drb

It is difficult to imagine dance being as great a theater art in America sans the greatest male and female dancers ever.

Seems to me the superlative pronouncement is what Lobenthal is trying to warn against. Both Croce and Acocella are great writers who adopt Olympian tones that are intelligent, seductive and tend to dismiss all disagreement even when disagreement would be possible. It's good that someone is mentioning that on the record.

I agree, as you illustrate so effectively. But when seen in full and in context, I really think this Croce quote was not an example of it. Perhaps it hinges on how one interprets Croce's use of the word largely. During their reigns, the two dancers in question probably inspired half or more of my ballet ticket purchases; so, for me, kinda big.

I completly agree with Arlene Croce's quote, but certainly not with Mr. Lobenthal's problematic historical simplyfication of it:

... become problematic when the authors use them to simplify the historical record. Writing about Ms. Farrell and Mr. Baryshnikov in 1986, Ms. Croce went so far as to state that "Dancing .. .. is the great theatre art we in America know today largely because of their contributions to it."

From Ms. Croce's Sightlines [italics mine]:

Farrell and Baryshnikov are national treasures; dancing--to distinguish it for a moment from choreography--is the great theatre art we in America know today largely because of their contributions to it.

There is context. According to Ms. Croce: Baryshnikov had not performed in ABT's Fall 1985 season and was facing a barrage of unfair press coverage, her point being that insufficient consideration was being given to the unpredictable effects of his knee surgery. NYCB was being silent regarding Farrell's injury to her right hip joint, which naturally had an effect on her performing and had lead to relinquishing some roles.

It is difficult to imagine dance being as great a theater art in America sans the greatest male and female dancers ever.

From her website, written while in hospital on January 8:

I have lived so long that once or twice I have been blessed to know what it might mean to actually touch the sky. To come that close to holding something perfect in your heart. To finally learn what only matters in the end is simplicity. Kindness. True friendship. Love. This amazing adventure. This beautiful rose. This smiling child. These precious notes. These hands ready to hold mine as I reach out, reach up for the sky.

All my dear friends, "toco el cielo". See you soon.

Joelyn

http://www.joelyn.com

... I'd appreciate some recommendations on which roles show each ballerina at her best.

Vishneva is dancing: Bayadere, Sleeping Beauty, R&J, Swan Lake, The Dream, Manon

Dvorovenko is dancing: Bayadere, Sleeping Beauty, R&J, Swan Lake

Thank you!

Vishneva's stated preferences are for Manon and R&J, dramatic roles. These (and her Giselle) have been my favorites for her too. With this in mind I'm also looking forward to her Bayadere. If there's only to be one, it would be Manon because her greatest partner Malakhov dances with her in that. Each time they perform this they change the story to make it new.

Dvorovenko's specialty has always been Swan Lake, if you are willing to spend money on the McKenzie revision. Otherwise, Bayadere. For years she was second banana (Gamzatti) in this ballet, usually opposite a weaker Nikaya. This season she leads as Nikaya opposite the spectacular Gillian Murphy as Gamzatti.

Plenty of tickets are still available for his February 23 NYCB performance, which will include Firebird. One wonders for how long, given the London reviews for his conducting of that score as reported in today's Links:

The Independent:

... But no sooner had Gergiev prepared the way for our first steps into the enchanted garden of the ogre Kashchei at the start of Stravinsky’s The Firebird than the magic descended. His voluptuous reading of the complete ballet excited every fluttering nuance of this quixotic and beautiful score. Its folkloric earthiness was uncommonly vivid, with sensational work from the LSO wind choir and a depth of string tone that opened up at least one unimaginable soundscape in the “total eclipse” of the final scene...

The Guardian:

... Gergiev never lost sight of the score’s epoch-making radicalism, ushering us into a soundscape in which beauty and savagery were frighteningly entwined. The playing was spine-tingling, and the orchestral colours whirred and fused with kaleidoscopic brilliance. A great performance: “magic” is, for once, an entirely appropriate word with which to describe it.

The Times:

... the crowd were on their feet and the orchestra sounded like world-beaters. And even this sceptical serf was cowed into submission…

Alicia J. Graf went back to her ballet school in Baltimore recently to teach a class.

