oberon

Soto's programme should be ideal as a farewell: CHIAROSCURO was created for him and has long been a perfect showcase for his sexy persona and awesome partnering skills. He will doubtless end his memorable partnerships with Darci (BARBER VIOLIN) and Wendy (LITURGY) in ballets they have danced together - memorably - before. And UNION JACK will allow many if not most of the company dancers to share the stage with him one last time and give him a royal send-off. Someone who works at NYCB once told me that ballets are performed for 3 seasons, then given a rest. There are obviously exceptions, as during the Balanchine Birthday season when certain ballets HAD to be given, whether they had "rested" or not. Since Mrs. Diamond passed away, I am not sure what the future plans for Diamond Projects would be. I assume she left the NYCB a tidy sum, as Generosity was her middle name, and she clearly loved the Company.

Although at times I felt Quinn was TOO fast, a few years ago there were some complaints that NYCB - once known as a fast company - was getting slow. She did get the tempi going and I found myself sometimes hearing inner voices in some of the thrice familiar music that had previously eluded me. Overall, I found her a breath of fresh air.

Thanks for the advance info...I sort of expected the number of Balanchine ballets to dip slightly after the 100th birthday season. Glad to see that Albert's ballet will be given; I've heard some of Matt Fuerst's music and liked it alot.

I always feel a bit nervous watching Fairchild on pointe...there is something about her arch and also about the contact of her pointe to the floor that just makes me feel like she is going to fall. As I have seen her fall a couple of times (not a big deal - dancers do fall, even the greatest ones); I feel she dances cautiously. The other night in DIVERT, I stopped using my binoculars on her because I got an uneasy feeling. Perhaps some of our resident ballerinas here could comment on her pointe work... She was an adorable Pierette and Marzipan but I am not sure what other roles are really suited for her. I see glimpses of Mazzo & Borree in her physically, does anyone else?

Mostly I like things the way they are. As one who has sometimes been "snipped" for gossip, I might be tempted to say that gossip has it's place but maybe, as Alexandra told me, "not here!" However, not all gossip is created equal - apparently - since I once posted an innocuous story of a chat I had with Ben Millepied which was accepted but later when I had a similar chat with Wendy Whelan it was "snipped" even though there was nothing the least bit controversial or "revealing" in my message. It seems one of the main topics of gossip is injuries or dancers suddenly leaving the company they dance with. This recently came up when Lindy Mandradjiefff - lamentably - left NYCB. When a name suddenly vanishes from the roster it is bound to create interest among the fans of that company. Maybe there is some way to address these questions by personal messaging replies to one another rather than posting any speculation. Some of us already do that. Also, a bit more clarification about what can or cannot be said about a given dancer might be needed. It seems to be OK to comment if a ballerina is too thin or bony, but not if she is carrying a few extra pounds. Since weight is often a deciding factor in casting, it sometimes explains why certain popular dancers are not seen in certain roles - or rarely seen at all. The dancers do read what we write here and they are well aware of their weight problems, shortcomings, declining abilities, etc.

In an article about female conductors in the NY Times today, it is reported that Andrea Quinn will leave NYCB at the conclusion of her present contract in June 2006. She plans to move back to England.

It won't be quite the same without Alexandra...best wishes to her! Oberon

Tuesday 1/11 - Men's Night at NYCB. Three very different performances from 3 stellar male dancers were the highlights of the evening. Joaquin de Luz danced BALLO DELLA REGINA like a whirwind. His myriad turns and newly perfected softer landings for his numerous jumps added to his dazzling smile and the best (male) hair in ballet, assured him of a big success. Bouder has all the technical stuff down pat; now a slightly more lyrical approach will put the frosting on the cake. Excellent demi-solistes: Edge, Hyltin, Riggins and the sparkling Scheller. The ballet really is just a very pretty appetizer. Julio Bocca created a furore in TODO BUENOS AIRES, which has been thoroughly reworked to showcase his sultry & commanding bravura in this repertoire. The piece, which used to be just a pleasant series of tangos, now has an edge of sexual tension as Bocca dances with the women and then with the men. Everything hovers on the edge of a sexual volcano. Wendy & Darci look particularly fetching in their sexy dresses & black toe shoes...Wendy totally inscrutable here, while Darci is softer but still enigmatic. I thought at one point Darci actually said something, either "Now!" or "Wow!" but I may be mistaken. The four hunks who wove in and out with the women but ended up with Bocca were Albert, Philip Neal, Tewsley & Nilas...prompting the question: who has the best chest? The finale smouldered as Bocca danced with each man, then they danced with one another and finally all fell at Bocca's feet. Bocca's speedy turns and flashing jumps ignited the biggest applause of the evening. Robert Tewsley repeated his triumph in MUSAGETE...the ballet was thoroughly discussed here when it opened and there is no point now is going back over the pros and cons. I cannot think of another role in any ballet that I have seen that makes such demands on the male princpal, not just the dancing but the very complex partnering of three very different ballerinas, while meanwhile portraying the angst, joy and dementia of the character. Tewsley never spares himself for a moment...total commmitment. Wendy was again inhumanly flexible and superbly mysterious, Ansanelli's portrayal of LeClerq's catastrophe (however unpleasant to watch) was powerful, and Kowroski looked wonderful and her toe shoe brushed the stars in full extensions. Stephen Hanna partnered Maria (very complex stuff) perfectly and has the body of a god. And what a wonderful dancer and astute partner Edwaard Liang is...always a joy to watch. Without going any further, I think the real problem with the ballet is the sudden switch from dance drama to ballet-pastiche finale. The audience was clearly absorbed in this piece, but it was TODO BUENOS AIRES that won the big ovation tonight.

