oberon

Amen, Nina! Keenan was the loveliest of a lovely quintet of 4 corps girls plus the delectable Rachel Rutherford on Saturday afternoon. It (the prologue Fairy variations and the whole business with their cavaliers and pages) is one of my favorite sections of the ballet and is especially attractive in Peter's production with the beautiful sorbet-coloured costumes.

Believe me, Alexandra and Cagill, I would be the first person at the box office if a bevy of principals were offered in these roles. We could have Borree, Somogyi, Wendy, Miranda and Alexandra.

What companies use principals in these roles? In companies where principals and soloists are paid a per-performance fee, it must get costly. When I saw BEAUTY a few times at ABT about 25 years ago, I don't recall principals among the fairies...they used a mixture of soloists and corp girls.

Probably if Peter's soloist ranks were not depleted by injury this year we would have seen Taylor & Abi S. in that group. I think having corps girls "step out" in featured roles is an NYCB tradition. I remember Merrill Ashley getting bonbons from Balanchine when she was just a kid.

For myself, I relish the chance to see some of my corps favorites take center stage for a few minutes.

Oberon

Some people booed when Ashley took her call on Saturday...booing Carabosse, of course, not Merrill! I love her being portrayed by a glamourous woman rather than a man in drag, which always lends a silly element to the situation. I think it's great to have Kyra & Maria K doing the role...I wonder if Karin von Aroldingen would ever do it?

Yes, it would be nice to have all-principals as the Fairies but this is also a great opportunity to try out the various corps girls in spot-lighted parts. I was sort of hoping van Kipnis & Rutherford might do Lilac this year, but am really anticipating Amanda Hankes in the part.

Saturday matinee 2/21...Jenifer Ringer has the ideal combination of technical accomplishment, lyricism and sheer beauty to make her a magical Aurora. Today she gave a secure, radiant Rose Adagio and a tender Vision scene, then took the level even higher in the Wedding adagio & following solo. It was a great pleasure to watch her at every moment. Neal was an ardent Prince and Kowroski a Lilac Fairy on the grand scale. It was great seeing that living legend, Merrill Ashley, her mobility fully restored, reveling in Carabosse's evil deeds. The prologue fairies (Hanson, Keenan, Rutherford, Mandradjieff & Bar) offered contrasting beauties. The Vision scene was especially nice today. Edge and van Kipnis shone is the pas de quatre and Bouder danced very impressively but I can't get interested in her facially. Likwise Fairchild, whose wide-eyed expression sometimes gives the impression that she is perpetually startled. She & de Luz gave an airy Bluebird pas de deux but Daniel Ulbricht's dazzling Jester made me wonder why NYCB needed de Luz in the first place. I should note that de Luz's landings were softer than previously. There were so many of my favorite corps dancers in various capacities that I couldn't keep track of them all. Newly-promoted Steven Hanna was a noble, exotic Native American "prince" in the Rose Adagio.

The production is attractive, especially the opening projections as we approach the castle and the zodiac wheel denoting the passage of the hundred years. This is a fast-paced BEAUTY musically and dramatically and I like it.

Looking forward to Bouder & Weese Auroras next week.

Michael, you were right to mention Reichlin's need to get stronger ...she has many fine qualities and legs to die for, but her Hippolyta and Tchaikovsky Piano Concerto #2 both had moments of unsteadiness. However, I suspect she will get better as time goes by.

Krohn & Keenan are among my top ten corps girls...both lovely though very different types.

Robert Tewsley's fans will be sorry to hear that, posted in the lobby today, he has been replaced by Askegard in both his scheduled performances of "Gold" in the "Jewel" pas de quatre of SLEEPING BEAUTY...

Any info about this, Alexandra?

thanks,

Ob

I think everyone counts the fouettees. To me, they don't make or break an Odile and I didn't mind in the least when Kyra Nichols or Kowroski stopped midway through and started doing other things to fill out the music. But I do wonder, and maybe some of the dancers here can tell me (us): does the ballerina have a "back-up plan" when she can't finish? Do most ballerinas have something prepared in case the fouettes go awry? How do you decide at what point to stop if you feel you can't finish? Has anyone had a fouettee-disaster: fallen over or bumped into the scenery or swirled herself into the wings?

