oberon

Some excellent new photos from the final week of repertory are to be found at the Front Row Center section of NYCB's website. Ringer, Bouder, Sylve, Somogyi...well, everyone looks just heavenly.

BW, nysusan & amanda: Balanchine's MIDSUMMER is a great way to end the ballet season and kick off your Summer. Hope you enjoy it, and please do write your impressions here! Oberon (that's how I got this name!...yeah, like I could dance that Scherzo )

Wednesday 6/22 Very pleasant evening with many fine individual performances. Kyra Nichols gave a remarkable performance as Titania...such lyricism and poetry. Her pas de deux with James Fayette was beautiful, and she was subtly comic in the duet with Bottom. That role was endearingly played by Henry Seth. Tom Gold seemed rather serious as Oberon without the lighter touches some have brought to the role. Adam Hendrickson is a peerless Puck, and Carrie Lee Riggins a gorgeous Butterfly. Janie Taylor and Jennifer Tinsley were especially good as the mortal women: Janie touchingly vulnerable and moving while Tinsley brought strong technique and vibrant dramatic gestures to her solo. Andrew Veyette and Jason Fowler were the suitors; Ask LaCour was a noble Theseus. Outstanding tonight was the Hippolyta of Ellen Bar; vividly costumed and made-up, her spacious jump and glamourous fouettes were impressive. She has had many opportunities to shine this season and has come thru with flying colours. Brava! Special treat was the adagio of the luscious Miranda Weese very nicely partnered by Nilas Martins. I could watch Miranda dance for hours: she's a beauty. Many notable (and several new) faces among the corps; and Kaitlyn Gilliland's name finally appeared in the programme as a courtier...I could not tell which one was she, though they were all lovely.

In the lobby today the following cast change is announced for Friday & Saturday evenings: Antonio Carmena replaces Benjamin Millepied as Oberon

I wasn't at the 4th Ring discussion so wasn't aware that Carla's departure was "official" but I could tell by the weeping corps girls and all the heartfelt hugs she was receiving outside the stage door that this was her last appearance at the NYS Theatre. When Peter Boal was announced as accepting the position in Seattle, my partner immediately said" "He will take Carla with him." Saw alot of "departed" NYCB dancers during the course of the afternoon, including Stuart Capps and the drop-dead-gorgeous Lindy Mandradjieff. I did think that the BARBER was very impressive, beautifully danced by all four and one of Peter's best creations.

Actually, the dancing all afternoon seemed somehow secondary to the personalities involved and to the giant family celebration at the end. The WEST SIDE STORY scene was over before it began; the BARBER VIOLIN, CHIAROSCURO and AFTER THE RAIN all beautifully danced but for me they seemed to pass by as in a dream. UNION JACK was a very good choice for the finale...as carbro quotes Joni Mitchell, so will I: "Leave 'em laughing when you go..." Everyone onstage had a joyous time; Damian stole the show in dance terms and hilariously grabbed Jock away from Maria Kowroski and led him in an impromptu waltz. Jock, striking "muscle man" poses, raised his trouser leg to show us his calf muscle. During the final semaphore salute, dear Albert Evans made a blatant signalling error for which he was "scolded" by Peter Martins during the bows; I think Alex Ansanelli also got her flags crossed at one point. By this time the entire company seemed in an odd state of euphoric sadness. The massive ovations and showers of flowers went on for several minutes; each of the principal women brought out a bouquet for Jock (including those who weren't dancing in the Gala - such as Kyra and Janie Taylor) and then all the principal men carted out a massive floral tribute. Chris Wheeldon and Peter Martins also were on hand. At one point Jock "found" a $100 bill among the confetti; he held it up but Peter swiped it away and pocketed it - good fund-raising, Peter! The entire company appeared and surrounded Jock. I didn't feel it was a sad afternoon at all although I got misty after CHIAROSCURO and as Jock & Wendy took their final bows together. But he has had a phenomenal career in every respect and now he deserves to give his body a break and enjoy his other interests. Watching the beauty the dancers create, we sometimes forget the sheer drudgery and the blood, sweat & tears that go into keeping the body in shape day after day, year after year. I do feel compelled to mention how wonderfully Darci danced the BARBER and what a romp Wendy had in her sailor suit. And yes, it was just great to have Pascale & Jennie back. Jock alone onstage at the end of CHIAROSCURO is a picture I will always retain. Bravo, and thank you, Jock!!

