oberon

I get the feeling Dunning (and other dance writers) read Ballet Talk! How else would she know about us Bouderites??

Another legendary Bouder Fall! Nobody falls with the sheer authority of Ashley Bouder. It's just one more thing that makes her performances so fascinating. Good to hear about Veyette's success. In fairness to Benjamin Millepied (don't you hate it when I start sentences with "in fairness to..."?) he has never been quite the same since his injury. He gave some simply remarkable pre-injury performances in PRISM and HALLELUJAH JUNCTION and other virtuoso roles and one might have thought he'd be doing the same thing for several seasons. But no such luck. After coming back, he hasn't been as free or as high-flying, though still an appealing dancer and capable of considerable bravura on a good night.

If you observe MORGEN carefully, you will find that the woman is not "flung" but rather flings herself at the various men. Only one of the women (the "janie taylor" role) does this - it is sort of a signature of the character she is playing, the youngest and most impetuous of the three females. The role was created on Taylor who brings a sort of recklessness to the part that Sterling Hyltin, for all her superb qualities, did not quite match. Carbro, your generalization about the types of women in Peter's ballets is not quite accurate, though amusing. In which category would you place the women in HALLELUJAH JUNCTION, BURLESKE, CHICHESTER PSALMS, CONCERTI ARMONICI, or BACH CONCERTO V? Yes, he has stereotyped females quite often, but mostly in the more angst-ridden pieces, many of which have not survived (I'm thinking RIVER OF LIGHT or WALTON CELLO CONCERTO; or THEM TWOS, though in that case that was sort of the theme of the entire ballet). MORGEN is far more lyrical and appears to be about searching for an ideal romance.

carbro, it is good to read a full-length review from you! I'm glad you liked the new Martins as I have 3 performances of it coming up. This season I also noted the vivid patches of costume-colour in the opening section of UNION JACK. Perhaps the lighting was spiffed up a little, as I've seen this ballet a dozen times (including the premiere) and I never really noticed this effect before. The funniest ad-lib I ever saw at NYCB took place at Jock Soto's farewell when, during the finale of UNION JACK, Damian cut in on Jock and Maria K but instead of wisking Maria into the waltz step, Damian grabbed Jock and began a riotous jig.

Who would name a child Apollinaire?

Wednesday 2/8/06 OCTET is one of Peter's most pleasing ballets. If you decide you don't like the choreography you can close your eyes and just listen to the beautiful Mendelssohn score, lovingly played tonight. But it's worth watching: non-stop dance. Megan Fairchild & Joaquin de Luz, as the allegro couple, were pretty extraordinary. Megan's pristine turns and Joaquin's high-flying leaps & sheer bravado are perfectly showcased here. In the adagio, which is rather long, Sara Mearns was lovely to watch, her physical appeal (and a very pretty back - how often do we notice a ballerina's back?) and flowing use of arms & hands very much to her advantage in this ballet. Jon Stafford has been doing some fine work this season, getting well-deserved opportunities and showing himself to be a dancer both elegant & masculine as well as a very attentive partner. The six demi boys are given really complex combinations, endlessly sailing across the stage in leaps & turns at breakneck speed. Antonio Carmena stood out for both his easy technique and his smiling presence. Adrian Danchig-Waring is a space-filling dancer; Sean Suozzi always spot-on and with that little extra touch of pizazz. Christian Tworzyanski and feather-weight Aaron Severini kept up the pace, and Tyler Angle kicked off his long evening (he danced in all 3 ballets) with a lively performance here. Jenifer Ringer's performance in IN THE NIGHT was astonishing. I've seen her in this ballet many times, but she surpassed herself tonight. Her dancing becomes an expressive vehicle, her gestures so refined, the precarious mood-shifts of the woman are ideally articulated thru Ringer's musicality. I would rate this among the greatest dance portrayals I've ever encountered. Marcovici was her perfect match here: moody; tender & aloof by turns, and partnering her like a charm. Before that, Sylve made a very attractive impression in the second duet, dancing with Askegard. Rachel Rutherford & Tyler Angle repeated their success in the first nocturne; Rachel has never seemed so sublime as here, seemingly having found an ideal partner. Let's see them cast together often, please. Nancy McDill's quiet rapture from the keyboard underlined the magic of this unique piece. I was at the premiere of UNION JACK many, many moons ago. Sometimes I like it, sometimes not. Tonight I enjoyed it, mainly because you get to see so many dancers in one fell swoop. I usually don't care for the Costermonger number but tonight Nilas & Jenifer Ringer made it very entertaining - Jeni uses her big extension and a couple balances to remind us it's still ballet. Reichlen had a super debut in the Farrell role, Damian was casually brilliant; Abi Stafford charming, Yvonne Borree relaxed and having fun, Wendy turning her solo into a small drama of her own. Philip Neal & Benjamin Millepied looked fine. Jason Fowler & Adam Hendrickson joined Wendy in the first pas de trois and they all seemed to be having a blast. They need to bottle Faye Arthurs' extension and uncork it whenever things get gloomy. That girl is amazing.

