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nysusan

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. NYCB posted some footage of Nadon's debut:
  2. Mira Nadon's Rubies debut was a smashing success. She is not the tallest tall girl, her 6 o'clock penchee doesn't really hit 6 o'clock, and her plie in 2nd isn't the juiciest around, but all of those elements were still good enough. So while there is room for improvement, everything else about her tall girl was great. Her musicality and phrasing, the way she articulated those angular body positions and the way she wielded those legs as weapons, mon Dieu! As for the rest - Bouder/Stanley were a HUGE improvement over Stafford/Ramasar in Emeralds and while LeCrone is not a great fit for the walking ballerina she wasn't bad. So all in all I liked last night's Emeralds much better than opening night. Mearns & Janzen were beautiful in Diamonds, though I thought I saw a couple of very uncharacteristic small stumbles from her in the coda. Nothing major and Janzen gave her all the support she needed to prevent any mishaps. Still, even while watching them I couldn't get the memory of the Kowroski/Angle opening night performance out of my mind, I longed for their elegance and slow unspooling of the pdd
  3. I'm so sorry, I was looking at the February DC Giselles. VERY glad to know that I was mistaken. Now here's to hoping that he gets the open DC slot!
  4. Oh no, I just looked at the calendar and Murphy's Albrecht is now TBA. Say it ain't so 😢😭
  5. I agree, I was very much looking forward to seeing Bouder & Huxley in Rubies. But I can't complain too much since we're getting to see Hyltin in the role again!
  6. I absolutely LOVED Hyltin In Rubies last night and I love her in many roles. But not Symphony in C. She hasn't been cast in the 2nd movement since she made her debut in it back in 2016. I was hoping that meant that management realized that she was totally miscast in it. I remember at the time that although she, of course, has no problem executing the steps she didn't convey the mystery, or spirituality or transcendence that the best interpreters bring to the role. Hyltin was just pretty, she didn't really project any inner life and for me that is a killer in this role. I have tickets for her performance so I can only hope Whelan is spending lots of time coaching her in this. Another 3rd week casting disappointment - it looks like Bouder is cast in Wrens. I saw her last time she did this and here is another example of a great dancer cast in a role she is totally unsuited for. She has none of the glamour or sly humor the role calls for. I think she'd be fierce in MacDonald of Sleat, but not Wrens. I also second cobweb's vote for Georgina Pazcoguin in MoS.
  7. Ashton Fan, thank you for your insights on Rojo's inability to dance Ashton idiomatically. Unfortunately the RB has been here so infrequently recently, and my long ago memories of the RB in the late 60's/early 70s are fuzzy enough that I doubt I could distinguish between idiomatic or unidiomatic Ashton. I considered Rojo to be a great dancer the few times I've seen her and so since I disliked her in the Brahms Waltzes, I assumed I wouldn't like anyone else in it either.
  8. Sandik, I will gladly make that trade! And, by the way, having thought about it a bit, I dont' think I've seen Lamb at all between the DC Beauties and these performances at the Joyce.
  9. I found Program A's collection of solos and duets to be somewhat of a mixed bag. First and foremost, all of the dancers were fabulous. Calvin Richardson & Joseph Sissens were new to me and I'd be happy to see much, much more of them. It was great to see Lauren Cuthbertson, Edward Watson and Marcelino Sambe again but my favorite of the night was Sarah Lamb. I first saw Lamb almost 15 years ago when the Royal brought their Sleeping Beauty to DC. She danced Florine at one performance and Aurora at another. To say that I saw a very different side of her in the Wheeldon and especially McGregor's Qualia pdd would be a huge understatement. She was fierce and thoroughly modern. The best I can describe her is as a combination of Ferri - like physique with Whelan - like sensibility and plastique. The inconsistency was in the choreography. I loved Dance of the Blessed Spirits, Concerto & Within the Golden Hour. I liked Qualia and found Obsidian Tear somewhat interesting. For me Asphodal Meadows was less interesting and I never need to see jojo or Five Brahms Waltzes in the Manor of Isadora again ( If Rojo couldn't make me like it when she did Waltzes her 10 or so years ago I doubt that I will ever like it).
  10. Last night Misty didn't even attempt the fouettes, she just did a menage. I found last night boring, boring, boring. David still has beautiful line and while he did impress in his second 3rd act solo, watching him through most of the ballet I thought he's really lost a step. And he no longer finishes his jumps in a clean, tight fifth. I saw nothing to recommend in Misty's Odette. Her arabesques were low and not held long, her back was inflexible. She barely used her arms, let alone her head & neck. And there was no chemistry between her & Hallberg. Except for the lack of fouettes, her black swan was better but still nothing to write home about. Gorak, Brandt & Trenary did the pdt again, and they were wonderful.