The Baltimore Sun article below gives some background on the 27-year old ballerina turned Ailey dancer. After serious injuries earlier in her career, she spent three years earning her BA at Columbia, but eschewed Wall Street opportunities to return to dance. There is also an interview with her teacher.

Graf, 27, is the most famous dancer to emerge from Ballet Royale. The former Centennial High student is a principal dancer with the famed Alvin Ailey American Dance Theater, which tours the world and is based in New York City.

"Of all the students I've had, this one was given, I believe, a gift from God," said Donna Pidel, who founded Ballet Royale in 1994 and was Graf's dance instructor. "She's definitely the most gifted student I have had."

http://www.baltimoresun.com/entertainment/...rtslife-theater

January 23

The Power of Maria Kowroski

Mario Bigonzetti's masterwork, In Vento, dominated tonight's program, in terms of the audience's response and mine. Benjamin Millepied danced the lead, while Maria Kowroski's partner was Edwaard Liang, who frequently danced the lead last season (her partner then was Jason Fowler). This ballet was much discussed on BT during the Diamond Project. Unlike Slice, which seemed to tire (the dancers, I assume) in repeat performances, the Bigonzetti/Moretti work is holding up admirably.

Thanks, Michael, for your tip re Tiler Peck. She is indeed not locked into her usual smile, but is beginning to show some stage persona, and related well to Ben in their PdD.

Not long after this, Ben and his 10 friends form a line across the stage as a delicate throb, hinting at Sacre, enters the music. He pulls the line off, stage right, but The Chosen One remains alone: Maria Kowroski begins her erotic dance of attraction. Tremendous control for steps and movement of such amplitude. Finally, her back to the audience, she folds her arms across her torso, hands and wrists extending to be visible to the audience. She seems to be saying to the darkness she's facing: come on out boy, if you dare, and know what you are facing. Courageous Edwaard dares, and the extraordinary pas begins. Both of the key male roles in this ballet look as if they were meant to be for Mr. Liang. He holds his own against, or with, Maria. Since returning from her illness last season, Ms. Kowroski seems stronger and more emotionally charged than before. She inhabits this role like it was life itself.

As the pas ends and the music prepares for its Bruckner-like adagio finale, the couple forms an arch through which Ben enters from the darkness. They part, and he dances a solo, but not of dispair: He moves toward stage left, and leads his 10 friends back. In the middle of the line is Maria. She is still in the throws of her encounter. Fully still there. She is now one of the wonders of our city's ballet universe.

During the early bows, as Ben steps back into the line he stumbles (just a little) and Maria laughs and is freed from the spell. After the curtain closes, dancers are called out four times.

Tschaikovsky Piano Concerto No. 2 closed the program, with Wendy Whelan, obviously on her leg, dancing with ease and freedom, partnered by Charles Askegard, who gave his all. Seconda donna was again Tess Reichlen, sparkling as she awaits her turn at Prima.

The evening began with Mozartiana danced by Kyra Nichols, Philip Neal, and Tom Gold. Kyra's Pregheira, very clean and simple, passed the goose-bumps test. Soon there will be no-one who actually knew Mr. B. to act as his intercessor in this prayer. Of course Sainte Suzanne will never be duplicated. But the company is not taking care of this ballet. Why has Maria had this, and so many other Farrell roles, taken from her, especially as her interpretive powers magnify? And who will be the future ballerinas, and where will they find a male as fast and elegant as Ib Andersen?

At least try.

Has someone an idea about In The Upper Room and Drink to Me... casting ? Thanks

For In the Upper Room, Irina Dvorovenko's site gives only the Sunday, Feb 11 date. IMO this is one of her greatest roles.

... You know, those false eyelashes weigh a lot -- which means their eyelide muscles are just as stron as their other muscles!

Ahhh! So that's how Ashley got that impish look yesterday. It was in the eyes. Strong eyelids: it's very Bouder to use and give everything she's got, so now I understand why I've found her to be an eye dancer. Maria Kowroski is an eye dancer too. When they dance I really make use of my binoculars, no matter where I'm sitting.

Thanks for the info that Jennie also danced with Jared Friday.