Well, it was meant as a pun: "attitude" as opposed to "arabesque".

Well, yes...Wendy is far more classy but don't you see something of Madonna in her "Vogue" phase in this picture? Ladies with an attitude...

Is that Madonna?

Millo is getting pathetic. A woman who squandered her voice oversinging AIDA & BALLO, her Met career now relegated to covering and getting one or two second-cast performances a season, her "fame" perpetuated by a small cluster of dizzy opera queens. Her announced concert sold about 1/3 of the available tickets. She flatters herself thinking Netrebko cancelled HER Carnegie gig after Millo started a trend. Then she tries to frame the incident as a case of preserving the sanctity of opera. Sorry, it's a lame story.

Friday 2/3 EPISODES was magnificent tonight. It totally captivated me from the moment the curtain rose. Probably the best performance of this piece I've ever seen. Abi Stafford & Philip Neal create a very interesting partnership in the first section. Abi's dancing is very clear and clean. And her physique has become more womanly, her presence more authoritative. Reichlen is just about perfect here; I keep referring to her legs as mesmerizing but it's the best word to describe their effect. Jason Fowler did a great partnering job with her tonight. Wendy & Albert...I don't know what to say. They were just indescribably thrilling. Darci & Charles Askegard kept the level up with an impressive finale. The corps were excellent throughout. The audience responded to this feast of dance in the most tepid manner. IN THE NIGHT was extraordinarily beautiful tonight. It is unlike any other ballet in its atmosphere: contained, moonlit, yet not entirely dreamy. Rachel Rutherford has her ideal role here, one in which her attractive presence and the lyrical sweep of her dancing show to fine advantage. I have sometimes found Tyler Angle too florid but tonight, replacing Arch Higgins, he had the air of a young prince and did himself proud with the complex partnering. Seeing Kyra Nichols step into the light almost took my breath away. Over the years, she & Philip Neal have provided some of my most wonderful dance memories and here they were tonight, not a memory but dancing in their own romantic world. It was beautiful. And then Wendy gave an astonishing performance of the more agitated, almost combative, third woman. Looking wonderfully fragile yet intense, she gave a risky, edgy performance that was eventually tamed by the steadfastness of her lover, played to perfection by Sebastien Marcovici. Looking like the brooding poet out of a 19th century novel, Sebastien handled the very demanding partnering with assurance and - with Wendy - created a sense that we are eavesdropping on something very private. The three couples then shared the stage briefly before they sweep off into the moonlit night. The audience was somewhat more appreciative of the dancers' efforts in this piece. I did not stay for the Wheeldon. Couple of random notes: the lighting for that segment of DUO CONCERTANT has been off in the last few years. It used to be quite effective, now it just isn't working. Needs to be tuned up. I love Benjamin Millepied but he hardly ever pulls off those fish dives. He just doesn't have the upper body strength. I'd like to see Scheller & de Luz in the Tchaikovsky Pas de Deux.

2/3 An additional cast change - and quite interesting - was posted this evening in the lobby. Sara Mearns replaces Kistler in the first two performances of OCTET, partnered by Jon Stafford.

