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Anna NYC

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Everything posted by Anna NYC

  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 you, indeed.
  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 danced so beautifully, and Tess as 1st movement demi stood out strikingly so from everyone. One day, I hope to see her in the lead of 2nd movement....
  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 men), but then it quickly slides downhill to the point where rolling of eyes becomes exhausting while mentally listing the Balanchine copy jobs. For the dirty old men in the audience, there will be plenty to watch underneath the female tutus. Too much color going on in the panty areas, and the tutus are so highly placed on the dancers that it's impossible not to watch the panties. Veronkia Part was luminous, sexy and lovely. She was giving it her best razzle-dazzle. There isn't much scenery left at City Center to chew on!!!! Still, I look foward to seeing Sarah Lane's debut in the Murphy role tonight. I'll give Quanz 'good taste' for casting them. What a turkey to sell though... The rest of the evening was under rehearsed or badly rehearsed with poor casting. Paquita looked under rehearsed. Paloma Herrera and Jose Manuel Carreno pulled out all the star tricks but there was a tenseness, instead of excitement, and a few minor partnerings that didn't quite work. On the whole, however, it was the best part of the evening. Both dancers were in fine form, and Acosta's inventive tricks remain as fondest memories with Carreno. 'Afternoon of a Faun' was flat. Ethan Stiefel and Julie Kent are just wrong together in this ballet. And Ms. Kent badly needs a little hair and makeup work, starting with some light pink blush. The makeup on both dancers was far too severely white with black holes for eyes. The set looked absolutely gorgeous however in its original home at City Center. The most disappointing part of the evening was Kirk Peterson's staging/coaching of 'Les Sylphides.' Are they kidding?!!!! Although Erica Cornejo has a breathtaking, light jump, I saw far too much of the choreography from the other female leads (Abrera and Riccetto) turned into approaches that resembled doll imitations of Coppelia. So wooden, so stiff. This 'Les Sylphides' was not otherworldy and softly feminine, with the exception of a few corps dancers. Why isn't ABT's ballet mistress, Irina Kolpakova, staging/coaching this ballet??!! David Hallberg was very handsome and often beautifully poetic.... with long lines. But that's about all I can rave about in last night's performance of 'Les Sylphides.' NYCB's School danced the ballet far better at their workshop performance a couple of years back.
  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 originally began.... that Peter doesn't consider Balanchine a necessary part of an opening night gala at Balanchine's NYCB. Michael's post earlier is a brilliantly written, an absolutely accurate account of the present regime.
  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 dancers who are, or have been, a part of NYCB can be seen in some filming somewhere there.
  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 smart, and highly gifted, Gordon was a nice person, funny as heck, and he was truly fascinated wth Mr. B and his dancers on a daily basis. Gordon was part of the family, not just a pianist/conductor for the orchestra. We all have lots of fond memories.
  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 to PNB will be everything they hoped for and much, much more. PNB is indeed very fortunate.
  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."
  14. CLIPS FROM TODAY'S SARATOGIAN: Mayor Michael Lenz's Save the Ballet group met behind closed doors on Monday evening. The meeting of the group, formed to collect ideas from the public to help keep the New York City Ballet's summer residency at the Saratoga Performing Arts Center, was not open to the media. President Herbert Chesbrough was scheduled to be there, according to a SPAC spokeswoman. SPAC spokeswoman Helen Edelman said the 30-day reprieve is for SPAC to study what it will take to keep the ballet through 2005, including how much money needs to be raised. Edelman said she would be at the closed-door City Hall meeting with Chesbrough. Republican Assemblyman James Tedisco -- a vocal opponent of dropping the ballet -- said he and Senate Majority Leader Joseph Bruno will meet with Chesbrough and some SPAC directors Wednesday. SPAC's landlord, the State Department of Parks, Recreation and Historic Preservation, began an audit of the nonprofit performing arts center's finances Friday morning.
  15. The Saratogian published two weeks ago had an article along the lines of "Change is good..." but it made it look like the paper is more than half on Chesbrough's side. Over the weekend, I received a copy of SPAC's financial report. It's not very specific. There's no mention of the individual organizations SPAC is involved with: no breakdown for NYCB or Philadelphia, no mention of Clear Channel, the pop promoters. Instead is "Direct talent costs, $4.2 million" and "Other operating revenues, $1.2 million." Odd also is that "gifts and grants" only come to $528,000. (Memberships come to $1.3 million.) Administrative and general expenses are $1.5 million. These figures are for 2002. Figures for 2003 are not available yet. Seems there's considerable room for financial finagling here...
  16. A friend informed me that The Saratogian had another more or less anti-ballet editorial over the weekend, along the lines of "what if we raised a million dollars for the homeless instead?" The editorial however did point out that the original decision by the SPAC Board involved only 11 of the 23 board members. I wonder what connections The Saratogian has to either Chesbrough or Clear Channel...