Saturday June 18 All Day at the Ballet Had planned to go to the evening performance but seeing Amanda Edge down for TARANTELLA, I went to the matinee also. I agree with jimmattimore that CARNIVAL OF THE ANIMALS is not a very good ballet; but I did enjoy seeing several of the dancers in these character roles: Askegard, Borree, Kyra Nichols, Arch Higgins & Christine Redpath were outstanding, and Rachel Rutherford and Melissa Barak (subbing for Pascale) were hilarious Turtles. I thought Daniel Ulbricht would steal the show in TARANTELLA, but Amanda not only held her own - she threw some pepper into the pot with her tantalizing dancing, including her deep plies in 2nd on pointe which she clearly relished as the audience murmured appreciatively. Ulbricht was a holy terror of bravado dancing and he plays a mean tambourine. They blew kisses to one another during the calls. Very enjoyable. Ulbricht & Edge had the unenviable task of following a mammouth ovation which was accorded to Jock & Wendy following their pas de deux in AFTER THE RAIN; as an indication of what Sunday afternoon will be like, one might want to bring a box of Kleenex - and ear plugs...seldom have I heard such a roar as greeted these two phenomenal dancers. Many in the audience were standing. Concluding the matinee was another excellent performance of FANFARE. In the evening, MORGEN was repeated and if anything was better danced than the Wednesday evening performance...which is saying alot. Special kudos tonight for the duet of Janie Taylor & Jared Angle. Darci was overwhelmingly beautiful & expressive; her duet with Jock was again extraordinary. Nilas Martins & Jenifer Ringer completed this exceptional cast, and Jessica Jones sang quite strikingly. Jock had a bouquet thrown to him, which Jenifer gracefully delivered. This was in fact a "Jenifer Ringer night" as she went on to give a wonderfully detailed and musical performance in OPUS 19/THE DREAMER and finished her evening with a glowing Intermezzo in B-S Q...over the years few roles have been better matched to a dancer than Ringer in this lovely Balanchine piece; her swoons alone are worth the price of admission. In OPUS 19 Damian danced superbly, including a magnificent sustained balance at one point. He is very thin, and in need of a haircut. Minor detail, I suppose. Ashley Bouder was gorgeous in the opening movement of B-S Q; Peter is casting her rather atypically in these romantic-style roles and she is just blossoming; she and Jared Angle were a true pleasure to watch. Dena Abergel showed off a strong balance and a plushy style: lovely. Backing up Ringer/Fayette in the Intermezzo were Korbes, Golbin & Krohn - thank you, Peter, that's a casting treat for sure. Borree was tremulous at first but later she and Hubbe blooomed nicely, and Ashley Laracey was again oustanding here. Sylve and Askegard brought the day to an end with bravura dancing on the grand scale in the concluding Rondo; Sylve's dancing here is like a brilliant fireworks display and Askegard amiably refuses to be outshone. Invigorating!

Craig Salstein did perform Eros earlier in the run; I mentioned him in my "review" (#9 in this topic)...

