.eventbrite.com/e/the-dancers-of-new-york-city-ballet-registration-122906122521
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17 hours ago, sappho said:
Though the Scherzo excerpt was brief, it was pleasure to see Claire Von Enck and Olivia Boisson in featured roles. They are both such witty and generous dancers.
I really liked the Scherzo as well. I wasn't aware it was an excerpt. I also agree with all the posters about Megan Fairchild's hosting. She was great. I think she's gotten a lot of practice doing her YouTube channel, but it seems both she and her brother were brought up with some acting training (and continued it during their careers). She is so comfortable in front of the camera.
I liked that the introduction was geared towards children. She had a good script that was informative, entry level ballet knowlege and still didn't talk down to anyone.
I also enjoyed hearing Maria Kowrowski's inroduction earlier in the week. They have very different personalities, but her story about Karin von Aroldingen in rehearsal still brings tears to my eyes. I remember von Aroldingen's dancing so well. Passing it down generation to generation.
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Regarding Waterbury's intentions, I don't see how any one of us could know what she intented at any point. Basic negotiating tactics favor starting with a big ask, knowing it will get whittled down in negotiations, and also starting with a promise to keep things private knowing you can go public later. You can't do the reverse. That's all that I see. No brazen blackmail. That's how one negotiates. Additionally, in the civil court system the only thing you can be awarded is money. The defendants can't undo the suffering they've caused. They can only pay money in recompense and acknowlegement. That's our American system of justice.
Don't blame a woman for using it.
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On 10/1/2020 at 4:20 PM, On Pointe said:
At any rate, there is no sexual assault in the Waterbury case.
That depends on your definition of sexual assault. Finlay is still liable (if that's the word) for taking sexually explicit photos of Waterbury without her consent and disseminating them. That part of the case can move forward. I disagree that her chances of winning are "slim to none' particularly with respect to Finlay's intentions. The decision itself says that the texts accompanying the images show that Finlay knew it would cause her distress if she found out. If he knew it would cause her distress and he did it anyway, it seems to me that that is the definition of "intentionally causing distress."
I happen to agree with the outcome so far. Personally, I'm glad NYCB, SAB and the two dancers had their cases dismissed. I wouldn't publicize it if I were NYCB. Better that people forget entirely.
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Great article! Thank you Kathleen.Which ballet is it, (Brahms Shoenberg third movement, perhaps?) that is pictured in the media control room?
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9 hours ago, Kathleen O'Connell said:
I've seen all of the dancers BalanchineFan referred to dance Liebeslieder, but never that exact cast. From my experience, here's who generally dances what:
Tiler Peck = Violette Verdy
Rebecca Krohn = Diana Adams
Sterling Hyltin = Melissa Hayden (the Nein, Geliebter role)
Megan Fairchild = Jillana
Unity Phelan has indeed danced Hayden's role, as has Lauren Lovette.
Thanks for the casting and the films!
I haven't found the program, so I'm probably not listing the exact cast. I know Sterling Hyltin, Rebecca Krohn and Tiler Peck were in Liebeslieder the first time I saw it, I just can't recall the fourth woman off hand. It was not Wendy Whelan. Still, if Megan Fairchild dances the Jillana role it could well have been her.
I haven't seen Liebeslieder enough to feel that one dancer has made an indelible mark on any of the roles. I have that sense in other ballets, though. Sanguinic will always be Merrill Ashley for me (though I was wowed to see the razor sharp recording of Patricia Wilde in that role). Tiler Peck is Tchai Pas.
In other news, (perhaps this isn't the correct place to post?) did anyone see the City Center Sara Mearns/Pam Tanowitz event? Alistair McCauley interviews them both and Sara talks about her forays into the world of modern dance and how it complements her ballet dancing. I think it's up for another week, don't delay.
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8 hours ago, vipa said:
I too would happily pay to watch a complete Liebeslieder and, in my experience, it's a ballet that is best appreciated close up.
8 hours ago, vipa said:17 hours ago, volcanohunter said:Thank you for the link.
I would gladly pay to watch a complete stream of Liebeslieder. That is all.
Oh, me too! I had no idea Wendy Whelan was regularly cast in that Nein, Geliebter. That must have been quite something. I think I've seen Unity Phelan dance it. But I saw Liebeslieder once before she was in the company so I must have also seen someone else. If the cast was Tiler Peck, Rebecca Krohn, Sterling Hyltin and Megan Fairchild does anyone know which of them would have danced that duet?
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20 hours ago, Kathleen O'Connell said:
Me too! I'm sure this sounds heretical to anyone whose only memories of Watts comes from the last half decade or so of her career. No one has moved me as much in the Divertissement pas de deux as Watts did. I'm an Ashley fangirl, but I've always been grumpy about the fact that it was her performance of the Divertissement that got broadcast, not Watts'.
I wouldn't be surprised if Balanchine omitted the Emeralds solos if he thought they wouldn't translate well to the small screen. (I don't remember if Paul's solo was included or not. I'll check my DVD at some point because now I'm curious ... ) It's important to remember that TV screens were w-a-a-y different back then. They were smaller, the broadcast quality was low-def, and some of us didn't even have color, even at that relatively late date.
