WLH

1 hour ago, Papagena said:

Jumping on the Ulbricht praise wagon - he has this intangible quality of fluid and effortless technique, joy, generosity, introspection and lack of ego in his dancing if that makes sense. I can't quite pinpoint his magic on stage, but it’s there in abundance. He applies his entire career of knowledge into every step, no wasted movements. I really hope they make several programs around his best roles whenever it's time for him to retire. 

Add me to said wagon, please! I was blown away by Ulbricht in Tarantella in March. My heart was in my throat. A true artist. I would love to see him perform much more than I do at present.

Takahashi, Woodward and especially Ulbricht (W O W) stole tonight’s show. I too left before the Wheeldon closer.. 

1 hour ago, abatt said:

Misseldine did not have the fixed smile when she did Myrta, from what I recall.

 

As reported previously at the Guggenheim talk Jaffe indicated that Misseldine is prepping the lead in SL.  Now that should be interesting. 

I agree, I don’t remember any sort of frozen facial expression in her Myrta debut, maybe that’s why it caught me off guard.

Totally agree that the highlights of tonight were Trenary and Camargo, lyrical and beautiful. Melvin was excellent as Bottom. In Ballet Imperial, Shevchenko seemed.. empty? Technically capable, but very little musicality or artistry? Royal III doesn’t have the technique for this as stated above, (why cast him? He’s more effective in other things) however he has a warm aura about him, magnetism, beautiful arms. That doesn’t make up for an absence of chemistry or romance between them, though. A lot of the partnering looked labored and tense. The corps also looked a little off at points. Misseldine has beautiful feet and legs, good stage presence, but her expression was sort of frozen and peppy the whole way through? from the first ring it was somewhat distracting.

 Again though, all worth it to see Camargo and Trenary! I would watch him and Aran Bell do just about anything. 

11 minutes ago, abatt said:

Roxander  was once again incredible as Puck.

The person who did Bottom last night was very very good.  Don't have my program handy so I cannot identify him.  He had no trouble with the pointe work and was quite endearing.

Trenary was wonderful as Titania.

Boylston was improved over last week's debut, but I still  prefer NYCB in Ballet Imperial.  

 

 

Was Bottom perhaps Melvin Lawovi? 

4 hours ago, Drew said:

Often people who wait a few years  to voice their negative experiences (in any kind of institution)  are heavily criticized for not having spoken up at the time of the event--or even disbelieved because they didn't go public at the time.  In general, when one has something critical to say about experiences in a loved and admired institution one will never find a way or a time that satisfies everyone. Probably not even oneself.

As it happens, several dancers who have spoken out about negative experiences at NYCB  or with NYCB personnel DID wait--I'll give the example of Wilhelmina Frankfurt whose story about visiting Balanchine in the hospital was not public knowledge until after the fact; I think she has every right to celebrate her time with the company and was happy to see a photo of her there celebrating.  And as @Nanushka commented above...feelings are complicated. Life experiences too.

As for Bouder bringing her daughter on stage? it's hard for me to share the dismay expressed by several here. If the company explicitly said "no kids on stage," then she was breaking rules. But did they? I doubt they said anything. Possibly it didn't occurr to them someone would bring their child. But it hardly seems like a big deal. I'm probably more shocked when I see ballet dancers bringing their dogs to the studio with them. (But I've gotten over it 😉)

Sounds from all the reports like it was a great evening! Relieved to read that the orchestra will be playing for the whole of the Fall season.

You have a very kind and considered way with words, Drew!

https://www.hollywoodreporter.com/business/business-news/iatse-broadway-league-pink-contract-agreement-1235540420/

Yes!! This was my first time seeing Ahn, and I noticed a few “wobbles” in his solo, which surprised me as I know you all have said he is reliable technically. Maybe an off night?! 
Totally agree, abatt. I felt that Seo was better last night than she was in the role last year. She has the arms this ballet requires.