nysusan, yes Janie Taylor danced the second variation in DIVERT #15 on Tuesday...superbly! I can't believe POLYPHONIA is dropped...that can only mean one thing...

It is all set in a ballroom...it's the lighting that changes. The Elegie is like a dream -in fact, perhaps it IS the young man's dream. You can hardly see the set at all because the lighting is so dim. The Waltz & Scherzo are somewhat brighter, but then for Theme & Variations, the lights go way up and the chandeliers are fully lit. I imagine the Elegie would make a nice free-standing piece, just as (in a totally different way) Theme does.

That was a possibility, but why did I write: "revised version"? I think I have to go to my boxes... Thanks for the reply! Yes, hair plays a big part in the scherzo...Janie Taylor's recently has been astonishing.

Chinafish, Enjoy your first ballet...I still vividly remember my own, over 30 years ago. Be sure to share your impressions of the performance here at Ballet Talk. oberon

jimmattimore: I share your enjoyment of Janie Taylor and I know you are as pleased as I am that she has come back from her injury and she looks GREAT! Her Dewdrop this winter was on a sensational level, and she was no less gorgeous in DIVERTIMENTO #15. She is already a principal in everything but name, one of the most exciting dancers - I think - ever to grace the stage of the NYS Theatre.

I do think SUITE #3 makes a cohesive ballet...even though each section is very different. For me, it is a "darkness into light" ballet...the progression from bare feet and hair down to pointe shoes, full tutu and the ballerina bun-look does seem to be showing a dance evolution. It also seems to construct an echelon, as if to say: "Almost anyone could waft around in bare feet and kick their leg up; a more select group can perform a classic waltz; even fewer people could jump and spin as they do in the scherzo, and only a precious few could do all that is demanded in T & V"...I do not mean to imply that the first 3 movements are easy, or less rewarding, but surely this ballet is all about building up. The ballroom set and the music itself are unifying aspects. After SERENADE it is the ballet I enjoy most throughly...not least because of its big cast. Now, a question for everyone. My older programmes are boxed up and I don't really feel like lugging them out and digging thru, but I will if I have to in order to get to the bottom of this. I have, as part of my diary, a list of ballet performances (and operas)...just listing the works and principal dancers/singers. There is a very strange entry during the Tchaikovsky Festival...I wrote: "SUITE #3 Kistler, Christopher D'Ambroise - revised version with the same dancers in all 3 movements." Bearing in mind that this was back when I was more of a casual rather than dedicated ballet-goer, and excusing my foggy memory, can anyone shed light on this? It is doubly confusing because on the previous night I went to a performance which included the "normal" SUITE #3 with a different couple in each movement. Odder still, why would I refer to "all three movements" when the ballet has four? Does anyone have a recollection of this? Whenever I look at that entry on the list, I feel like I have to get some clarification...so, I will appreciate any input you may have. Otherwise, I must lug out my dusty boxes and start searching.