I've been hearing that at recent Met performances of RIGOLETTO with opera's hot couple, Netrebko & Villazon, they've been handing out DVD samplers (to the first 400 people who enter the theatre ) showing the two singers in clips from there soon-to-be-released TRAVIATA from Salzburg. It would be fun to see some video component of the dancers at the NYCB website ("30 seconds of Bouder's Firebird...with the big leap!") but in the meantime I'm grateful for the still photos. Just wish they could be archived.

Don't Abi & Sterling look good? And Sylve in that arabesque...great photos.

Thursday 2/2/06 Great start and great finish, but a big lull in the middle. SONGS OF THE AUVERGNE is one of those ballets where eager boys chase demure girls, everyone is happy; the girls dance, the boys dance, some little kids dance. The couples dance. There are "happy family" groups. Children embrace Darci. It goes on and on. The songs, gorgeously orchestrated by Canteloube, were sung beautifully by mezzo-soprano Lucy Schaufer. Darci, looking youthful and dancing with her usual grace, and Philip Neal - handsome, with plenty of showy passages and excellent partnering - were the main couple. Kristin Sloan, Rachel Rutherford, Seth Orza and Jon Stafford all danced flawlessly, and Megan Fairchild - who came out of this with the best role - was very appealing with her many multiple turns. Fine corps of seven, and about a dozen kids. I won't plan to see it again. Evening started with a beautiful BAROCCO; Wendy and Albert were superb and Abi Stafford, despite a fall, is a very refreshing dancer. She and Wendy seemed so happy to be doing these beautiful steps to this wonderful music. Albert's partnering was velvety and shows Wendy off like a priceless jewel. Wendy is elegant, airy. Excellent corps. Sylve's FIREBIRD was a radiant success, probably the finest thing she had done at NYCB. Exotic to watch, and dancing with total command, she galvanized the audience and won a sustained applause and many shouts of "brava", all thoroughly deserved. Jon Stafford complimented her perfectly, very adept and attentive partnering, and a fine actor into the bargain. This is a great part for him. Rutherford looks divine in her splendid red gown at the end, and she danced very well. I again found myself wishing the Firebird was onstage at the finale. Andrea Quinn conducted all evening and the orchestra sounded really good, esp. in the Canteloube & Stravinsky. In my opinion, her upcoming departure is an unfortunate loss for NYCB. At a pre-show dinner on the Promenade, Maria Kowroski was among the guests. She looks great, cheerful & relaxed. Hope she is back onstage soon. Ed Liang, Ashley Bouder, Genevieve LaBean & Merrill Ashley were also there. I would have happily served as busboy.

Thanks for posting the link to this very good story, amanda. What I like most about it is reading about the encouragement and tips that the established ballerinas gave their little sister. This exemplifies what I have always felt about NYCB: that it's more of a family than most major ballet companies. I don't sense big egos at work there, but big talents and big hearts. I'm sure there's the passing jealousy when someone else is cast in a role you wanted to do, etc. But I think on a day-to-day basis, these dancers mostly like one another...and that must make working there both pleasant and fulfilling.

I finally saw this film earlier today. It is just incredible; I spent two hours smiling and weeping - often at the same time. I've never been a ballet history buff, aside from an interest in the Diaghilev era, but this story is just fascinating. It is because of the passion and dedication of the people we see in this film that ballet as we know it exists in America today. Anyone in NYC who hasn't seen it, it's down at the IFC (the old Waverly) on Ave. of the Americas between 3rd & 4th Streets. Only one show per day (11:35 AM) and while there was a decent group watching today I would not count on it playing there very long. Go and lose yourself in this magical footage. A deep "reverance" to the filmakers!