Regarding our new Music Director in Chief. Maybe that January 6 Times article that made him out to be a sex symbol is back-firing. I wonder how much of the "groupie" response reported earlier in this thread was motivated by that article. Strange too that on Friday the orchestra was not playing well for him, given his stated excitement about conducting this program. While I guess there weren't so many playing glitches Saturday, the music wasn't as dynamically varied as when conducted by the prior Director. Still, he delivered so many terrific performances last year, things are bound to get better....

Rebecca Krohn will have danced 13 principal or soloist roles this week if indeed she performs the two scheduled in last night's and again today's Robbins programs. Is this some kind of record, at least recently? (Shades of Kyra's mid-'80s workloads.)

Thank goodness that block(head) programming was partly justified as avoiding such taxing situations. Of course we know this fine young soloist is being fast-tracked, but hopefully not train-wrecked.

Anyone see the Robbins show?

Saturday matinee, January 20

The Stravinsky Marathon

We seemed to be locked into Tschaikovsky at BT, perhaps the afterglow of Nutcrackers and Beauties, while the company has quietly been making friends again with Stravinsky.

In the Program Notes Wendy Whelan recalls

And then there's Agon, with its odd and lovely PdD. I was 14 years old when I first saw Agon, and that's when I knew that I wanted to be in New York City Ballet.

She and Albert Evans nailed the PdD this afternoon, one long seemless weaving of pretzels in hyperspace, and even the partnering during his famous fall maintained the perfection of continuity. Truly an other-worldly presentation.

But the rest of Agon was alive as well. In the first PdT, Sean Suozzi's strong portrayal also featured Ellen Bar and Rebecca Krohn capturing the humor of this section. Tess Reichlen was at her full-amplitude best in the second PdT, full of grace and grandeur, speed and light, and partners Adrian Danchig-Waring and Tyler Angle completed their pass of her with aplomb.

Sorry, but last year I seemed to see M&M too much, an OD. Rebecca Krohn and Charles Askegard appeared fine, and the corps was quite polished. But the highlight of the middle section was a smoldering Duo Concertant with Yvonne Borree and Nikolaj Hubbe. I was really not looking forward to this work, and the same old casting. Well, after the point where she changes No to OK they turned on the erotic heat, eliciting a bigger audience response than that earned by Agon!

Jennie Somogyi subbed for Miranda Weese in Symphony in Three Movements. When the curtain goes up the ballerina diagonal is always a thrill, especially with Kaitlyn Gilliland as leader of the pack! Ashley Bouder was the first soloist, the impish girl-next-door spinning-kicking-jumping for joy. Finally getting her neo-classical fix after two months of Tschaikovsky, and giving us ours as well. This was IT. Tom Gold was her partner, and credit to him, or anyone else, who could find such a speeding bullet. Ellen Bar and Adrian Danchig-Waring (subbing for Arch Higgins) were the glamorous second soloist pair.

The central PdD was danced by virtuosa Jennie Somogyi and long-missed partner Jared Angle. The partnering went very well, not something trivial for this masterpiece, especially considering the casting change. In fact the technical side of things was realised with enough ease so that they could also breath some of the mystery of this iconic choreography, to music originally composed to represent the apparition-of-the-Virgin. To see both this and the Agon PdD on the same program is to be reminded that Mr. B. wasn't just a great choreographer, he was 10 (well, more) of them. The final tableau gave a sense of completion to an afternoon with Mr. B's City Ballet.

...

Did you see Paloma Herrera when she first appeared in Romeo and Juliet.. I think she was like 18 at the time??? Apparently she made quite the impression with her first time on the met stage as a principal. Have you seen her do the role recently? I believe we saw her do it last season and I thought she played (acted/danced) the young Juliet in the first act very compellingly for someone is probably 2x the age of what that character is supposed to be.