My greatest fouette memory was Yoko Morishita...the first sixteen were done with every fourth a double. Then sixteen singles, as the orchestra increased the tempo...she whirled right down the center line and climaxed it with a dead-stop on both pointes in fifth. It stopped the ballet for a prolonged ovation. Maybe it was nothing to do with SWAN LAKE, but it was breath-taking just to watch.

Random comments: yes, de Luz does land heavily for a small guy.

And yes, Swanilda in Act III should be "transformed"...that's how Patty McBride played it and how Tcherkassky & van Hamel, two other favorite Swanildas of mine, portrayed her: village girl/ingenue in Acts I & II, pure ballerina in Act III.

I liked Alexandra in the part, despite her wild moments. The night I went she had a nosebleed during the Stalk of Wheat pas de deux. I also liked her very dynamic Firebird, which many people did not. After all, this is an exotic & magical creature, not a little sparrow. I do miss the Firebird's final fly-by in the current staging.

I've been watching Kowroski for 5 or 6 years and this season noticed a new dimension in her Odette/Odile which may be attributed to her having done the role in Russia and absorbing nuances from the older Russian dancers. She always danced it well, now there is more poetry. I think she is "too tall" for LA VALSE and maybe for SONNAMBULA (a ballet I don't really like). She was funny in VARIATIONS SERIEUSES but the humour there was a little too blatant; I liked her even more in THE CONCERT. Her Titania is perfect, and in perhaps the best ballet

to emerge from recent Diamond Projects (PRISM) she was magnificent. Since I don't like "Broadway" ballets, I didn't see BLOSSOM or DOUBLE FEATURE.

I always look forward to seeing her although sometimes she seems preoccupied and a bit distanced from what she is doing. I get a feeling that she isn't the happiest girl in the world...don't ask me why because it is intangible. For sure she is not Suzanne Farrell...though she dances some Farrell rep to me they are not really very similar. Kowroski's legs are mesmerizing; I never felt that way about Suzanne's!

I've never seen NYCB in Saratoga but many years ago went to a concert there and loved the place. It must be wonderful to see the ballet there, and I sympathize with all the folks who will be deprived in the future.

What a smack in the face to Balanchine's memory!

To those who are boycotting and withdrawing support of SPAC, all I can say is: Give 'em Hell!

I didn't see a tie-dye motif in EMERALDS, just foliage...it was attractive. I wasn't crazy about the RUBIES set...the side panels on the DIAMONDS setting did seem to slightly infringe on the dance space.

Tewsley might have been dancing cautiously...considering his injuries since he joined NYCB, you can't blame him for that. As time goes by we should see him cast off his reserve...hopefully. Still, the duet with Rutherford showed what an appealing dancer he is.

I cannot understand people saying EMERALDS is dull...unless you find beauty to be boring. The music and choreography are perfectly meshed. Rachel Rutherford was radiantly lyrical, and looked great partnered by Tewsley in his welcome return to the stage (well, actually his second performance). van Kipnis was beautiful too, esp. her arms, with Fayette (short haircut) an ardent cavalier. Edge & Riggins shone in the Pas de Trois; I was less taken with Carmena.

Weese & Hubbe were brilliant in RUBIES but the corps didn't sparkle and Savannah Lowery failed to make an impression as the pencee girl.

The corps were outstanding in DIAMONDS though maybe slightly hampered by the set. Kowroski does bring an "Odette feeling" to this ballet; she was on very impressive form with many thrilling passages and one uncanny sustained balance. I don't think I have ever seen Philip Neal dance so well as he did today...he was in complete command as a partner and the bravura moments came off with real flair. They brought the afternoon to a grand climax and were well-applauded.

A sold-out house...again.

Great for Steve Hanna but I feel less enthusiastic about the two girls. It is premature for Fairchild, especially.

