matilda

I think both new works look promising, but I've questioned the choice to put two premieres on one program since the season announcement. Gemma Bond doesn't have much name recognition, and Kyle Abraham is more of a modern-dance figure. Etudes might be a bit obscure to non-balletomanes, but it sold well last year when it shared a program with Petite Mort and Ratmansky's Piano Concerto no. 1.

I would say Bell and Camargo are the only current principals who could/should dance Solor at this time. As for "not ready," maybe Roxander but also Curley and up-and-comers like Robare and Miyake.

Wonderful show last night. I went mainly to see Nadon but also because I loved this whole program the first time and wanted to see the other casts. Mozartiana: Nadon looked fully formed in this role like she'd been dancing it for years. Totally mysterious, unmannered, and in-the-moment connection to movement and music. And those backbends! I've always liked this ballet but I don't think I "got" it until now. Ulbricht was a big improvement over Schumacher, bringing out the wit while crisp in his movement. Walker did ok and got the job done in the pas de deux. The solos were mixed. He's a very good turner and his second solo, which has a lot of pirouettes and not much batterie, was by far his best (and got the most applause). The first and third solos looked effortful, borderline hard to watch, especially in the batterie department. I'm happy for him that he doesn't have to perform this ballet again this season. Calling Chun Wai Chan for next time? M/M: This was a different experience with two different couples, but I enjoyed watching the contrast between Miller and Afanasenkov. Miller is statuesque and elegant but can be bland; she also has a rather stiff torso. Afanasenkov is bendy and liquid in a way that reminds me of Sterling Hyltin and Hee Seo, and with star quality beyond her years (what is she, 20 years old?). She and Riccardo were magnetic and should be taking on more principal roles together -- even the names "Dominika and Davide" sound like a star pairing. Riccardo has really come into his own and commands the stage like a principal. Concerto DSCH: I preferred the first cast of this ballet, but Emma Von Enck was absolutely on fire and tore up the stage. How does she have so much energy while maintaining all technical precision? It's like she has Ashley Bouder's fierceness but with a more delicate lightness. Harrison Coll looked as good as I've ever seen him. Sebastian VV was fine in the de Luz role but invited negative comparisons to KJ Takahashi in the other cast, plus Joe Gordon a couple seasons ago. He didn't really make the part into the virtuoso spectacle it should be. Nothing concretely wrong with Phelan and Danchig-Waring but they didn't have the magnetism and romanticism of Mearns and Angle in the adagio.

He's done fine work in some classical roles. I thought he was great in Symphony in C 4th movement (huge, gorgeous sissone), and I was surprised he wasn't cast in the subsequent run of that ballet. I also recall him being one of the few dancers to pull off the incredibly difficult seconde turns in the "Gold" section of Sleeping Beauty, and he did a fine job in Divertimento no. 15 a few years back. Maybe it's tours en l'air and quick footwork that get the best of him.

I'm seeing Nadon's second Mozartiana show tomorrow and really looking forward to it. I'll wait to see Walker with my own eyes before judging, but from reading all of these reports, it seems like management has done him a disservice by casting him in something clearly beyond his classical abilities -- and for four performances with two different ballerinas. I've enjoyed Walker's dancing over the years and feel bad for him that he's seemingly been set up to fail. Was Walker really the best option for Mozartiana? I know Gordon and Furlan are out, Chan can't do everything, and both Nadon and Mearns need tall partners, but are there no soloists or promising corps dancers who can do this difficult but important role justice? Either the answer is no, or management was being far too conservative and unimaginative in casting. Either way, I find the situation a bit concerning.

What a show last night with Peck and Mejia! I was on Cloud 9. Technical perfection from both. I love everything about this ballet from the music to humor and, again, I so wish it would come back more often. The house looked sold out or nearly sold out, with people even sitting in the fifth rings. In some ways I prefer Coppelia over Midsummer Night's Dream because it has more exciting bravura choreography. I saw the Fairchild/Huxley cast last weekend and enjoyed them as well. Both casts were totally different. Fairchild is a more fully formed and convincing Swanilda straight out of a fairy tale book or Disney movie. Her character is sweet, playful, and mischievous (same with Pereira when I last saw her) whereas Peck's was more haughty Mean Girl bully. I definitely felt worse for Dr. Coppelius up against Peck's Swanilda. Overall, I think I preferred Fairchild's approach (and her technique was also on fire), but nobody does a piqué / chainé manège like Peck, and last night's wedding pas was more seamless. Mejia gave Frantz a kind of Latin machismo out of the Don Quixote playbook. Can we get this man a Basilio somehow? How about Theme and Variations next time it comes around? All of the difficult solos were executed to perfection with massive ballon and clean landings, although Huxley has prettier lines and feet.