Ooh, a fun new game; re-watching all of my old Balanchine videos! I have that DVD, too. I remember not really liking Emeralds when it was broadcast on Dance in America way back when. Maybe I'll enjoy it more now that I've seen it live.
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On 9/13/2020 at 7:49 PM, Kathleen O'Connell said:
I hate to be that "well, actually ... " person, but I believe the women only dance barefoot in Elégie. But yeah, it's an awful lot of minutes of unbound hair and swirling tulle cocktail dresses to sit through until we get to T&V. If they had to televise a movement other than T&V, Elégie is definitely the one.
Do they wear soft ballet slippers in the other two early movements? I really don't remember the women wearing pointe shoes before T&V.
On another topic, have people checked out the new NYCBallet.com website? Some of the videos seem redone to include clips of earlier versions of the ballets and to incorporate interviews with NYCB's stellar musicians. I enjoyed the Tchaikovsky Piano Concerto 2 clip with Lauren King and Susan Walters. I saw Lauren King dance it twice last season (Spring 2019 I believe) and she was like a ray of sunshine, and so, so secure technically.
https://www.nycballet.com/discover/ballet-repertory/tschaikovsky-piano-concerto-no-2/
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58 minutes ago, Kathleen O'Connell said:
I too prefer whole ballets to excerpts. That being said, Balanchine himself elected to present excerpts from his ballets for the Dance in America series featuring his choreography. There was no Jewels in its entirety, only excerpts from Emeralds and Diamonds. (And not even the entirety of those two ballets, either, just excerpts.) Only excerpts from Chaconne. Only the Andante from Divertimento No. 15. Only Elégie from Tschaikovsky Suite No. 3.
I have no idea why Balanchine chose to have only excerpts of those ballets televised, but he did.
Anyone want to guess why Balanchine would have made that choice? One advantage is with excerpts you get to see samplings of more ballets. It shows the breadth of his work, his mastery of different styles. I appreciate, for instance, that we only got the Elegie from Tschaikovsky Suite #3. Once you've seen one of those early movements you really don't need to see the others. It's three movements of barefoot girls waving their long hair around before we get to Theme & Variations. That particular edit was a gift! Fill the time with another ballet.
Mostly, though, the excerpts function as an extended teaser for a full night of live performance. Come back and see the whole thing. Sometime next year...
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20 hours ago, cassieallison said:
As someone who can rarely get to NYC I have LOVED all the digital programming, but would definitely like to see whole pieces. For instance Diamonds last year took my breath away I can't remember how many times I watched it. IF it was only presented in excerpts it wouldn't have been able to truly appreciate it. My local company tries to do Balanchine, but it leaves me just wanting to see more NYCB.
Agree with everyone on promotions, I feel like there hasn't been much movement with the new regime.
So glad you enjoyed it, but Diamonds itself IS an excerpt. It's part of the full-length Jewels, so one might say it makes the opposite point.
I agree about the promotions. It's been way too long. I was surprised how much energy I got from reading about the promotions at ABT.
Unity Phelan and Indiana Woodward are on the top of my list. And I'm surprised to realize that Emily Kikta isn't already a soloist. She and Roman Mejia deserve soloist status, imo. I'd scrounge around for an extra donation just to see that!
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On 8/29/2020 at 3:03 PM, Drew said:
A wonderful ballerina -- stunningly beautiful (and great at comedy too). I very much hope she can give a live farewell performance.
What comedy roles are you thinking of? I never saw Maria Kowrowski in The Concert. I remember seeing her in Herman Schmerman and just being dumbstruck by her her artistry. I also have special memories of her in the 2nd Movement of Symphony in C. She was the go-to for that role for quite awhile and danced it regularly. Her performances in the Wheeldon duets, After the Rain and Liturgy are also fabulous. And Agon... And Stravinsky Violin Concerto.... I could go on and on.
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On 9/10/2020 at 4:43 PM, FPF said:
I'm very happy about this. These programs really gave me something to look forward to every week this past spring.
I know!! I'm thrilled that they're doing another digital season. The spring season was so well done, excellent quality, terrific performances, a great and broad selection of ballets. They don't HAVE to make anything available and it must be difficult negotiating with all the unions involved.
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Awwww. Not like it's a surprise, but I will really miss her dancing. I hope she gets a proper farewell performance.
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On 8/14/2020 at 12:21 PM, Kathleen O'Connell said:
Long past it.
FINALLY! is what I thought when I heard. I love that the NY Times interviewed those SAB students about what it means to them, too.
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I've also been enjoying the Vail Festival offerings. The interview with Heather Watts, Damian Woetzel and Unity Phelan and Calvin Royale III was very illuminating. I found Heather particularly inspiring, talking about how dancers should dance "like themselves" and develop their own responses to the music and choreography, rather than copying what earlier dancers have done. She's saying this as someone who coaches younger dancers in roles she has performed, not as a way of throwing out existing (masterpiece level) choreography.
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15 minutes ago, pherank said:
Well done. Thank you for sharing, BalanchineFan.
Thank you for reading it!!