  11. What a ray of sunshine Aran Bell is! He was absolutely fabulous in every regard tonight. Beautiful line. High, fully stretched, beautiful jetes. Perfectly executed, precisely landed double tours. And what command of the stage - his Siegfried was a young, excitable prince, but every inch the prince. His acting was natural and very effective, he was completely engaged with everyone he interacted with on the stage. He had great chemistry with Teuscher, and that made a world of difference in her performance. I still had problems with some of her choices (or limitations) as Odette - the stiff back and torso and low, unstretched, barely held arabesques. But lots of her positions were lovely and she made great, expressive use of her head, neck and arms. It seemed that Bell brought her out of her shell, there was a palpable connection between them as opposed to the distant, bloodless performance she turned in with Stearns last season. Her Odile was great. In fact, the whole black swan pdd was great. Her fouettés were fast & crisp with the first half performed sur la place. She started traveling forward with the second half but forward only, not to the side. And in the pdd after the fouettés she held some practically Cynthia Gregory-like balances. Calvin Royal was Benno and did the pdt with Hamrick & S. Williams. K.Williams & Hurlin were the big swans - all did well. Jose Sebastian looked great as purple VR (unfortunately I was distracted right as he took the arabesque but I caught the end and it looked like he held it). All in all it was a very satisfying performance and even though I much preferred Shevchenko to Teuscher, I preferred the combination of Teuscher/Bell to Shevchenko/Whiteside. I still have issues with her plastique, but Teuscher & Bell made me believe.
  12. I just called and ordered a ticket for program C. When asked, they said rep & casting will be posted 7/1.
  13. Minority report here. Corsaire is far from my favorite Petipa, but I'd been anticipating it with such excitement it almost felt like I was waiting for ABT opening night - finally classical ballet! I have to say that (with a few exceptions) I found it to be rather dull, even the music lacked propulsion and I wondered if they'd revised the score. First the good - great, really. Simkin was just amazing last night. His pas de trois solo was jaw dropping and definitely the highlight of the evening. He was also one of the few dancers who really acted the part - he was Conrad's devoted slave from his first entrance to his last. I thought Brooklyn Mack was ok, good even - but not great. He was a swashbuckling Conrad, his acting was very dynamic but I was less impressed with his dancing. He had great elevation but his positions in the air weren't well articulated and overall he looked a bit sloppy to me. His partnering was solid, though and I'd certainly rather see him than Whiteside or Stearns so I wouldn't be upset if they signed him. I wouldn't avoid him like I do them, I just wouldn't go out of my way to see him. Lane was lovely, though the role is small. Brandt has beautiful arms, lovely line and is quite a turner, but to me she doesn't yet have the ability to command the stage. There are some dancers you just can't take your eyes off and I don't see that in her. Still, she is very talented and young, perhaps she will develop that quality. I found Hoven disappointing as Lankedem. His dancing was adequate, but no more that that. Anyone who saw Malakhov's Lankedem back in the day wouldn't even recognize the role. There was no bite - not in his characterization and not in his dancing. Sometimes it looked like he was just focused on getting through the steps. I'm going to see this again on Saturday with Simkin and Mack again, this time with Shevchenko and Trenary. Perhaps it will have settled in by then.
  14. Worst: Dorian (after the Picture of Dorian Gray). Even Gomes & Hallberg couldn't save it. I concur with most comments here re; Jane Eyre. I don't think it was the worst I've seen from ABT but it certainly wasn't good. I went to see Forster and I'm glad I did - he was wonderful. I found the first 30 minutes or so - the "Young Jane" part to be interminable. Once Boylston came on it improved, but not enough. She is a very intense and compelling actress and while the choreography was a whole lot of nothing, she held my interest. It improved even more when Forster came on. He was gorgeous and I thought they had great chemistry. I loved the pdd that ended the first act. Unfortunately, that was all I loved. I can't imagine what would make me go see this again unless this is the only leading role they ever give Forster, which would be tragic. I certainly hope ABT doesn't waste a whole week with this in future seasons.
  15. Last night's gala program had its highs and lows. I'd never seen any of Pam Tanowitz's work before and was very much looking forward to seeing her first work for NYCB. Five minutes in I was thinking "Well, I don't love this, but I don't hate it either". At about the 10 -15 minute mark I was solidly in the hate camp. I found her choreographic style inscrutable. Why were the dancers performing these ugly steps that were dull, repetitive and almost unmusical - though the music she chose was very difficult. This piece felt like it went on forever. The Peck was slight and brief, but enjoyable. I've seen sharper performances of Tchai Ste #3 but even with an occasionally out of sync corps, some flagging energy and less than ideal soloists it was the standout of the evening. I love Garcia, but he is not a virtuoso. Fairchild looks to be in great shape but she will never be my favorite in T&V. She has the speed, but her arabesque isn't very high and she doesn't stretch them out or hold them very long so the ppd was not as expansive as I like. Laracey, however was simply gorgeous with J. Angle in the waltz and Pereira and Ulbricht were great in the Scherzo. I was particularly surprised at how much I liked Pereira.
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