Wednesday June 15 FANFARE is always fun; you get to see soloists and corps members stepping out. There were several excellent bits tonight: Keenan (Piccolo), Arthurs (Oboe), Tinsley & Veyette (Clarinets), Froman & Hall (Bassoons), Rachel R and Jared Angle (Violas), Beskow, Krohn & Ricard (all lovely...Cellos); Ask La Cour (Double Bass), Reichlin (a stately Harp), Hendrickson & Carmena (Trumpets) and the hilarious Percussion section (Tom Gold, Suozzi, Amar R). This was followed by Tchaikovsky Pas de Deux in which Weese & Philip Neal danced beautifully though they were slightly thrown off by Andrea Quinn's hectic tempo in the coda. MORGEN, the Strauss songs lovingly sung by Jessica Jones, was the centerpiece of the evening. Hard to believe I hated this ballet at its premiere! Tonight when the curtain rose on Darci Kistler, dreamily leaning against one of the columns with her back to the audience, a palpable hush fell. Then she began to bouree gently among the pillars and held the audience spellbound in her opening solo passage. In her duets with the three men she displayed the trademark Kistler hands and arms which seem to carve poetry out of the air. Astonishing multiple supported pirouettes near the end of her pas de deux with Jock Soto left me dazed in admiration. A beautiful Kistler performance. What a great joy to see Janie Taylor take the stage again; as she threw her waif-like form over Nilas Martins shoulder in her opening duet, we realized what we have been missing in her absence. What a dancer! Airy, fearless, cool, vulnerable...so many facets to her stage persona. She was given a very warm welcome-back by the audience. Even with Kistler & Taylor delivering breath-taking performances, Jenifer Ringer calmly took her own opportunities and with her wonderful attention to detail and her refined yet luxuriant style, she nearly stole the show. Her yielding backbends are plush and amazing. The men (Soto, Jared A & Nilas) are mainly there to support, pursue and adore the three women and they were fine. Very enthusiastic applause, thoroughly deserved. Beloved Albert Evans gave an outstanding performance tonight in STRAVINSKY VIOLIN CONCERTO. As we lament the departure of Boal & Soto, I heartily suggest we focus now on Albert: big technique, masterful partnering, incredibly sexy guy. Tonight, he and Sylve were thrilling in their pas de deux; extreme clarity and spaciousness in their every move. Ansanelli & Hubbe were also very impressive; Hubbe was dynamic in solo passages and Alexandra is just having such an exciting season, showing off her range in a variety of styles...brava! Outstanding in the corps: Craig Hall. Excellent orchestra & soloist - Kurt Nikkanen; and Quinn in her element here...and also in MORGEN.

As a post-script to Peter Boal's farewell, Pauline Golbin in her Dancer on Dancer series shot Boal a series of one-liners backstage. I imagine it will be Linked here eventually. Yet again Boal comes across as a golden yet down-to-earth guy, even in this breezy Q & A. Great picture hat, Pauline (from AMERICAN IN PARIS)...

In the NY TIMES photo, Charles Askegard, Joaquin de Luz & Darci are at the extreme right.

Wednesday 6/8 Bursting onto the stage to disrupt the line-up of girls at the start of SYMPHONY IN 3 MOVEMENTS, Adam Hendrickson was like a lightning bolt. He was soon joined by Ashley Bouder and the two of them were so full of life; taking advantage of every bounce, with Ashley tapping her foot to head at a couple of points, they seemed to be having a blast. Hope they'll be paired up again...many times. Wendy & Jock gave an ironic quality to the pas de deux, their gestures perfectly timed. Ellen Bar and Adrian Danchig-Waring were appealing; Bar has upped her star quality several levels this season and Adrian's long arms and space-devouring dance made a fine impression. Demi-solistes and the corps were very good, as was the conducting of Carolyn Kuan. OCTET was really very lovely tonight; the score is so airy and melodic, beautifully played. Aside from the slightly over-long adagio, the piece is nicely choreographed. Fairchild & de Luz were very enjoyable here, a perfect showcase for their partnership as well as spotlighting their individual gifts. Megan's hands can tend to be slightly "clawed" at times; that could be easily remedied. They seemed to be having alot of fun tonight. Alexandra Ansanelli, her hair sightly spangled with glitter, was just wondeful - her lyricism, fluent technique and extremely attractive face keep the opera glasses glued to her whenever she is dancing. Jared Angle was likewise very fine; tall & with very muscular thighs, he moves beautifully and partners easily. The two trios of boys in this ballet have their work cut out for them...non-stop bravura dancing one might expect from principals. Carmena & Suozzi are featured, and they danced up a storm; Andrew Veyette made an especially strong effect - as he has in other ballets this season - and Danchig-Waring again took advantage of every opportunity. Aaron Severini and Tyler Angle completed the cast of this very enjoyable piece; the entire cast was warmly applauded. I skipped WEST SIDE STORY.

