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Anna NYC

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About Anna NYC

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    professional
  • City**
    new york
  1. First time I saw Jerome Robbins’ New York Export Jazz with it's current casting, I walked away thinking this is, at best, out takes from Interplay (debut'd 1952). After reading Michael's review above, perhaps I'll give it a second try... if only to see Gina Pazcoguin in it again. She gives this work life! >In “Jazz,” it was a time when the remnants of the jitterbug and the big band era >met Tito Puente and Miles Davis. Promised a “Consumer Paradise,” models of >Nike Missiles came in the boxes of Cheerios my family ate. Bravo! What a sentence!! And what a fine review!!! Thank
  2. Charming article. Remember Allegra Kent in 2nd Mvt? Or Mimi Paul? Or Gelsey Kirkland? Didn't miss the head to their knee one bit then... But now? It's become part of the choreography. I think Sylve will one day lower her head all the way, and it will be breathtaking because of everything she is and does with 2nd Mvt. This famous penchee for Sylve has already been progressing towards that direction - the second performance, last Saturday's, was far more extreme than her first this season.
  3. Sylve was gorgeous with huge, full lines, womanly, regal, etc., but clearly under rehearsed for this part. Nobody here noticed that 1/3 of the 3rd movement was cut for Bouder replacing Fairchild... The repeat in the music was cut so there was only one entrance (instead of the usual two) when both leads are circling the stage in huge leaps. I was disappointed only not to see Bouder's explosive, brilliant jumps a bit longer... I think she'll be a fantastic Black Swan! Overall, I thought this was the best Sym in C I've seen in a long time. The male leads are lacking, but the females dance
  4. Tis the season for dancers to make extra money giging!!! Every really good dancer takes advantage of guesting opportunities... Getting out of the very critical NYC audience/critics eyes... Visiting with family, friends... Trying out some new technical tricks... Confidence building... etc., etc. Sylve will probably return to NYCB, after her quick gig, better than ever!!!
  5. I was there too. Chris Wheeldon has no competition! The best I can say about 'Kaleidoscope' is that the lighting was well done. Reminded me of some lighting in Wheeldon's ballets. And if you know Balanchine's ballets you will be somewhat entertained in naming all the Balanchine choreography, concepts and ideas literally stolen by Quanz. Allegro Brilliante, bits of Ballo, Ballet Imperial, lots of Swan Lake, Symphony in C.... tisk, tisk. 'Kaleidoscope' starts off well enough -- it's ballet, it's tutus and tiara-like headpieces for the women (Allegro Brilliante type tunics/tights for the m
  6. Exactly. And, yes, there will always be very special talents, Boal, Whelan, Ansanelli, who excel and stand out under any circumstances, anywhere. They were beyond lucky to dance so many Balanchine ballets -- ballets that showed their talents to the best. Many others, especially NYCB female corps, soloists, principals, could greatly benefit from inspiration and coaching from dancers who adored Balanchine's ballets, as well as performed in them under Balanchine's coaching. Peter Martins only knows his ballets and the parts he performed. A very bad sign indeed.... as this post original
  7. >PNB tapes every single performance, and I assume most other large >companies do, too. The dancers can watch them (and regularly do watch >them) in our production office. Ditto NYCB. Every performance is filmed, and dancers of the company have special permission to view the footage both at company rehearsals and (privately) at the Dance Collection of the Lincoln Center Public Library. Most often these daily films are not available to the general public, but there are plenty of other films definitely worth seeing at that library. They have a tremendous collection. Many, many
  8. It's sad... but it's also a time to remember that this brilliantly talented man created so much great music, many fine performances, for Balanchine and the company. I knew Gordon while I was at NYCB. He was a good friend to many of us there. He was the pianist you wanted for your rehearsals and classes, as Gordon often worked as hard and with as much joy as we did - knowing this was a very special world, Balanchine's world, with the best talents of our time. He was as dedicated to us as he was devoted to his own pianist or conducting work/preparation and performances. Not only sharp and s
  9. Anyone going to see ABT in Kansas City on April 16th?! The lovely and very talented Sarah Lane will be debuting with Herman Cornejo in Balanchine's 'Theme and Variations.'
  10. Boal was trained at SAB from child to adulthood. He further grew as a dancer through the ranks of corps to principal dancer at NYCB. Boal has the reputation of being one of the very finest, most elegant, poetic of male dancers here in NYC and in the world. Boal is also well known for being one of the most gentle yet passionately gifted teachers / mentors at SAB. I can't help wonder why Peter Martins wouldn't do everything in his power to keep such a great talent/person from leaving. Perhaps Martins did. But just like Helgi's influence on SFB, I have no doubt that Boal's contribution t
  11. Anyone have comments on Santhe Tsetsilas' dancing at NYCB?
  12. Elise Ingals, a friend, is married, living in Connecticut and very much into golf!
  13. Ask dancers who worked for Mr. B, at NYCB at length, and they will all tell you that Mr. B frequently said "ballet is woman."
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