ballerina1023

Thank you, Farrell Fan... right back at you ;)

May I ask why you do, though?

Thank you, dirac... I did indeed mean to type successor. I am sure that will make much more sense now.

The Balanchine quote that carbro posted is quite true... Balanchine's genius certainly extended past the ballet studio.

Calliope, I too not only care what we are seeing, but also what future ballet lovers will see. I have a deeply rooted love for Balanchine- his choreography, his aestetic, what he founded.

Like I said in my last post, I do not agree with everything they are doing. I do not agree with Mr. Martins much of the time.

The truth is, there really isn't anything one can do about the celebration, or Peter Matins. That's why I just want to focus on the positives of the celebration.

The show will go on, after Balanchine, after Robbins, and after Martins, and after his predecessor, and so on.

I too would take the money from the guest conductor, guest company from Georgia, and the new ballets.

I would prefer an all Balanchine season featuring his hallmarks - just him. Unlike others, I do not want to see any guest companies or artists (like POB, Kirov, Royal). I appreciated the many guest artists of the 93' Celebration (wonderful to see Darcey Bussell in Agon, Viviana Durante in Who Cares?), but I would prefer to stick only to NYCB dancers.

Take the money from the above and devote it to bringing back dancers to teach/stage ballets that were created for them/they are known for.

My dream list of ballets: Agon, Allegro Brillante, Midsummer Night, Apollo, Ballo Della Regina, Bouree Fantasque, Bugaku, Chaconne, Concerto Barocco, Coppelia, Cortege Hongrois, Baiser de le Fee, Divertimento No. 15, Don Q, Firebird, Harlequinade, Jewels, Kammermusik No. 2, La Sonnambula, La Valse, Liebeslieder Walzer, Meditation, Mozartiana, Orpheus, Pavane, Prodigal Son, Raymonda, Davidsbundlertanze, Scotch Symphony, Serenade, Slaughter on 10th Ave, Square Dance, Stars and Stripes, Stravinsky Violin Concerto, Swan Lake (one act), Sylvia Pas de Deux, Symphony in C, Symphony in 3 Movements, Tarantella, Four Temperaments, Theme and Variations, Nutcracker, Steadfast Tin Soldier, Tch. Pas de Deux, Tch. Piano Concerto No. 2, Tch. Suite No. 3, Tzigane, Union Jack, Valse Fantaisie, Vienna Waltzes, Walpurgisnacht, Western Symphony, and Who Cares.

That's about 50 ballets. It would be nice to see major reproductions of Pavane, Don Q, Meditation, Bugaku, Tzigane.

Can you imagine Carla Korbes as Dulcinea in Don Q? She would be divine. Taylor and Ansanelli also might be interesting. Kyra Nichols could do Pavane again, or maybe Wendy Whelan or Maria K, Bugaku would be striking with Kowroski in it, or Taylor. Oh the possibilities.

I do like that they are bringing Union Jack, Jewels, and some others we haven't seen in a while back.

I also like the chronological approach and would use that.

I third the enthusiasm for Reichlen

A wonderful raw talent... I'm glad she's getting some time in the spotlight.

I am not without some disappointment concerning the celebration. However, I must say that I am a bit angered at the attitude of most posters within this thread. Martins' is by no means Balanchine. No one ever will be. Get over it. The man's been dead for 20 years.

How would you like to be in Martins' position? While I feel Martins certainly has his short-comings, is the NYCB completely run into the ground? I don't think so. And what about all of the raves that this past spring season has received? Is Martins ruining everything? I don't think so.

As a former SAB student, I find it refreshing that most SAB students, when asked what company they would like to perform in, say NYCB. Upon asking why, most say because of the Balanchine heritage.

During the 98' season (50th Anniversary), many critics said doing 50 works was too many... that the dancers looked under-rehearsed and tired. Now, the company is doing fewer. Again, people are complaining. This time there isn't enough.