Paloma has been part of a noble tradition in which a mature master of a principal role carries thru a young rookie in her/his debut. ABT ended one season with a Don Q in which Julio Bocca initiated the Kitri of Herrera. From the same city as she, he was very playful, challenging and urging her on and of course inspiring daring and confidence as only he could. They were playing. She was fabulous. It was a romp as art, a truly great performance of the ballet. The rookie went right to the top. Considered so remarkable, that performance was used by the Times as the following season's prewrite in the Sunday Times. The very next season Paloma initiated the youngster Angel Corella to DQ. Later, Paloma also was a young Juliet but not quite given the best of preparation, at least by the costume department. Even so she was winning, and in later life we have found her doing a fine job introducing new Romeos. Corresponding development by master of beginner is virtually gone now. I like your math model: one is of age x, the other is of age 2x. which sex is which doesn't matter: 2x makes x calm, has an ease in making artistic decisions along the way that can be trusted by x. Herrera with Hallberg. Now it could be Carreno with Fang, Cornejo with Lane. A company would grow that way, and have a real identity.

Instead, both leads now are always principals (you might say Part is the exception, but art-wise she really is a principal too). Nobody is building the future. Lots of beauty to see. The same beauty. But beauty is a living thing and same dies.

How do you get row A in the Dress Circle?... I find that I MUST use binocs up there... but the overview is wonderful.

...Do you use binocs?

Even if I were in Orch Row A, I'd probably bring binocs! I generally know the exchanges from subscriptions that I want, so go as soon as allowed (well, give a day or two to let others trade in what I wish to exchange for) and in most cases get DC A if requested (don't mind off center, as the unobstructed view is the big deal for me).

For those who are out of the city, here's something I should probably keep secret for myself, especially useful if you are not exchanging and have to therefore wait an extra week. The Met's ticket site is a disaster for buying top price orchestra: they think you want to be really close, below pointe level. But when you check the second price level you will likely find they offer row Z or AA dead center. You get a much better view at the price of slightly attenuated sound, a few rows are still farther back. A luxury, but worth it for a really special program (for ABT, read "cast").

For sound, Balcony is really good.

Row O center (3 digits) are the best in the Orchestra, b/c they are a bit more raised above the row in front than are seats in any other row.

As for center Parterre, you'd want to sit in the front seats of the individual box if you don't like craning. Sat there once in my life, the Makarova/Baryshnikov Giselle that was telecast. Unfortunately, his worst ever during the Makarova, Kirkland years. Overdanced "because the tv screen is small."

Grand Tier 3-digit A or C (beware of Row A leaners if you are in B).

But these are all pretty impossible to get. The "secret" is Row A Dress Circle, one up from Grand Tier, beautiful angle. And if you go to the box office when tickets go on sale, more often than not still some available. And for a lot less $.

I rather liked the reference to Lady Day, since Farrell was the most profoundly emotional dancer I have ever seen. Of course the revival of the Billie Holiday ballet at Ailey is still fresh in my mind, and on that program it was directly followed by a ballet starring Alicia J. Graf, who sparks my memories of Suzanne more than any other current dancer.

Regarding the Martins slip, if he missed the ballet's debut Lobenthal may have first seen it with Martins . There was, I think, only one performance that first season, as Suzanne injured her ankle (foot?) during the PdD with Ib and further performances were, I believe, canceled.

If subscribers have unlimited exchange privileges, is there really any point in a "Make Your Own" series?

One of the Tuesday subs has Vishneva on 3 of the 4 dates. Not too hard for me to select this one. Also, subscribers get to exchange one week before civilians can buy individual performances. Not hard to guess that the non-Vishneva will become a Nina or a Part...

You're right! The ONLY debut in the leading role by a non-principal this Spring is on the first Wednesday Matinee: Veronika Part in Bayadere. Of course there are the five uncasted Beauties.

You will also find Nina's company called Georgia State Ballet and Tblisi Opera Ballet on BT. Putting these links together, you will find it is a substantial company. There is a more folk-oriented company in Georgia with a name that translates as the first two names, which may be why some Georgia media try to make a distinction by identifying Nina's company in terms of its theater. The real name will be whichever one they use for the tour, of course.

Wasn't Ib Andersen's role frequently performed by Peter Martins that first summer when Ib was ill? I seem to remember Peter's discomfort with the speed required by the part.

... but I don't remember that Balanchine conceived the role for Martins. ...

Even if Martins had been in Balanchine's mind when he conceived the ballet, it's hard to me imagine that the finished product wasn't built for Andersen's agility, proportions, and musicality.