Now that Susan Jaffe has indicated that she's open to guest artists, maybe Roman will make an appearance across the plaza someday! ...Wishful thinking. Loved this afternoon's Coppelia with Fairchild and Huxley. Huxley saved a few finishes and the partnering wasn't 100% perfect, but he was otherwise excellent with beautiful cabrioles. His acting has also improved a lot since he debuted this six years ago. Fairchild isn't in my personal top tier of NYCB ballerinas all around, but she really knocks this role out of the park and you would never know she's 40. Wish the ballet were programmed more often so there'd be more opportunities for more casts.

The Philharmonic makes latecomers wait in the lobby until the first piece on the program is over, or if it's a long piece, then during the short pause between movements. At least you can hear the music over a speaker.

Knight has said he is injured via social media. Bolden looked great and ready for more in the corps of Concerto DSCH the other night. Not sure what's going on with casting. I don't have a problem with Walker doing Mozartiana but why is he cast with both Mearns and Nadon across four shows? Management is happy to give David Gabriel big debuts in the "short-guy" rep but seems hesitant casting the more danseur-ish parts right now. Bolden has already proven himself a capable partner.

I'm not so sure about the 4th ring either. There are "cheap" seats on the lower levels too, and those aren't always sold. Ticket prices aside, I'm not sure how much mainstream demand there is for high-culture events consisting of strange and unfamiliar titles like "Monumentum Pro Gesualdo" and "Concerto DSCH" on a Wednesday night in today's world, even in NYC. In any case, I'm thankful to be able to see these works and to have so many programs and performances to choose from throughout the year.

Last night's program was one of my favorites in recent memory. Lots of variety between classical and neoclassical with not a single dull moment IMO. Mozartiana: I love watching Tiler Peck in anything, and I definitely enjoyed her performance, but I can see how this isn't an ideal role for her. Not only does she lack flexibility or much of a mysterious quality, but the music doesn't really call for the kind of romantic abandon she's known for. Huxley was fantastic with the petit allegro and always shines in classical works. This was an odd pairing in terms of height difference and proportions though, and there were a couple of iffy partnering moments. M/M: I saw these works twice in recent years led by Teresa Reichlen, and I couldn't really get into them. But Nadon (and Danchig-Waring) made them thrilling and sultry and now I'm a fan. Concerto DSCH: Hands-down my favorite Ratmansky work and also one of my favorite ballets overall. Mearns looked like her normal self and was seamlessly partnered by Angle, and Takahashi and Gabriel were all energy and joy in the De Luz/Garcia roles. Love to see Indiana Woodward in a speedy technical role since a lot of her recent rep has been more "lyrical." Last time this ballet was done, it was programmed as the middle piece, but I found it even more impactful as a closer. Just a really amazing evening overall and I look forward to seeing this program again during week 4.

Bell would be a better pick for Ballet Imperial than Royal or Whiteside. Princely roles are his domain! Plus, he has beautiful entrechats. I think of Royal and Whiteside as more modern and dramatic. Regarding Solar, there's still a chance Bell could be cast, although there's only one performance for the "TBA" Solar, and Bell is already dancing the Sylvia pas during the matinee that day.

Just in from the matinee. I chose this performance mainly just for the Four Seasons and it certainly delivered! Phelan subbed for Peck which was unfortunate, but I can appreciate both interpretations. You can't fault Unity Phelan for not being Tiler Peck. She brings glamour to the role and was technically solid with a great deal of speed in the diagonal of turns, even if some of the partnering with Mejia was (understandably) rough around the edges. Mejia tore up the stage -- no words. Other highlights were David Gabriel as the faun, Woodward and Chan in Spring, and Von Enck in Winter. Again, WHY ARE WOODWARD AND VON ENCK NOT CAST in COPPELIA?!? Megan Fairchild was lovely in Baiser de la Fée and I respect her enormously, but there was a noticeable difference in energy and sparkle between her dancing and the other two's. It was good to see Mearns on stage after reading the reports of yesterday's matinee. She was commanding and impactful in This Bitter Earth, although I don't need to see this piece again.

Appreciate the analysis! Maybe the ballet requires a pairing able to convey more romantic or sexual chemistry. Fairchild and Huxley have a great rapport and look so comfortable dancing together, but I personally find it hard to pretend their connection is a romantic one. Maybe in something light like Coppelia but not so much in a weightier abstract work.

Peck and Chan were transcendent in PC2 last night. Not much to add. She was doing superhuman things in the allegro sections, and I don't think she's lost any of her signature speed at this point in her career. When I watch this ballet I never want it to end. Can't wait for Nadon to eventually dance it. I found Olivia MacKinnon sharp, buoyant, and musical as the soloist. Mabie and Riccardo were danseur noble embodied as the demi-soloists and would make fine leading men. The corps also looked great. Susan Jaffe was in the audience and I was curious about her impressions ahead of ABT's Ballet Imperial next month! ...the bar has been set high, to say the least. I'm not crazy about Duo -- I don't quite get the point of the spotlight ending -- but the performance was well-danced and I think this is one of Huxley's best roles. Count me as a Glass Pieces superfan. Excellent performances from the corps and soloists, and I think this is a good Phelan role. PC2 and Glass Pieces on one program was almost too good to be true.