Another mesmerizing jump into the lake from Aran Bell last night. I love when you can hear those around you practically losing their breath 

I also found Cornejo’s take on the lifts to be beautiful, definitely more difficult to execute. But can certainly understand preferring the more classic version. I quite like when dancers are confident enough to do something slightly uniquely, makes for some interest after viewing multiple performances in succession. 

57 minutes ago, FauxPas said:

Totally agree. Even at the end of his career, I’d still much prefer to see Cornejo than a lot of the other ABT principal men, where you are often choosing between A) solid technician, or B) acting capability. I look forward to a retirement programme that honours his artistry. 
Brandt’s technique in Giselle alone is worth the price of the ticket. In the grand scheme of things, she hasn’t been performing this role very long, and it’s exciting to consider how she will develop her interpretation in the years to come. 

I love to read all of your thoughts, and see how we view some things similarly and others differently, thank you for always taking the time everyone!

If anyone sees Teuscher’s debut, even if it is July 4th.. please do share your comments.

The Wilis corps really were sublime weren’t they, majestic. Not to be overly harsh, but the Peasant pas read quite.. amateurish to me tonight. Maybe as it’s a highlight of the first act it’s more jarring when it’s not so good. Seo has the most beautiful arms, this role really seems to suit her. I agree that her mad scene wasn’t hugely moving, but otherwise I was much more impressed than I expected to be. Beautiful. It does seem odd that Stearns doesn’t have more of a sense of drama considering the length of his career.. Still, it’s my favourite ballet. Looking forward to Brandt and Cornejo.

From an abtofficial sponsored Instagram post:

“Fireworks and “Giselle” make the perfect 4th of July. Buy one ticket, get one free and enjoy this classic ballet on Independence Day. Use code ABTFOURTH for 50% off select seats. Limit of 4 tickets per order. Subject to availability.” 
 

Is this Devon’s performance?

As a slightly younger person with friends who may be curious but are not necessarily ballet fans, I’ve heard them express interest in Giselle this season, for example, but no mention of LWFC.. this obviously isn’t a huge focus group, but I do wonder what “data” they’re looking at.. I’m looking forward to all of your takes on this ballet.

I attended tonight.. just wanted to echo everyone else re: Raymonda and say how wonderful Fairchild is. Every movement is so expansive. Any time I see her it is a total joy.
Huxley is becoming one of my favourites, this is my third time seeing him. Utterly poetic and light as a feather. They’re beautiful together. 

https://wwd.com/eye/people/new-york-city-ballet-artistic-director-jonathan-stafford-on-modernizing-the-company-for-a-new-era-1235605948/?fbclid=PAAabi6X8nsMx87gHmhcz1Z6-Teg_-fJf9_FMlufdQWTblt3uGPpg5BKUfgpk
 

In case this is of interest to anyone “Jonathan Stafford on modernizing the company for a new era” in Women’s Wear Daily

I saw her Aurora last weekend and totally agree. “Vibrant” is the perfect word. Always someone I seek out in the company. 

I saw Fairchild and Gordon on Saturday evening. Fairchild was just stunning in her characterization, gorgeous solo from Gordon, Cainan Weber as Bluebird got a huge response from the audience, Mejia, a great jester, you couldn’t keep your eyes off him.. Nadon was very beautiful. Maybe a little too.. lyrical for the character? But I’m nitpicking. I’m really not a huge fan of Martins choreo, but watching Fairchild these days is never not a special experience. 

7 minutes ago, Balletwannabe said:

I'm seeing Woodward but I have the opportunity to pick from the following for a second performance: Lafreniere, Fairchild, Peck.  Who would you go for?