As for the criticisms about marketing and that it's what NYCB is all about... did you ever see the interview with Peter Martins (I believe it is on one of the 93' Celebration tapes, although I may be mistaken)? Martins says that when talking with Balanchine about the future of NYCB, Balanchine made it clear that in the future, for the company to survive, Martins would have to become adept at marketing and making the company more recognizable to the general public. For how many years now has NYCB been in the "black" in fiscal terms? Do you want the company to stop promoting themselves? Do you know what will happen then?

Anymore, everyone just raves at ABT. I attended several performances this season of both ABT and NYCB. I was not moved by ABT. It doesn't have a soul. NYCB, despite imperfections, has a soul. If you don't appreciate what is going on at the State Theatre, then go across the plaza to the Met.

I am just very frustrated with the extreme degree of pessimism on this board. Can we please accent the positives for once?

One thing I've learned from being a dancer is that you can't please everyone, so don't even attempt to. It's futile.

In the NYCB case, they should be happy if they could please one person on this board.

Sorry to see such a negative response about Reichlen. I think she should be given some credit (although I did not see her perform). She is very young. I, for one, want to see more of her. Then perhaps she won't look so "immature" to some. This will not be accomplished if she is "confined to the rehearsal studio."

Very good news to see both of them coming to NYCB. It will be interesting to see how they adapt to the company - especially in a particularly intense year, with the Balanchine Centennial. It will probably take some time: most aren't ready for NYCB's demanding schedule and repitoire.

Did anybody see Teresa Reichlen's performance as Hippolyta last night (Weds. June 25th)? It was her debut. She's been one I've had my eye on in the corps and I'm interested to see how things went. Also, any comments on Janie Taylor debuting as Helena/Hermia (I can't remember which one she was scheduled to do)? Did Nichols perform Titania as scheduled?

Sorry for all the questions, but I can't make it in to NYC to see Midsummer

So perhaps I can be filled in on what I missed.

I almost added Stafford to my list, but decided not to at the last minute. I agree that he is nice and tall and stands out on stage, but something made me hold back... and I'm not sure what it was. Perhaps it is because he doesn't get a boatload of featured roles when compared to some of the others on my list... of course which really wasn't fair on my part to not include him for this reason.

I too was surprised to notice that there are only 3 men at the soloist rank. Also, one of them (Tom Gold) is more of a character dancer... not necessarily the danseur type (this is not to discredit his dancing- he surely is a wonderful performer).

I believe Jared Angle is marvelous: although he has been hampered by some injuries. Despite his recent return, we really haven't been seeing much of him at all. However, I do feel given some time to mature, and perhaps recover, Angle will be prime principle material. I would be surprised to see this happen before 3 or 4 seasons from now.

As for the corps de ballet, I again agree that there are definitely some promising male dancers in the crop. As I commented in another thread, I was surprised to see only Alexandra Ansanelli promoted recently- I was expecting maybe one or two males to become soloists.

In my opinion, I think this talented bunch can be broken down into 2 sub-groups: those who will be promoted relatively soon, and those who need some time to ripen a bit.

Group 1-

1) Jason Fowler- I have always been a fan of his and he always stands out in a large group. He has been in the corps for some time, and he is tall. More recently, he has been partnering Maria K., and this may help him. There aren't many men in the company that can partner her (in terms of height), but he seems to do a nice job. Similarly, the female trend in the corps is for the tall, lanky look, so he would be suitable for partnering them.

2) Adam Hendrickson- He's a great dancer and wonderful on-stage performer. My only misgiving with him is that he will be typecast in a way similar to Tom Gold. As with Gold, I don't know if Hendrickson is necessarily the danseur type. Regardless, he is a wonderful talent. He has also served a good amount of time in the corps.

Group 2-

1) Antonio Carmena- gorgeous to look at on stage... I think he has a little bit of Angel Corella in him. I can't wait to see him develop. He just needs some time.

2) Daniel Ulbricht- great talent, but needs to tone-down the performer in him. He can be over-the-top. Again, I feel he may become the stereotypical character dancer and isn't really a danseur type. I also don't think his height (or lack of) will help him in achieving this.

