oberon

I went to the final performance. The piece I was most curious to see, PHRASES, NOW was cancelled due to an injury (the notice didn't say who was injured). I was impressed by SILENCE TEXT, a dark ballet which it seems to me is very demanding of the dancers. The superb performers were Teresa Reichlen, Ellen Bar, Alina Dronova, Alex Ritter & Tyler Angle. Dronova revealed a striking dramatic presence, Reichlen's legs are electrifying and she ended the work balanced on her abdomen on Tyler Angle's feet (sort of like the childhood game of "flying angels")...they sustained this impossible pose for what seemed an eternity. Bar kept dipping into remarkable plies in second - on pointe! - and sustaining the balance. Ritter looks great, reminding me of his many excellent performances at NYCB, and Tyler Angle is maturing into a first class dancer & partner.

SHORT-LIVED was a title full of irony. The piece was way too long, devoid of any real interest in terms of steps or interaction of the dancers (except an odd, brief duet for the two boys). The juxtaposition of klezmer and early French baroque did nothing to enhance the piece.

After that, Benjamin's CLOSER came as a literal breath of fresh air. Clad in pajama style pants and a loose white tee shirt, Ben opened the piece with a beautiful solo - expansive, flowing combinations that seemed almost improvisational. He looks so light & handsome. Gillian Murphy wore similar pants and a halter top; her solo featured many classic turns, jumps & extensions from the ballerina vocabulary but done in soft slippers, and linked in floating lyricism. She is radiant. They then dance together, sustaining the airy feel of the piece which ends with a rather long segment for the two of them on the floor. Normally I don't like seeing dancers on the floor but Benjamin worked out a beautiful pattern of embraces and shifting positions which was quite hypnotic. The piece clearly entranced the audience and deserves to be seen again.

Now you've whetted my appetite; I always try to see all the Diamond Project ballets, and the coming season looks really interesting. The choices of music offer huge variety.

It depends very much on the mood of the piece and the music being used; SERENADE for example is a ballet I want to watch in total silence. I don't want applause after the individual movements of the ballet. I want to be in that world, almost like a religious experience.

In more extroverted ballets, it sometimes seems odd when people DON'T applaud certain combinations or exits; almost like the dancer has failed somehow.

I think that's Abi in FEARFUL SYMMETRIES; and Ringer looks gorgeous in SYMPHONY IN C on the roster page. (Nilas looks pretty nice, too). Kowroski asleep as Titania makes me anxious to see her back onstage, but I hoped the shot of her in Central Park would be included in the brochure.

Obviously this was printed before that last wave of promotions!

Nice article & photo of Benjamin in today's NY TIMES.

The first time I ever went to the ballet I was shocked when people began applauding during the dancing. I just assumed it would be like the opera - which I had been going to for ten years: applaud at the END of the aria, not DURING!

But I quickly adjusted. There are times when applause during a ballet ruins the mood, but other times when it is practically written into the piece. Bravura combinations and flashy exits often seem to be constructed by choreographers as an invitation to the audience to express their esteem for the dancer who's just pulled it off.

Dancers I've known have told me they LOVE to hear applause when they've done something difficult and nailed it. It gives them an energy boost and makes them want to push the level higher. During recent performances of Peter Martins' FRAINDISES at NYC Ballet, Tiler Peck & Daniel Ulbricht drew not just waves of applause but audible gasps as they executed turns and flying, whirling leaps that seemed beyond human possibility. The applause, as well as the music, clearly buoyed the dancers and kept the electric atmosphere of the piece on the ascent til they struck the final pose, unleashing a torrent of cheers.

I have two nominees to host the Oscars: Kathy Bates and Joy Behar.

A Diamond Project poster has gone up with a great shot of Abi Stafford.

Beautiful portrait of one of NYCB's brightest young dancers, Ana Sophia Scheller:

http://www.geneschiavone.com/gallery/Indiv...l-Dancers/ana_4

Hope the link works. Lots of other dancer photos at Mr. Schiavone's site.

Congratulations to all these excellent dancers; the promotions are well-deserved.

I know everyone can't be a soloist, but it is a pity that two such lovely & hard-working dancers as Amanda Edge and Carrie Lee Riggins were not included. On so many nights, these girls bring a bright focus to featured roles. In my book, they are stars

Wow, carbro, I am getting the shivers just thinking about you seeing the Tharp performance on 9/9/01. That is uncanny.

In the interview, Coates seems to be saying her dancing days are not over.

While surfing around & Googling various former NYCB dancers, I came upon this very interesting story:

http://www.danceart.com/barreside/Emily_Coates.htm

Emily was a unique & intriguing presence at NYCB. She departed suddenly, and I missed her. I had a brief conversation with her a couple years after she left NYCB, while she was with White Oak. This interview tells what has happened since then, and why she left NYCB, etc.