1. Fairchild 2. Peck 3. LaFreniere

in my eyes

I was there this evening. I feel like Mejia and Chan are at the top of the food chain in terms of excitement these days, for me personally.
I found Chan and Phelan very moving in Liturgy. I thought it was beautiful, the music too, and I’m not particularly fond of contemporary works in general (to put it lightly). 
LaFreniere also completely moved me. She conveyed so much.
Gerrity did not, to be honest. Lovely facial expression and execution of steps, but lacked true artistry for me. That *feeling*..just wasn’t there. Maybe it’s me!

It was nice to see quite a full house! Not that they ever open the fourth ring, ha, but even so. 

48 minutes ago, Kathleen O'Connell said:

For me—and I'm speaking only for myself—the issue isn't looking at nude images of women. People have been doing that since cave-paintings and our museum walls are covered with women in all their naked glory. It's consent. If a woman is OK with her partner sharing nude or sexually explicit images of her with others, that's their business. But if those images are shared without the woman's knowledge or consent, that's a different matter. It's a breach of trust. If a woman's colleague shares an explicit photo her with other of her colleagues without her consent, and exposes what she believed was a private, intimate moment to public gaze—the gaze of people she works with closely day in and day out—she's stopped being their colleague and has become a commodity. I'd consider it workplace harassment and I'd argue that any organization would be right to sanction employees who were engaged in it.

Alexandra Waterbury wasn't anyone's colleague, so Finlay and Ramasar's behavior with respect to her isn't the same kind of breach of trust. But the men involved shared images of women they worked with too, and that's a different matter. 

Well said. Thank you

1 hour ago, abatt said:

Completely agree with everyone about last night's show.  First, Camargo was much better last night than in his debut on Wednesday.  It's like someone gave him small corrections, and that made all the difference to take his performance to the next level.  Titania suits Trenary very well. And Magbitang!  Whew.   Very impressive.  As a I watched the performance I envisioned him as a future lead in Don Q. 

 

Agree that Curley was much better than Ahn as Winter.  I hope to see Curley in many more new roles.

Sadly, Shealy was definitely out of her depth.  

If anyone goes this afternoon, I'd be curious to know whether Stearns appears, or whether Camargo does his third Oberon in five days!

I missed the mixed bill due to a medical issue on Friday.  But based on what multiple friends have told me, it sounds like I didn't miss much. Hopefully Sinfonietta will return soon, on  a stronger program.

 

Exactly that, abatt. It’s not that I find Magbitang perfect or that I want to fast forward through his career, but his technique and presence especially in a debut is thrilling. Hard not to look to the future. Your Don Q idea for him will now have me smiling too  

Interesting to consider Camargo’s progress in a v short period of time. I also didn’t notice any out of place smiling last night. Camargo and Trenary both bring drama without compromising on technique. Whereas Ahn and to some extent Seo didn’t have that same emotional quality for me. I’ve never seen him before, so maybe I’m being harsh or would prefer him in another work.

Cassandra Trenary is one of the most lovely dancers I’ve seen at ABT in some time. Camargo actually moves me, which I can’t say for all of the male principals on the roster. His chemistry with Cassandra was beautiful. Between that and the debut from Elwince I couldn’t have asked for much more. I ended up spending a few minutes of The Seasons happily thinking about the day when he and Jonathan Klein get promoted. Klein’s role in The Seasons was more magnetic than some of the more senior members’ performances in my eyes. 
It’s exciting to think about the future of the company with the talent that’s blooming.

Well said fondoffouettes and aurora.

May be worth asking ourselves why a black cast/artistic team is “woke”, “social messaging” or exclusionary, but the same is never said for majority white productions with white dancers, choreographers, conductors, etc.. 

Individual tastes aside re: particular programmes, I’m not sure what’s distasteful about “celebrating black excellence” and as fondoffouettes said, for three performances.

As someone who does love the classics and is wary of people perhaps being disingenuous in a time where of course we should be demanding representation for all kinds of stories in the arts, I’m not sure if it’s worth overthinking the press release before something has premiered.

Either way, art should start conversations and open our minds, so no harm in discussion!