Thanks for the illuminating info, cargill! Hasn't NYCB's version changed alot over the years? I saw it around 1980 (with the spectacular Colleen Neary) and remembered it seemed very long and tedious, with a long scene of the girls tossing apples back & forth. I also think the monsters had more to do, and as I recall Ivan didn't stab Katschei but rather destroyed an egg that was the repository of the evil power. I cannot recall if Neary reappeared at the very end because, aside from her dancing (and the Chagall sets) I thought it was a big letdown. It wasn't until just a few years ago that the chance of seeing Wendy in the role drew me to try it again and it seemed very pared down - maybe TOO pared down - and I was really bummed when the Firebird failed to turn up at the wedding. I think the Firebird hates being captured, but not Ivan as an individual. My impression was that she gave him the magic feather as a sort of ransom for her freedom, agreeing to come to his aid if he ever needs it. And she keeps her promise. About a week before Neary, I saw it at ABT with Tcherkassky. What version might that have been?

But is the Firebird in love with Prince Ivan? I don't think so. She gives him the magic feather in exchange for her freedom and later when he summons her, she brings him the sword to destroy the monsters and gain his beloved Princess. It makes sense for the F.B. to return in the end and I think in most productions, including (based on one of my Diaghilev books) the original, she does. Firebird, unlike Odette, is not the kind of creature to settle down with some guy, Prince or no. She likes her freedom too much.

Saturday 1/28 matinee Fantastic afternoon. DIVERTIMENTO #15 was beautifully led by Clothilde Otranto; she kept things light & swift and clear, but no sense of rushing. Fairchild, Borree, Jon Stafford & Jason Fowler all contributed strongly to the success of the piece; Sterling Hyltin was just strikingly polished and bright, and Abi Stafford continued her fine season with a very impressive performance. Philip Neal seems to be back on pre-injury form and danced superbly. Miranda Weese bowled me over with her magnificent dancing. This ballet has always been an ideal vehicle for her, but today she was just stunning. Being beautiful is a nice asset; being a beauty who can dance like this is pretty amazing. In one brilliant sequence, Weese embroidered the center line, coming forward in a dazzle of allegro steps while I swear sparks were flying off her toe shoes. Magnificent! I could write whole paragraphs about the bevy of corps girls who add so much to this piece, but I'll restrain myself and just note Megan LeCrone's high-drifting extension, Ashley Laracey's total charm, Glenn Keenan's sheer joy...OK, stop me!! MORGEN was again impressive and gorgeously danced. There are so many details - in the steps, partnering and emotional content of the various duets. I'm guessing this is my tenth viewing of the piece and I keep seeing more in it each time. It is a perfect Darci role and she was just dreamy today, and Sterling Hyltin found that last touch of abandon that was missing in her first performance. Jenifer Ringer, the most complex "personality" in the piece, moved and thrilled me as a great dancer can. Luxurious dancing from all three ladies, and the men (Askegard, Nilas & Marcovici) were fine. The flying leap of Hyltin into Sebastien's arms at the end of their duet, when he whirls her up into a lift and carries her off as she swoons in ecstacy, is just thrilling. Andrea Quinn and Jessica Jones served up the Strauss songs with the rhapsodic quality that is mirrored in the dancing. Bouder's super-Firebird - about as perfect a bit of dancing as you are likely to see - mesmerized the house and she was grandly cheered...3 calls. Askegard looked very youthful and Rachel Rutherford is a storybook Princess who danced with gentle lyricism. The Chagall sets remain striking, and Otranto brought us all the mystery of the music, and a wealth of detail as well. However, I really think the production is weakened by not having the Firebird onstage at the end. From what I have read, I believe in the original libretto she is either onstage or sweeps thru during the final "hymn". It would just look so "right" if she were to make a final appearance. Much as SLEEPING BEAUTY must have the Lilac Fairy centerstage at the end, so should the Firebird be there when it is her magic that has made the happily-ever-after come to pass.

I tend to think of the forehead-to-knee dip as a deep bow to Balanchine's genius. Balanchine loved to see his dancers go beyond what might be thought humanly possible. The movement was his idea, and Wendy does it so beautifully and with such musicality. However, I do not think applause is appropriate at that point, nor during the Dark Angel's big arabesque in SERENADE.