I hope the link works!

Posters for the Spring season have gone up outside the theatre and it is worth a walk-by to see the extraordinary photo of Maria Kowroski posed in her Titania costume in a woodland glade (Central Park, actually). The picture made me impatient for the Spring season (2 months away) and for Maria's comeback.

These guys are about the farthest thing from "lazy souls" one could imagine.

For me, this was a revelatory season for NYCB in terms of the dancers. When Boal & Soto departed and then, unexpectedly, James Fayette, the Company lost 3 great partners & personalities (I think everyone, including Soto & Fayette, would agree that Boal was the greatest DANCER of the three). Peter Martins seemed to prepare for the season by promoting Jared Angle (noble dancer, very fine partner) and Ask LaCour (tallest of all, assured partner & fine presence) as well as having Stephen Hanna on hand (very tall, All-American prince). And then, bang! They were all injured and missed almost the entire season. Hubbe also danced very little, and Damian only a few performances. Albert Evans & Sebastien Marcovici went above & beyond, dancing and partnering beautifully night after night while Philip Neal, Charles Askegard, Nilas Martins & Benjamin Millepied covered their own regular repertoire to fine effect. But six guys, however talented, cannot do everything, and Joaquin de luz, amazing dancer, is limited in roles & partners because he is short. So, delve into the corps and come up with a veritable treasure trove of young men who stepped up and showed a ton of talent, class & sex appeal. Jason Fowler, Craig Hall, Amar Ramasar, Jon Stafford, and Andrew Veyette all - in various capacities - proved themselves. Adrian Danchig-Waring, Sean Suozzi, Allen Peiffer, Austin Laurent each had opportunities to broaden their repertoire. Seth Orza and Antonio Carmena did not seem to be dancing much, perhaps they are injured. Even an absolute newbie like William Lin-Yee was ready to take full advantage of his big break, and Max van der Steere, who isn't even on the roster yet (!) was teriffic in FRIANDISES - tall, strong, lyrical, impeccable manners, great smile. Sign this guy up!

On the women's side, Tiler Peck wowed the audience in FRIANDISES and along with the remarkable Ana Sophia Scheller turned the Pas de Quatre in SWAN LAKE into a showstopper every single night (with Fairchild spinning away like a top). Sterling Hyltin and Rebecca Krohn were outstanding in MORGEN and CAGE respectively, and Melissa Barak turned in unusually impressive performances in NUTCRACKER (Arabian) and SWAN LAKE (Russian). Then there was the "star is born" thrill of Sara Mearns. I will resist the temptation to rave about another two dozen or more favorite corps dancers who just give so much every single time they set foot onstage.

I did miss Alexandra and Maria K, and Carla Korbes. It was great having Somogyi & Abi Stafford back. And I will hope to see Tinsley and van Kipnis returning in the Spring. Adam Hendrickson & Daniel Ulbricht contribute so much to the Company, Tom Gold is always a delight, and it was wonderful to see Rachel Rutherford find an ideal partner in Tyler Angle for IN THE NIGHT. Edwaard Liang's very rare appearances were highlights for me; and what can we say about Teresa Reichlen? Megastar!!

The principal women give us an enormous range of personalities and styles; each has her place in the firmament. It would take volumes to detail what these ballerinas accomplished this season. Night after night of magic. A very special and deep bow to the beautiful Kyra Nichols whose dancing of IN THE NIGHT embodied the lyricism and poetry of a great artist.

My deepest gratitude to all the dancers, to Peter & his staff, and Andrea Quinn and her musicians for providing so many joyous nights.

I noticed Craig Hall's tattoo a long time ago. Doesn't bother me at all, and besides it is usually covered. Sebastien's tear-drop is nice, though usually concealed by make-up.

Saturday 2/25/06 matinee

FRIANDISES was again very well danced, Peck & Ulbricht really pulled off some amazing combinations. The eighteen dancers who form the corps of this ballet do things that keep interest running high when the leading couple are offstage. The triple adagio was again a highlight; the music for this segment reminds me a little of Satie.

The question of what City Ballet will be like in the post-Soto era was answered resoundingly today when Craig Hall and Sebastien Marcovici appeared in roles closely associated with Jock. I was a big Soto fan, but I do think in the last few seasons of his career his actual dancing (as opposed to partnering) had a faded quality; he sometimes seemed to gloss over things. Craig Hall in his debut in THE CAGE (and earlier this week, Wm. Lin-Yee in SONATAS & INTERLUDES) showed us some of the pure dance aspects of these ballets that seemed to have somewhat evaporated during Soto's final seasons. Hall has an incredible physique, and a handsome, expressive face. His partnering was immaculate. Somogyi cannot disguise her classic technique in this edgy role, and that's fine with me. I thought they were wonderful together. And Rebecca Krohn as a striking Queen and Adam Hendrickson as the pale, hapless first victim added much to an excellent performance.