3) Seth Orza- again, very pleasant to look at on-stage. Nice technique, could use some polishing, though. He's also been getting some valuable experience in partnering prominent female dancers, like Somogyi in "Piano Pieces." Just needs some time to develop.

4) Stephen Hanna- I always like to place him in the Jason Fowler-like group. Fairly tall, can handle partnering tall females like Maria K., and has a nice look to him on-stage. He's fairly young and will need some time (although I don't think as much as the aforementioned) to develop and become worthy of the soloist ranking.

5) Amar Ramasar- not much to say here except that he is a nice talent with sound technique, but needs to put in some more time in the corps. He reminds me a little of Jock Soto.

6) Craig Hall- same as with Ramasar... nice technique, nice to look at on-stage. Looks great when partnered with Alexandra Ansanelli (like in Polyphonia and Reliquary).

So there is my humble opinion. Hope to hear some others and comments on mine! Perhaps we could do the same with female dancers after this thread topic has been exhausted! ;)

Thanks for the follow-up, Leigh. I second BW in looking forward to seeing them during the winter season. Perhaps I can catch a glimpse of them when I travel to Saratoga next month.

Also, it will be wonderful to see another Angle performing with the company.

Does anyone know if any company contracts were given to SAB students following the workshop (whether it is NYCB or otherwise)?

Yesterday, a UPS man dropped a package off at the office where I work. He noticed my NYCB calendar hanging in my cubicle and my desktop wallpaper (a picture of Alexandra Ansanelli in Coppelia). He commented on my liking ballet and said that his daughter was just given a contract to NYCB. He then said that his daughter is Olivia Goodrich, who danced Princess Florine in the Aurora's Wedding Section of Sleeping Beauty in the workshop. He was a very nice man & I said that he should congratulate his daughter!

Again, I know the message board is not for gossip or speculation, but I was wondering if any *official* releases were made as to who has been accepted into the company. I checked on the NYCB website under the dancers section, and no new additions are listed. However, I remember in the past, the website isn't always the quickest to be updated.

Bouder was out for quite some time. I'm not completely sure what kind of injury she had & don't want to speculate too much. There were also some posts by discussion leaders on the board that she was ill, in addition to her injury. Regardless, I am thrilled she is back. She just returned towards the beginning of the season, and I think she was out all of the winter season.

I was quite concerned for some time, as she seemed to disappear after the PBS telecast of Mecurial Manoeuvres in which she took a pretty good spill, landing pretty hard on the stage after an incredibly wonderful jete. I was afraid she had given up dancing! I do not think her injury was a result of this, however, as she continued on in the ballet after the fall and was amazing.

Yes, some did comment on her debut in Interplay and if she was rushing through the steps or not. I can understand for her to be a little hesitant after such a long time off the stage. She seems to be coming back into her own, though, and I am sure with each performance will become more confident.

As for McBrearty, you are right, I believe. She is certainly a senior corps member! It's interesting, though, because the company often features her in its workout videos, ad campaigns, and ads for dancewear (Danskin, I think). I really enjoy her dancing and she is so physically beautiful.

I too was at Saturday's matinee and was very pleased with the performance as a whole. I agree with Sneds in that Golbin's fall jarred the audience: I knew I didn't breathe for a few seconds afterwards! If I had been up on that stage after the several mishaps of the performance, I don't think I would have let my feet leave the floor! I suppose this is just a testament as to what professionals these dancers are.

I'm not a huge fan of Symphonic Dances, but I enjoyed watching Taylor and Marcovici. Very impressive how they managed to overcome the shoe/belt issue.

Again, Sonatas & Interludes isn't a favorite of mine, but I really enjoy Kowroski's dancing, so she made it for me. This season, she seems to have really taken a back seat to some other dancers. In the past, she has often seemed like the "it" girl, whereas now, she seems to be developing into the seasoned principle she is. I'm not saying that her technique has fallen at all, just that it appears some of the "Maria the Marvelous" (as Dance Magazine put it) has worn off: and this might be for the better. I'm not sure how I feel about her partnering with Jock Soto: I just couldn't get over the height difference when she was on pointe. She might even be as tall as he is when standing flat-footed.