Watched TURNING POINT not long ago and as always loved Bancroft in the role, esp. that scene where her lover "dumps" her, very gracefully but brutally. The look on Bancroft's face speaks volumes. A wonderful actress; hail and farewell!

Can't remember when the posting of a single week's casting provoked so much sheer joy. It just shows how much the dancers mean to us.

Colleen, wishing you many more years of AGONs!!!

And don't overlook: Sylve in B-S Q...

Yeah, Sebastian....and Steve Hanna...

WOW!!! Everyone is back!!! Taylor, Somogyi, van Kipnis...wonderful! Now if we could just get Edwaard Liang back onstage... I see LITURGY has turned into AFTER THE RAIN for Jock's farewell...

In the photo, who is the very tall man all in white standing with de Luz & Darci? His head is cut off! Doesn't de Luz look like a miniature Eddie Villella? Yes, Wendy's expression says it all.

Thank you, Ari!!!

I think the humourous number you are thinking of in which Amar dances with 2 other boys wearing funny hats is FANFARE, the percussion section. Amar's dead-serious facial expression during this silly dance makes it all the more hilarious. I think all of us are waiting & hoping for Janie Taylor's return to the stage.

I'm sure it will appear shortly in Links, but there is a truly wonderful photo of Peter Boal in the NY Times today taking a bow at his gala with a beautifully expansive gesture as his colleagues applaud him with genuine admiration. The photo, to my mind, is the crowning touch on Peter's performing career: Prince of the Dance. Bravissimo, Peter Boal...I hope Seattle comes to love you as much as NYC has!!!

The descriptions are just wonderful and I hope more people will share there feelings about the afternoon here, since I was unable to attend. Which of Peter Boal's frequent partners were on hand to present him with flowers? I must echo Carbro's note about 4th Ring Society: I would never be able to go as often as I do if I had to pay full price. At the half-price offered by the Society, you don't hesitate to go to a programme that you might otherwise skip: you can re-visit a new ballet to get a second look, or check out fresh casting in a masterpiece without destroying your bank account. It is also a great chance to get an extra ticket for a friend and introduce them to NYCB.

Went to the Saturday evening performance; beautiful score but a very silly ballet. The corps looked ragged in Act I. Herrera & Corella danced very well but she is too large for him; her facial expressions have a strange element of "surprise" as if to say "I can't believe I just did that!" She is also not especially musical. It seemed odd to gather all these "characters" together in Act II including such luminaries as Wiles & Hallberg (welcome back, David!) and then they don't really DO anything. The role of Diana is over before it begins: "You cannot marry a lowly shepherd!" she says to Sylvia. "YOU loved a lowly shepherd once," Eros reminds her. Diana muses for a moment, "Oh yeah, I forgot about that." Then there were the goats... Couple nice bits: as Carbro mentioned Meunier was "announced" for Terpsichore but Part actually appeared in the role. Meunier did dance in the first Act as one of the Hunt attendants. When they all did fouettes, Monique's were so spacious & velvety...and she didn't travel an inch. Craig Salstein made a tall & impressive Eros, his character dancing (incognito) very accomplished and making a fine effect in Act II. It is a very short evening; first act started at 8:05 and was over at 8:40; then there was a long intermission. Acts II & III compressed lasted less than 40 minutes, including a longish interlude. Whole thing over before 10:00. It was fun to see this purely decorative ballet once, but not sure I could get thru it again. The music, however, is truly wonderful.

Ari, I did not find Bouder's height a detriment in EMERALDS. Jared does tower over her somewhat but they formed a rapport of refined romance. I thought she was just beautiful in the role and for the first time her eyes began to draw my attention. I also found Wendy's DIAMONDS especially gratifying this year; she is almost transparent in her lightness & multi-faceted presentation. The music seems to radiate from her; and yes, the backbends are remarkable. I was not there the night carbro attended, so can't comment on whether she was looking fatigued (meaning Wendy, not carbro!!), but last night in CAGE & AGON she was on top form. I always apply a slightly higher standard to Wendy than to other dancers - unfairly perhaps. I expect more from her. And I usually get it.