Marcovici's partnering in AFTER THE RAIN can stand proudly beside memories of Jock; Sebastien has carried the Company thru this season, in my estimation. So many roles were given to him; it seemed like every week he was debuting something new. With Hanna & Jared Angle absent and Hubbe not doing much, Sebastien has had an incredible work load. And he brought it all off, looking assured in every new role and with every woman he partnered. Today I thought Wendy and he seemed in perfect harmony; they look great together. And Wendy is so pretty with her hair down. Over time, we may have gotten used to the things this amazing woman can do; today she reminded us anew. Wonderful pas de deux which seemed to enthrall the audience. In the opening section Sylve & Amar Ramasar and Reichlen & Jason Fowler all looked wonderful. The featured musicians played the Part scores magnificently, with a special bouquet to Jean Ingraham who, with pianist Cameron Grant, sustained the ethereal quality of the long adagio, Spiegel im Spiegel.

SYMPHONY IN C opened with the lyrical Jenifer Ringer partnered by Jon Stafford, who looked great & pulled off a neat triple air turn. Jon's had a very strong season and deserves all the opportunities that come his way. Sylve's adagio tonight was miraculous, everything gloriously sustained; her remarkable balance with the leg extended on high was breath-taking. She and Askegard were about as perfect as one could wish. Fairchild & de Luz nailed the Allegro, full of charm and beautifully matched in the passages that carry them across the stage in unison. Joaquin's solo passage drew a wave of applause. Abi Stafford danced beautifully and she seemed so happy to be there, and to be dancing with Albert Evans.

Andrea Quinn conducted the entire programme and the orchestra - we tend to take them for granted - played very well.

"You gotta go this afternoon! There's Wendy, Sylve, Jeni, Jennie, Tess...and Craig Hall!"

OK, OK...I'm going!

Transplendant!

Thursday 2/23/06

Interesting, well-contrasted programme. It seems to be inevitable: the larger the audience the less applause the dancers receive. Tonight's very substantial crowd were very stingy during the bows.

FRIANDISES was again exciting; Peck & Ulbricht were superb in their daring pyrotechnics. The adagio section is most impressive and casts a spell.

Yvonne Borree & Sebastien Marcovici gave a beautifully expressive ROMEO & JULIET.

For the last several seasons, SONATAS & INTERLUDES has been a vehicle for Jock Soto, dancing with either Weese or Kowroski. I wondered how the ballet would look with other dancers, and I must say it looks refreshingly "new". I imagine Mr. Tanner taught the ballet to Sara Mearns & William Lin-Yee directly; maybe he made some modifications. The piece seemed lighter & more multi-faceted. Jock, in the past few revivals, was quite earthy and almost stolid. William showed some very defined footwork that I don't recall from Jock's interpretation, as well as a spacious feeling in the broader passages. Both he and Sara maintained the aloof facial expressions the piece calls for. Sara displayed great control & line, and they brought off the partnering with assured coolness. Really impressive job from these two charismatic young dancers.

I love BRAHMS-SCHOENBERG QUARTET and tonight it was beautifully danced by all involved; I regretted Bouder's absence until Jennie Somogyi made me forget about it with her luxuriant dancing, astutely partnered by Philip Neal. Philip's solo passage was very fine. Miranda Weese was magnificent, her turns and balances all spot-on, while she swooned gorgeously. Albert Evans, beautiful dancer & partner that he is, was an ideal cavalier for her. Gwyneth Muller was lovely, along with Beskow & Lowery...they are so much more than mere back-up dancers. A similarly beautiful trio (Edge, Riggins & Walker) graced the 3rd movement. Borree was lovely here, and Benjamin Millepied partnered her well and gave a flash of bravura to his solo passages. But somehow he bloodied his knee, a bright red splotch on his tights. Hope it wasn't serious! Sylve and Askegard then brought the evening to a close with their breezy fireworks: grand-scale, sexy dancers. I've saved the best for last: Reichlen in the seconda donna role of the first movement. Captivating! Extension, line, turns, balance all delivered with a hypnotic sense of the dance flowing thru time. Hard to explain, but it is a sort of "wafting" quality that Reichlen revels in. I would be tempted to say this was her finest performance to date. But then there was that Dewdrop...