Ansanelli was incredibly lush in Carousel. I too like the slight alterations made to the ballet. However, although Woetzel was quite good in the role, I think I prefer Millepied. There just seems to be so much energy and chemistry between Ansanelli and Millepied.

Ringer was beautiful in Brahms, and I love it when she and Fayette are paired together. Such a lovely couple they are. She really seems to be in her prime.

Looking forward to this coming weekend: Edge in Steadfast will be interesting to see, and I can't wait for Stafford in Glass Pieces.

Is it just me, or does it seem as though NYCB has considerably slowed-down their "rate," so to speak, of making promotions? I remember seasons where 4, 5, or more dancers were promoted. Often times, later in the year more promotions would be made, too. If I am correct, the last set of promotions before Ansanelli's (Rutherford, Millepied, Marcovici, Fayette) was last June, shortly after the Diamond Project 10th Anniversary appeared on PBS. That's almost an entire year that passed before they promoted a mere one dancer.

Do you think Martins is trying to accomplish something by doing this, or that it is just the way things "panned out?"

I personally don't feel this is the case because of a lack of talent in the company. I feel Janie Taylor is ripe for promotion to principle. In the corps, there's Ashley Bouder (I know she's been out for a while), Carla Korbes, Aesha Ash, Deanna McBrearty, and several others who are potentials.

I know the message board is strict in terms of rumor/speculation, and that is not the intent of my post. I just think it would be an interesting discussion topic.

Finally, although the wait was long and painful ;) , I congratulate Ansanelli on her promotion: she's a gorgeous dancer and it was well deserved.

Interesting... hasn't Bouder been "sick" since October? I hope it's nothing serious. I certainly miss her presence on stage.

I haven't yet read the article, but you mentioned that James Fayette was another who wasn't portrayed in an especially positive light. I wonder what is wife, Jenifer Ringer, thinks? Fayette doesn't strike me as the type of guy who would make inappropriate comments. Also, last year, Pointe Magazine did an article on Miranda Weese and her routine in the company. In it, she states that she dates Henry Seth. I wonder what she thought when reading his comment on pinching "titties," etc?

Although I don't particularly enjoy the choreography of Reliquary, or even the entire concept of it, I must say that the dancing/dancers certainly made the performance watchable. I just adore Alexandra Ansanelli. To me, at least, she is such a beautiful presence on stage- such a lovely sight. She was secure in the jerky, uncomfortable choreography, and I think she makes an interesting pair with Craig Hall. I was quite interested in seeing both Ansanelli and Janie Taylor on stage at the same time. In some ways the two are quite similar: ferocity and abandon juxtaposed with a glittering stage presence. However, they also have quite a few differences in their dancing. When the two were sharing the stage, I must say that I found myself watching Ansanelli more than Taylor. But still, they were both wonderful in this not-so-wonderful ballet. Dana Hanson, Deanna McBrearty, and Eva Natanya were quite good in the demi-soloist roles, although they had some timing issues (perhaps conductor Andrea Quinn is again the culprit). Their male counterparts: Jason Fowler (some of the best technique in the corps), Stephen Hanna, and Jonathan Stafford were equally as good. Teresa Reichlen was lovely in the corps.

Yvonne Borree- so many of us are so hard on her (myself included- last week's Valse-Fantaisie). I do empathize with her & almost feel sorry for her. When I was a competitive ballet dancer, I always had terrible cases of stagefright/nerves, etc. It's so obvious that Borree tries sooo hard in her performances & she does have talent. In Steadfast Tin Soldier, I enjoyed watching her. This is undoubtedly one of her best roles. She looked as cute as a button in her pink tutu and her curly up-do was quite fitting. Yes, there were a few times when she fell off of balance and it was visible she was shaking, but all in all, I felt she turned in an admirable performance. She certainly has the paperdoll image and mannerisms down to a science. During the signature moves where the Doll blows kisses to the Soldier, I could actually hear her kissing to Tom Gold from my seat in the orchestra level. It was touching. I just have to think, what if she sees this website, as well as others that criticize her dancing. It certainly cannot help her in gaining more confidence on stage. Tom Gold was wonderful as the Soldier. Beautiful double tours. He and Borree really captured the magic between the two characters. From now on, I am going to try and understand Borree's vantage point when she's dancing. I'm starting to like her more.