  17. Leigh, I did see Ansanelli's Aurora debut. She was everything I was hoping for and lots, LOTS more! She was strong, charming, quirky, beautiful, lyrical, lovely and excelled in all the allegro, turns, etc., as well as the slow, lyrical adagios and acting required. Ansanelli is always such a joy to watch in everything she dances. Sometimes she needs a little editing, cleaning up, but that will come in time, she's so young. Her physical, technical and artistic beauty are all there, 200%! Aurora is not at all a White Swan role, definitely requiring an "easy leg," but there are plenty of adagios in Sleeping Beauty where I wanted much more from Bouder. Part of what was lacking is her natural size and body shape, but some of it was her approach. I think Swanhilda would have been a much better choice for showing off Bouder's best. Anna
  18. Not true for me... I absolutely adored Bouder in everything I've ever seen her dance so far (and I go often) except the lead in Sleeping Beauty. I had been counting the days to see her in that role, and expected the best. Much of Bouder's debut as Aurora was truly excellent, e.g., allegro, but in the adagio sections she just has short leg lines... Guess I've been spoiled by years and years of leggy, tallish dancers at NYCB. That's what I'm expecting to see in principal ballerina adagios.
  19. I was sitting in the orchestra level, center, and yes there were some boos. Something I have not heard at City Ballet ever, well except for evil witches and the cop in Slaughter. Ashley Bouder made a nice debut, especially coming alive in the last act in her solo and finale. However, falling off pointe in the Rose Adagio in the first act was the least of her problems being miscast in such a demanding principal role. Though Bouder is technically very strong and self-assured, her physic is much lacking for adagio/partnering work. I never noticed until last night how short and limited her leg lines are in a tutu, and how unflattering adagio movements can be to her build. In jumps and other allegro movements, she moves with complete abandon and musical beauty. But in a tutu, with a partner and adagio movement required, Bouder just cannot fill the stage or the music. Chemistry with her partner was also badly lacking. While I look forward to seeing Bouder's dancing for many years at NYCB, Sleeping Beauty, Swan Lake (esp White Swan), or any of the other major ballerina roles requiring adagio simply do not suit her. Bouder could have made the house roar with bravas last night if she had been cast in the Florine part of the Bluebird pas de deux. The Beauties I'd recommend seeing this season: the gorgeous Jenifer Ringer and the ever-150% exciting and charming Alexandra Ansanelli. Hopefully one day the very talented Megan Fairchild will get her chance too. I was very surprised not to see her cast in the lead of Sleeping Beauty after dancing so well this season in the leads of Coppelia and Sugar Plum in Nutcracker, etc. It was overall a pleasant enough evening in that the orchestra was good; I absolutely love the score, and Peter's production was so fairy-tale, beautiful -- from the costumes, to sets, to choreography. Two acts instead of three was a brilliant idea too.
  20. Yes, I agree with Leigh, a flood of letters would be a very good way to reach Saratoga. However, the on-line petition is being sent to George Pataki, Joseph Bruno, Hilary Clinton, as well as the Chairman of SPAC's Board. Every effort is needed. Here's the link again for the petition to keep NYCB at SPAC: www.gopetition.com/online/3702.html
  21. If you haven't already heard about it, here's the address for the petition to keep NYCB at SPAC: www.gopetition.com/online/3702.html Let's hope it does some good. I don't think this is over yet.
  22. The musicians do seem to love Andrea Quinn. A huge accomplishment. I attend NYCB performances frequently, and I agree that the orchestra is uneven from performance to performance. One night they are brilliant, the next they are dreadful. Must be challenging to perform perfectly every night with so many different ballets and composers in such lengthy seasons. As for musicians reading and doing crossword puzzles while in the pit, perhaps someone here at BA ought to write a "suggestion" letter to Peter Martins or Andrea Quinn. I'm very rarely in the fourth ring for the ballet, so I haven't seen this. Peter and Andrea probably haven't sat in the fourth/fifth rings either. I don't suspect they'd approve of such behavior. Perhaps another case of leadership missing overall. I'm recalling days when Balanchine was still here, and he, as well as his works were so admired and respected by everyone involved in performing them... True decency and respectful behavior seem missing, in general, in our world today...
  23. I'd be Allegra Kent in "Faun," arriving at the party sometime in the Afternoon (tee hee), then change to Muenier's 4th movement of Brahms-Schoenberg Quartet, and/or Tzigane by early evening, as the sun begins to set in bright crimson and purples, then at nearly midnight, under a summer night's stars, a sampling of waltzing, et al., in Diana's Liebeslieder, just before becoming Suzanne's Diamonds... Don't set the morning alarm. Ever. (The above, of course, accompanied by the romantic, true, passionate partner(s) of my choice...)
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