Is DIVERTIMENTO #15 jinxed? I have seen four ballerinas fall during this beautiful ballet; tonight it was Ashley Bouder's turn. But she hopped up, dusted herself off and continued to dance quite brilliantly. She has also found a nice facial expression for the less showy moments of the role. Janie Taylor was on spectacular form, and Rachel Rutherford gave a lovely performance, one of her finest actually. The sumptuous Miranda Weese has that extra dimension that separates the principals from the soloists...a sort of containment, that's the only word I can think of. To my mind, Megan Fairchild seemed a bit out of place in this group - a girl among women. She danced well, however. Philip Neal seems to be working back into things after an injury, and Jared Angle and Arch Higgins were both excellent. It was a delight to see Kristin Sloan, Sarah Ricard & Glenn Keenan among the very attractive corps. It is amazing how 4 TEMPERAMENTS can seem so fresh and fascinating nearly 60 years after its premiere. Tonight's performance was spell-binding on many levels, starting with a fine group in the Theme (Faye Arthurs, Jon Stafford, Carrie Lee Riggins, the very sexy Amar Ramasar, the under-utilized & amazing Jennifer Tinsley, and Seth Orza). What compares to seeing Peter Boal in Melancholic and Albert Evans in Phlegmatic? Each held the audience in his thrall. Alexandra Ansanelli & Stephen Hanna were very well-paired in the pas de deux...Alexandra's range keeps expanding; here her boldness & clarity paid big dividends, and Hanna has a very charismatic presence and managed all the tricky partnering; what a body this guy has. Following dancers like Boal, Evans & Alexandra cannot be easy but I have to say Teresa Reichlin came very close to stealing the whole show...her Choleric has a spaciousness that was captivating. Amanda Edge & Pauline Golbin, those two dark-haired beauties, were an added lustre. Good audience reaction, but only a fraction of what these dancers deserved. CORTEGE HONGROIS showcased the magnificent Sylve, prima ballerina par excellence, in a dazzling performance on the grand scale. Askegard took care of everything for her and tossed off some turns near the end that roused the audience. Ringer & Fayette had fun as the gypsies and Abergel & Hanson were the soloists. On many nights, some corps dancer will catch my eye and I'll follow him/her with my opera glasses for a while. Tonight it was Sarah Ricard, one of the prettiest girls onstage, and her dancing was joyous. She has such a nice smile.

hockeyfan, as far as highlights of the first week, I would say that DIVERT #15 & 4 TEMPS (with interesting casting in both the opening and the third performances), Sylve in CORTEGE, the revival of POLYPHONIA, Bouder and Benjamin (and later de Luz) in BALLO, Rachel Rutherford in STABAT MATER and the guest appearance of Julio Bocca in TODO BUENOS AIRES - which will also feature Wendy in her "tango dress" and black toe shoes - will be pretty interesting.

Yes, the dancers do read what we write here...and yes, they are public figures and we are paying to watch them, so we should feel free to express our feelings about their performances. But if a dancer, or opera singer, offends you the best thing is to simply avoid their performances. This season at the Met they are doing one of my favorite operas but I am skipping it as I think they have miscast the leading female role. There are many singers, and one dancer, whom I avoid totally. While this sometimes means I miss things that I would otherwise love to see, in the long run I think it works. I don't have to sit there thinking how rotten someone is, and why did I waste my money... For whatever reason, Borree has cancelled the entire first week of the repertory season so it is safe for those who don't care for her dancing to go all week and know that they won't encounter her. I, on the other hand, was looking forward to seeing her in a new role in DIVERT and also in STABAT MATER, a ballet which suits her very well.

The last time I saw LA SOURCE, Miranda Weese & Nikolaj Hubbe were the principals and Ashley Bouder had a major success as the seconda donna. This was about a year ago. As I recall, it is about 25 minutes long.

Beautiful!!! Thank you, Marc...

Happy New Year, hockeyfan!! I've seen Borree in SQUARE DANCE several times, including a couple of really good ones...I prefer her in DUO, GATHERING, ANDANTINO, STRAVINSKY VIOLIN CONCERTO, SERENADE...I've also liked her in BAROCCO...a couple seasons ago she did the Voices of Spring role in VIENNA WALTZES and just went whirling away, free as a bird. She reminds me a bit of Kay Mazzo. I like her wistful quality. I think there are probably some roles that she would be nice in that remain the property of other ballerinas. She might be a good nymph in SCOTCH SYMPHONY, for example. I've always liked her partnership with Nikolaj Hubbe, even in Peter's less-than-brilliant THEM TWOS...