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I wrote a piece about NYCB working rehearsals (from 2015). Is this the right place to post a link? I'm not sure I'm ready for unfettered discussion, though.
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On 6/24/2020 at 3:41 PM, Josette said:
I wish McKenzie would elaborate on what he means by "leadership skills." I've never heard that as a required element for promotion to soloist.
Maybe McKenzie means the dancer has to "set the tone" or "be an example" for rehearsals, performance, and preparation.
Since Gabe Stone Thayer is Black (and as a Black person myself) I feel certain he's not talking about Calvin Royale III. Any non-white dancer with an attitude problem getting promoted when "attitude" is used as the reason a dancer of color is not promoted is part of the general conversation these days. Particularly among people of Stone's generation. You'd think management would at least change the language, or have a less litigation provoking kind of response.
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Here's another article about Silas Farley and his retirement from performing.
https://www.nytimes.com/2020/06/23/arts/dance/silas-farley-new-york-city-ballet.html
I'm so sorry to hear about it. Silas Farley is such a lovely performer - a true prince. I remember Mr Martins having him demonstrate for the audience when SAB's advanced students took class on the stage in celebration of Balanchine's birthday. I saw Farley's debut in Concerto Barocco a few years ago (with Ashley Laracey) and I can attest to seeing him at many a dance lecture and event. We shared the stage briefly when Victoria Simon spoke at the NYPL about teaching Balanchine's works for the trust. She wanted volunteers to learn the beginning of Serenade. When he presented himself, she said, "only people who haven't performed the ballet."
Silas responded, "These are women's roles. I've never done them," and she let him come up and learn it. He has such enthusiasm for all aspects of dance and Balanchine, always wanting to learn.
I wish him every success.
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On 5/16/2020 at 4:32 PM, Drew said:
ABT's cancelled season actually looked to me to be one of their more interesting in recent years--with a number of promising-looking debuts and at least one important premier. I don't know what the answer is to the "digital" issue...that is, I don't know how much the problem is ABT's leadership--people here have persuaded me that some large portion of it must be--and how much is problems that go back to their seemingly constant financial precarity, their (non) relation to Lincoln Center etc.
While I think ABT's management is behind the times in terms of online presence, one of the issues ABT may be dealing with is the size and configuration of the Metropolitan Opera House. NYCB puts cameras in the back of the first ring. At the Met the cameras would be in the Parterre Boxes, which are the most expensive seats in the house, and a full crosstown block away from the stage. Maybe it just doesn't work visually. I find it difficult to watch dance in that house. I suppose they could have filmed the mixed bill performances when they cross the plaza to the NYCB theater, but it doesn't seem like they have.
I was surprised they didn't have toasts from more of the past generations of ABT stars.
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On 4/8/2020 at 2:02 PM, California said:
I'm surprised SAB has not yet cancelled their spring Workshop May 30, although I assume it will be cancelled as well.
NYU Tisch just announced that their graduating students will present their work in an online format, rather than the live performances they typically have. I'm not sure exactly what the format will be (they said that more info is forthcoming). I hope SAB figures out some similar online way of doing the workshop.
Lots of pas de deux, perhaps?
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On 4/15/2020 at 9:50 AM, jessa_sissonne said:
Hi Everyone,
I hope you're all staying safe and healthy. I just wanted to share a few links that have made my time in quarantine a bit more bearable. Megan Fairchild has been uploading videos to YouTube and her interview with Sara Mearns is highly entertaining and informative.
I also enjoyed her quarantine diary on the New York Times. Enjoy!
Jessa
https://www.youtube.com/channel/UCQ_WNxLiIEESXCpqGdUGiJw
https://www.nytimes.com/2020/04/14/arts/dance/megan-fairchild-city-ballet-coping-at-home.html
I am just loving Megan Fairchild's channel. She is a wonderful interviewer and provides so much insight into what these artists have been through and what it takes to make a successful career in NYCB (and probably any large ballet company).
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15 hours ago, Quiggin said:
One other thing: in programs notes such as those at the beginning of the performance, it would be nice to cite Tim Scholl's idea that Jewels references the precious stones of Sleeping Beauty rather than use the commercial hook of Van Cleef and Arpels, which was just Balanchine's tossed off pitch, not his deeper motivation.
I agree, though I bet they got a some nice financial support from Van Cleef and Arpel's. That company is running an online ad on the streaming webpage. NYCB, or at least Balanchine and Farrell, did a photo shoot at VC&A as part of the promotional run up to the ballet's premiere.
Fall Digital Season
in New York City Ballet
Posted
It's a beautiful excerpt, but with DAAG it would be hard to pick a bad moment. I can't wait to see the entire ballet again.
I loved this last program. And Duo Concertante is just lovely to watch. I have no idea what the ending means, but it always gives me such a sense of loss and longing. I remember seeing Robert Fairchild perform it with Sterling Hyltin when he decided to leave the company. (gorgeous and space "eating"!!) I also have memories of seeing Suzanne Farrell and Peter Martins do it together. Just seeing the two of them standing at the piano said something. The scale of their bodies, their energy and attitudes really complemented each other. All the couples I've seen dance it well, really well. Those two looked like King and Queen of all they surveyed.