...consider the Farrell/Andersen/Castelli performance of Mozartiana that I was privileged to see among the greatest live performances of any kind in my memory.

Sorry, I didn't mean at all to suggest that the role was made for Martins, rather that I seem to remember that he had to sub for Andersen in some of the early performances. I absolutely endorse your evaluation of the F/A/C performances. I believe Suzanne, in commenting on how difficult her part was, explained that in all her other roles she played herself, but in this one she had to be Mr. B.

...and cannot wait to once again see Nina A. in Sleeping Beauty.

According to her site, it looks like you'll have (y)our wish!

http://www.ananiashvili.com/georgia/nina/N...39;sReturn.html

Nice photo of her with baby ballerina Helene, too!

It is remarkable that she'll return to three such taxing roles at age 44, and after well over two years of not dancing (before the public). Still I'd really rather watch Lane (five years after medalling at Jackson) and Fang (seven years after winning the Prix Lausanne) have chances at the big roles than see any of the Company's regular Principals (Super Guests Annaniashvili, Ferri, Vishneva excepted). How much more experience do they need before retiring or escaping?

... I believe Castelli dances on the televised performance though, no?

Yes, the telecast starred Farrell/Andersen/Castelli. I wonder if it could ever be released on dvd... Not only was Suzanne profound, but I do not believe anyone has come close to Ib either.

Wasn't Ib Andersen's role frequently performed by Peter Martins that first summer when Ib was ill? I seem to remember Peter's discomfort with the speed required by the part.

The site gives end times for each program, from which it seems Romeo and Juliet will be over in 2 hours 15 minutes. Take that, old-fashioned episodic clunkers!

Wow! Back to real rep programs. Much more temptation to buy tickets beyond subscriptions.

I'm very happy Mr. Ratmansky has given the company Middle Duet for regular rep and not just for last season's Gala.

Also Schumann, one of my Top 10. Had to avoid it its last season as Mr. Martins took it away from Maria Kowroski, who had previously performed Suzanne's role as well as The Greatest of All Time had.

Newbies will also get to see why Robbins is a Great too.

Lest we forget Mr. B.'s Coppelia, Midsummer and especially Jewels.

Especially Jewels, since Ms. Morgan will almost surely still be an apprentice in the Spring and could be appropriate for all three gems, Emeralds and Diamonds for sure. That could make an interesting contract issue: Would dancing in both count as two ballets or one? After all, some people would consider these as separates (although it is Rubies that generally gets the solo treatment).

... The AGMA is the party to the agreement that would be protective of the apprentice and would want to limit her[him] number of appearances before promoting her[him] to corps. As AGMA has had a lengthy relationship with NYCB, AGMA probably realized that limiting the number of roles in The Nutcracker wouldn't be a doable scenario for NYCB - but on the other hand its representatives probably didn't know quite how many full-length ballets Peter Martins was planning.

Actally the other full-length, long-run ballets were already on the books at the time of the contract. But of course not Romeo and Juliet. Ms. Morgan danced in all the performances I saw of Sleeping Beauty: Garland Dance and Vision Scene. Now if that were true for most of the rest of the 13 performances, section (e) below would protect her.

The contract is protective of the apprentice but also of the Corps, so that apprentices can not make more than a controlled dent into jobs the Corps might usually have.

Here is a summary of the rest of the apprentice section of the contract:

© covers rehearsal compensation.

(d) protects Corps by assuring appearance of apprentices will not deminish the strength of the Corps and that Corps members must be available as stand-bys for apprentices.

(e) protects salaries of apprentices so, for example, they will receive Corps level pay if they work for at least 5 performances per week.

(f) Restricts age to 16 - 22.

(g) "AGMA reserves the right to prohibit the use of Apprentices at any time that it has at its sole

discretion considered that there have been abuses of this provision."

(h) Permits remedies including extending length of apprenticeships for ill or injured dancers.

(i) Rules for apprentice appearances outside the City.

(j) "Apprentices will meet with members of the EMPLOYER’s artistic management staff at the

end of each season in order to receive an evaluation."

(k) Apprentice Housing: assures dormitory or other suitable housing, and offers loan help for those wishing to leave SAB or other provided housing to rent their own apartments.