Possible reasons for media attention to Wendy:

1 this is her 20th year with the Company

2 she's made a comeback from a big injury

3 this is her first season dancing without her special partner, Jock Soto

4 she recently got married

5 she's Wendy

Thursday 2/16/06

I was really looking forward to seeing Bouder in WESTERN SYMPHONY, but she cancelled and was replaced by Fairchild. Megan started the evening with a lovely BAISER DE LA FEE in which she and Joaquin de Luz danced beautifully. This is one of the most magical scores in the repertoire, and any ballet that has Amanda Edge & Carrie Lee Riggins as demi-soloistes makes me happy. The corps girls were teriffic.

Sebastien Marcovici has had a big season, and tonight he scored in TALA GAISMA, created for Jock Soto but premiered by Jared Angle. This role calls for highly skilled partnering which Sebastien delivered in spades, meanwhile holding the stage with his physical magnetism. His pale, handsome face, long arms and large hands draw the viewer to watch him. An excellent performance for which he was warmly applauded. The three ballerinas who created these roles seemed tonight to be exuding more sexuality than I remember in previous performances. Darci looked great and danced well in a role that now seems a bit taxing for her; Miranda Weese was cool & technically splendid. Sofiane Sylve gave what I think was the best perfomance I have seen from her; her pas de deux with Sebastien was the highlight of both the ballet and the evening, sensuous & full of wondrous line and extension. Plus, she's facially gorgeous. Kurt Nikkanen played the mesmerizing & difficult Vasks score superbly. The ballet, which I hated at first, is just a little too long to be thoroughly satisfying. But the music & the dancers make it very worthwhile.

Ringer & Nilas Martins kicked off WESTERN SYMPHONY with gusto, dancing very well and having fun. Albert Evans was simply magnificent as the Rhinestone Cowboy, tossing off his solo passages and combining humour & sexiness while partnering Fairchild like a charm. She was delightful here, deadpan to a T and hurtling herself into the fish dives. Damian Woetzel has not danced alot this season, but tonight he tossed off the cowpoke's flashing turns with good-natured authority. Reichlen's big extension and line worked well here, though her fouettes were not entirely stable. It's odd that NYCB never lists the 4th couple who, though shorn of their number, must appear in the finale to fill out the staging. Tonight it was Gwenyth Muller & Adrian Danchig-Waring.

Wednesday 2/15/06

This was the first of 3 times I will see FRIANDISES; I liked it but it will take at least 2 repeats for me to digest it all. There is an awful lot going on. This is one time when the words "amazing" and "awesome" truly apply to the dancing of Tiler Peck & Daniel Ulbricht. Tiler reminds me a bit of Somogyi; her daring style and myriad turns were thrilling to watch. Ulbricht's ease in the air stupefied the audience; he reaped multiple waves of applause throughout the ballet. For me, the most interesting aspect of the piece is the adagio which is danced not by the leading pair but as a triple pas de deux by three of the demi couples: Savannah Lowery w/Jon Stafford, Sara Mearns w/Amar Ramasar and Ashley Laracey w/Adrian Danchig-Waring. This section was a nice respite in an otherwise fast-moving piece. The eighteen demi-soloists are given very tough combinations and everyone danced up a storm; Megan LeCrone was absent and Maya Collins seemed to be the substitute though I could swear the unlisted Katie Bergstrom was also dancing. In order to more closely observe what these dancers are doing, I spent quite a while watching the beauteous Sarah Ricard with newcomer Max van der Sterre. I'll look forward to zeroing in on some of the others at the next two performances.

DONIZETTI VARIATIONS was good, with Edge & Keenan stepping in for LeCrone & Barak. Elizabeth Walker was lovely and the 3 boys (Ramasar, Carmena & Craig Hall) were very fine. Saskia Beskow & Carrie Lee Riggins were beautifully featured. Millepied was replaced by Andrew Veyette; I wonder if he & Miranda Weese had much opportunity to rehearse. They carried it off but did not look like an ideal match. Andrew's solo dancing was light & buoyant and he has a nice presence. Miranda was delightful in her solo passages.

I always enjoy FANFARE. The pomposity of the narrator is very much tongue-in-cheek. A host of wonderful performances from several of my favorite soloists and corps dancers, starting with Keenan (Piccolo), Arthurs (Oboe), Abi S & Liang (Clarinets), Rachel R & Adrian D-W (Violas), extremely pretty Cellos (Beskow, Krohn & Ricard), luminous Harp (Reichlen), dapper Double Bass (Jon Staffford). It is always a pleasure to see Ed Liang, who dances all too rarely. He has such a classy classic technique and perfect hands. The entire cast danced very well.

Yes, any writer would be aware that Ashley has lots of fans by the noise we make at her performances. But it's here at Ballet Talk that Bouder's various falls have been chronicled.

Kisselgoff, maybe?