Eight More replaced Sinfonia due to illness/injury, and I must say I was glad to see the former as opposed to the latter. In response to others' comments on Daniel Ulbricht's "pushing" his bravura too much- I respectfully disagree. All of the dancers, Hendrickson, Carmena, and Ulbricht were obviously throwing everything they had into this performance. When they would turn, I could see the sweat beads flying off of them. It was exhiliarating. Ulbricht is built like a tank- and much has been made of his height (or lack thereof) and concerns with partnering. However, he is of comparable height to several men in the company. I would enjoy seeing him in a more danseur noble piece partnering a lovely Megan Fairchild, Ashley Bouder, or other smaller female dancer. Maria Kowroski is certainly not an option ;) . I just don't want him getting stuck in these character roles. Regardless of all of this, his technique and ability are astonishing, with a light, airy stage presence to boot. He was giving so much to his performance. Antonio Carmena is a lavishly classical dancer and a nice contrast to Ulbricht. His lengthiness and elegance make me think of one Angel Corrella. He also has the speed to match him. Again, it was obvious he was throwing everything he had into his performance. Adam Hendrickson did have some noticeable mistakes and was the least secure of the three (but he's in some really good company here). However, again, he was really putting a lot into the performance. His bobbles were a result of this effort rather than mere technical deficiencies. Wonderful performance put in. My companion watching the ballet with me commented, "After that, I'd just want to collapse and take a nap."

Vienna Waltzes was really showing the company at its best yesterday. As with Yvonne Borree, so many of us seem hyper-critical of NYCB in general these days (again, I know I am guilty of this myself). I realize that criticism is needed for improvement and not everyone is going to agree, but we all seem bent on dismantling Peter Martins' capabilities as both a director and choreographer, criticizing the dancers, lamenting on the downfall and imminent doom of the company, etc. NYCB is by no means ready to crumple. Bar none, its dancers are the best in the world from a collective approach: no one else dances as much as these dancers do, or dance such a wide variety of ballet. I guess this is just my little cheer section for the positives of NYCB at present. Maybe I'm just in an overly optimistic mood recently, but I think NYCB deserves a lot more credit than its "fans" have been giving it.

Anyway, Rachel Rutherford and James Fayette were divine in the opening section of Vienna Waltzes. Rutherford just glistened and I could not help but think of her eery resemblance to Tanaquil LeClerq. Haunting. Rutherford epitomized class on stage. Fayette was dashing and attentive. The corps seemed well rehearsed and looked wonderful in their pink gowns.

It was wonderful seeing Miranda Weese in the Spring section of Waltzes. I know some comments have been made concerning her weight gain from her extended injury, but she looked divine. Wonderful chainees, wonderful speed, airiness, and assertiveness. I love the look of her feet in pointe shoes. Peter Boal was incredible as her partner. They work very well together. LOVED seeing her, simple as that. In this section, Martine Ciccone stood out from the corps. Although she isn't often cited as being an up-and-comer or someone to watch, in all of the ballets I've seen her perform in, I always notice her first. Reason: her wonderful smile. The girl never stops. She's always beaming. This is nice... she looks like she could die a happy girl when onstage.

For Explosions-Polka, Amanda Edge was again quite lovely. She fit the bill in terms of characterization of the role. Arch Higgins was also terrific. Megan Fairchild (big surprise) and Lindy Mandradjieff (again, not a surprise) were great in the corps during this section.