Thursday 1/26 Excellent & varied programme, and very well-danced. Ravel's MERE L'OYE becomes MOTHER GOOSE and is one of this luminous composer's most attractive scores. I saw this ballet years ago (Judith Fugate was Beauty) and liked it, and tonight's performance was excellent. The staging is very simple and modest, and the ballet affords opportunities for several corps dancers to step out. Tiler Peck was outstanding as Florine - she turns and jumps beautifully - and Seth Orza was back onstage after quite a long hiatus as Prince Charming. Gwyneth Muller was a gracious Good Fairy. Kristin Sloan was aptly cast as Beauty and danced very nicely with Andrew Veyette making a remarkable Beast..."music hath charms" and so Veyette is eventually soothed and turns on his smile. Savannah Lowery & Jason Fowler were large-scale and flexible as the Empress and the Snake. In the large cast of supporting dancers, Pazcoguin, Scheller, Hyltin, Paradiso, Severini & Villalobos stood out, as did William Lin-Yee dressed up as a very tall Bad Fairy. KLAVIER to my mind is simply an abstract ballet; I'm not sure it is meant to "say" anything. There is a vaguely decadent air, and the Whelan/Marcovici couple seem somewhat angry with one another at first but that evaporates. The Hawaiian "lei" effect on the men's shirts seems to be remnants of jabots. A lyrical duet for Miranda Weese (superbly beautiful, as always) and Albert Evans is later contrasted with the more edgy Whelan/Marcovici pas de deux. I thought Sebastien handled the partnering quite well. Wendy was weightless, strong yet fragile, and wondrously supple and musical. Nice sextet of demis: Golbin, Barak, Hall, Veyette, Tyler Angle and Suozzi. Veyette was again outstanding and, in a brief moment of dancing with Wendy, made me think they could be a very intriguing partnership. Audience response was very favorable. {Edit: Michael was writing at the same time I was, and he has summed up Golbin perfectly. She's a dancer I have loved since picking her out in the back row when she first joined the Company. Anywhere else, she'd have been a soloist long ago. Thanks, Michael!} Magnificent EPISODES to end the evening. Abi Stafford was strong, her articulation crisp & clear; she has become more womanly and has a better sense of making a statement with her dancing since returning from her layoff. Very impressive. Philip Neal was her expert partner & a vital presence. Reichlen's hypnotic legs made the second movement thrilling; Jason Fowler is one of the few men tall enough to partner this very striking ballerina. Somogyi was remarkable; I did not sense she was hampered in any way but rather that she danced with plenty of authority. Marcovici was charismatic and he & Somogyi look good together. I thought Darci was much better here than in MONUMENTUM/MOVEMENTS; she seemed far more at ease and her dancing flowed with beautifully refined arms and hands echoing the mysteriously "modern yet old" music; Askegard took good care of her. Among the many corps beauties, Lauren King seemed particularly fetching, as did Saskia Beskow in the first section demis. I'm enjoying Kaitlyn Gilliland as well.

Amen to that! And we get Scheller in DIVERT, Kyra in IN THE NIGHT, Eddie Liang in EPISODES, Abi in BAROCCO, and Seth Orza returns. Guess I have to make another trek to the box office.

Back-tracking a bit, I also very much liked Ms. Pazcoguin in the one performance of OPUS JAZZ that I saw. She stole the show, in my estimation. I'm glad you reminded me of her in your review, Amanda.

But Anthony, I think it was Suzanne Farrell who first did the forehead-to-knee thing in SYMPHONY IN C. If I recall the story correctly, Suzanne was rehearsing it and was down deep in her penchee arabesque and Mr. B said "Can you touch your forehead to your knee?" and from down below Suzanne murmured: "Like this?" and she did it. And he left it in. I think she also mentioned a night when she was doing the penchee and her tiara caught on her tights which started to unravel. She started coming up, then went back down and luckily the thread came loose. When she finally straightened up, her partner whispered: "What were you doing down there?" This is all from Suzanne's autobiography. In recent seasons, Wendy & Darci have down the touch, Maria K and Sylve left it out. I think it has something to do with the build of the ballerina in question.