For the most part, this was a "normal" NUTCRACKER. Act I was traditional, and highlighted by James Fayette's much-improved Drosselmeyer...more animated & theatrical in his presentation than even a couple of weeks ago. Henry Seth made an aristocratic Stahlbaum...Seth is one of the best actors in the company; his Rotbart was the best of all I have seen in Peter's production. Ellen Bar was the beauteous Frau. Andrea Quinn entered the pit for Act II wearing a silvery New Year's crown and brandishing an illuminated sceptre. Jenifer Ringer danced the entire opening solo (beautifully). Then the various dancers for the divertissement appeared, including both Dewdrops. Things then proceeded normally up to the Waltz of the Flowers... we had Rutherford & Higgins in Spanish, Dana Hanson's Arabian, Ulbricht's Tea, Tom Gold's Candy Cane, and a magnificent Marzipan from Ashley Bouder (replacing Tinsley)...I think Bouder may have added a few flourishes; her dancing was truly brilliant. Kowroski led off as Dewdrop, her extension driving me mad, and then Alexandra danced the next solo passage, her bejewelled eyelids accentuating her dazzling performance. She and Maria traded off on the solos and both appeared at the climax....and won enthusiastic applause. Darci & Jock danced the entire adagio...Jock's peerless partnering (to say nothing of his incredible charisma) will be sorely missed when he retires. Darci danced very nicely, though she leaned perilously forward while "floating" on the metal plate and then stepped quickly off. Her turns and hands are so beautiful. Then the cavaliers began to appear (Millepied having cancelled) for the coda, first Hubbe with Sebastian & Charles Askegard and later Nilas and Philip Neal did entrechats while Joaquin de Luz spun off about 1,000 pirouettes. Wendy, Yvonne Borree & Miranda Weese chased each other in a circle of pique turns. The finale brought a counter-melody of "Auld lange syne" played by the brass, while Wendy - tongue firmly in cheek - tossed handfuls of silver confetti whenever Jock lifted her into the air. All the SPFs, cavaliers & both Dewdrops then converged onstage to watch the children lift off in the sleigh. There was a warm ovation but I had a feeling that alot of people in the audience thought NUTCRACKER is always done this way. Happy New Year, everyone! And now, let the season begin...

The NYCB website has next week's casting...I'm sure it will be posted here soon. Among the delights: Bouder in BALLO, Sylve in HONGROIS, Robert Tewsley as a guest in MUSAGETE & TODO BUENOS AIRES, Rachel Rutherford in Darci's role in STABAT MATER...Bocca's guest appearances are confirmed (TODO). And, interestingly, Wendy's partner in POLYPHONIA is Marcovici rather than Jock.

I keep the cast page only...having been to almost 1,000 opera performances and about 500 ballet/dance events (to say nothing of concerts & recitals), these fill many file folders and boxes. They are in sequence. I have also kept, since I was eleven, an Opera Diary which extended to ballet when I started going in the 70s...this is now in it's 22nd volume and includes asides about everything from the weather to people I slept with. I once asked a friend to read some of it to see he thought it might be interesting enough to edit & try to publish...after a few pages he said, "You should leave out all his stuff about opera and ballet and just publish the juicy parts." That would be sort of like publishing the new Fonteyn biography without referring to the fact that she was a ballerina. It's funny to read over things from the past...like, I was not bowled over by Suzanne Farrell on the night she returned to NYCB - later she bowled me over plenty of times. And I was neutral about SERENADE at first, now it's my favorite ballet. I used to think the big costume ballets were "real ballets" and much of NYCB's rep a bit far-fetched. Now I feel the opposite.

Just to name a few of many highlights of 2004: Zakharova in BAYADERE Ananashvili & Gomes in BALLET IMPERIAL Peter Boal & Co. @ The Joyce Wendy Whelan's return to NYCB after an injury layoff - in SYMPHONY IN C The Auroras and SPFs of Ringer & Weese The Lilac Fairy of Amanda Hankes Kyra Nichols in SERENADE on Balanchine's 100th Birthday Edwaard Liang re-joining NYCB EPISODES & FOUR TEMPS during the Balanchine 100th Ashley Laracey stepping in for Janie Taylor in EROS PIANO Borree & Boal in ANDANTINO Maria Kowroski's new-found poetry as Odette Wendy dancing MOZARTIANA & CAGE on the same night Ashley Bouder's Firebird Wendy & Albert in BARBER VIOLIN Robert Tewsley & Wendy in MUSAGETE Wendy & Peter Boal in OPUS 19 Ansanelli in HARLEQUINADE, CONCERTO FOR TWO SOLO PIANOS & Sugar Plum Janie Taylor's super-Dewdrop Wendy & Jock in LITURGY Darci, Kyra, Wendy, Miranda, Jock, Philip Neal, Nikolaj & Jared Angle in LIEBESLIEDER Sylve in WESTERN SYMPHONY Hugo Fiorato's farewell spotting Karin von Aroldingen in the wings during PRODIGAL SON on Balanchine's birthday Should I stop now??

In most GISELLEs I have seen, as Alexandra mentioned, Giselle's mother hastily removes the hair pins as she comforts her stricken daughter. Fracci might be considered to have been in a class by herself, but in the highest echelon I would also include Mariana Tcherkassky. I prefer hair down in the Mad Scene. As for her madness, it is akin to Lucia di Lammermoor's...I'd call it "broken heart syndrome". Some productions try to show Lucia's impending derangement with little "clues" earlier on. Giselle is usually pretty normal, albeit naive, up to the point where she grasps Albrecht's treachery. NYCB fans: find the links between Lucia and the put-upon ballerina in Chris Wheeldon's SHAMBARDS. There are even quotes from the opera's score in the music for the ballet.