Jenifer Ringer and Charles Askegard were stunning in the Merry Widow section. Wonderful chemistry. Askegard was regal and handsome. Jenifer Ringer=GORGEOUS. Divine in the black dress. I agree that the final pose as the lighting silhouettes them was boiling with heat and intimacy.

Darci Kistler was elegant in Der Rosenkavalier, as was Philip Neal. This role is perfect for Kistler given her present talents. She was the personification of mature assurance and purity. The culmination of all dancers was great. Ask la Cour (wonderfully tall) was a stand-out in this section.

NYCB was certainly at its best yesterday afternoon. It was a performance that refreshed me and renewed my love for the company and its dancers. A great day for the ballet. This is the final time I could make it to a performance before the winter season comes to a close, and I'm glad I go on my break from the ballet leaving with such a wonderful performance. I cannot wait until the spring season. Hurrah NYCB-- you're still #1 in my book.

Oh my goodness... that is incredibly offensive. I cannot believe, as you previously said, that NYCB would allow this or see it as "positive press." What a poor reflection of the dancers. It's really ashame- I thoroughly enjoy Orza's dancing, however, when I watch him perform now, I think that the inappropriate comment will to come back to mind and overshadow his technique.

Just curious... what does the Details article discuss (I do not subscribe)? You mention about the sexual orientation of company men: does the article actually say "These are the heterosexual men of New York City Ballet?" That would seem rather odd in an article and inappropriately blunt. I searched for the magazine on the web, however, they do not offer any specifics unless you are a subscriber.

I'm curious to see the "details" of the Details piece...

I just returned from NYCB's matinee (Feb. 15), and I must say I have rather mixed feelings. Things started off well enough, with Soiree showing off the lovely talent of Carla Korbes. I felt that Soiree, while containing a lot of "fluff" was still enjoyable. Janie Taylor exhibited her marvelous jumping capabilities. Amanda Edge replaced an ill Lindy Mandradjieff... she did satisfactorily. However, Miss Korbes with her attentive partner, Seth Orza, gave me goose-bumps during their pas de deux. In terms of the Corps performance, things went relatively smoothly despite some timing problems.

I was particularly looking forward to Valse-Fantaisie and getting to watch Robert Tewsley live for the first time. I didn't get much fulfillment, as Tewsley hobbled off-stage after about 3 minutes of dancing. Interestingly, Ben Millepied, still dressed in costume from Soiree, appeared to finish the piece. I must applaud him for his ballet-saving action. Yvonne Borree was uncomfortable and I much rather would have seen Alexandra Ansanelli in the role. Faye Arthurs out-shone her from the "mini-corps." Aesha Ash really stood out in the small group of female dancers as well- what speed she has in her turns! In sum, the occurrences were just odd and the curtain closed with me still thinking, "What just happened here?"

Opus 19-The Dreamer was certainly the high point of the bill & the company as a whole appeared their best and most prepared in this work. Wendy Whelan, as usual, was secure in technique and divine in her stage presence. Peter Boal was exceptional in the male lead... he and Whelan really make such a great pairing. The Corps in general seemed to have it together.

Chaconne, the last ballet of the matinee, was a close second to Valse-Fantaisie in terms of the oddness factor. Darci Kistler, despite decline in technique, is still such a lovely presence on stage (but she should cut that hair!). Her feet are just so exquisite. However, her presentation was very watered-down. Despite the modifications, Kistler still seemed to struggle. At the end of the first section, she stumbled when hitting her final pose, she fell out of turns, etc. I was nervous watching her for fear that she would have a really "noticeable" boo-boo. During the final "chaconne" section of the ballet, there appeared to be a traffic accident on-stage with Kistler seemingly ducking to miss being knocked flat by a corps member. In contrast to Kistler was the dashing, young Megan Fairchild. What pirouettes! They were so incredibly solid! Carrie Lee Riggins, Dena Abergel, and Saskia Beskow did well in their respective featured roles. Philip Neal was lovely as the male lead.

Despite the mixed performance today, I look forward to seeing Vienna Waltzes and Steadfast next week.