You are right, Tempus, to point out that every dancer is unique. Kyra is not Suzanne, nor is Maria...and even though Yvonne Borree looks a bit like Mazzo, and Megan Fairchild looks a bit like both of them, they don't have much else in common.

I always try to let each dancer stand on her/his own in a given ballet. Yes, it is hard to forget McBride as Swanilda or Verdy in certain parts, or any of the other wonderful dancers I've seen over the years. But recently I have seen Ringer, Weese and especially Wendy bring something fresh and dazzling to certain parts and I woudn't trade those experiences for anything.

Instead of wanting a "new" or "the next" ________________ (fill in the blank), I want to see each dancer be herself and show us the ballets on her own terms. Otherwise, it's a museum...

BALL & CHAIN: The Janis Joplin Ballet

Now Zelensky's been scatched and we are back to Philip Neal partnering Maria in DIAMONDS...

...and today in the lobby it is announced that Hubbe will do RUBIES on 2/12 and 2/14 matinee replacing Soto...

I think Craig Salstein was to do his first Bronze Idol at the Sunday matinee.

Can anyone who was there tell us how he did?

Ringer & Neal were well-applauded in DONIZETTI; there was one very tiny partnering "bump" and then smooth sailing. Jenifer looked lovelier than ever; Philip got carried away with his turns and maybe tried for one too many. The corps girls were an attractive group: Carrie Lee Riggins shone in her featured moments...Edge, Walker, Hankes, the elegant Beskow, Janie Wolf (whom I'm coming to like more & more). Adam Hendrickson was outstanding in the trio of boys.

Borree & Hubbe renewed their long-standing partnership, both danced very well in BAROCCO with Rachel Rutherford in an appealing performance of the 2nd female role. The corps were fine and I was struck anew by what a perfect ballet this is.

Kyra Nichols in SCOTCH SYMPHONY danced with far more fluidity than she did at the Opening Night...she has a lyricism that seems rooted deep in the music. She seemed to really enjoy herself today and, as I focussed on her for the entire ballet, I wondered if this might be the last time I would see her in this role. Nilas was an amiable and attentive partner, van Kipnis the soloist, and Steve Hanna stood out among the boys. Korbes, Krohn, Hankes & Beskow graced the stage with their contrasting beauty.

A short afternoon...over by 4:00. I must comment that the 2 violinists in BAROCCO had ill-tuned their instruments and were a bit jarring. They seemed to correct this for the adagio.

I did notice in the lobby today that van Kipnis replaces Ringer in EMERALDS...I guess so Jenifer can prepare her COPPELIA. Kipnis & Fayette should make a nice pairing.

I can't think of a better Valentine than JEWELS...unless it were BRAHMS-SCHOENBERG...

Fingers crossed for Robert Tewsley...Rachel R & Ringer in EMERALDS? Lovely.

Edge & Riggins? Miranda? Maria? I'm there!!!!!!!!!

Just read the transcript...super!

I am very lucky to have met both Wendy and Albert in the course of my work (in retail) and they are among the most interesting, kindest and SEXIEST people I've encountered. And I've encountered a lot of people!! One of my dream castings is Albert & Wendy in BUGAKU...

I just cruised thru the NYCB website...there is news flash that Igor Zelensky will dance DIAMONDS 2/12 and 2/14 matinee.

rkoretzky,

Yes, I know exactly what you are trying to say about SERENADE and especially that moment. I cannot put it into words either. I feel like crying just thinking about it!

I loved Helene in the part, and was lucky to see Kathleen Tracey do it...one of her

last roles with the company. And I agree, Maria is perfect. I saw Sylve, it's a whole different feeling but I liked her...and hope to see her again...soon! It's good to see many different interpretations and savour the variety...

I'd like to see Wendy try the Angel role, I saw her once in the main role which she seems never to have repeated. I also saw Ashley in a rare appearance.

I know these roles have names: Dark Angel, Russian Girl, Waltz Girl. Were they given these titles by Balachine or just by fans to identify the different "characters"?

As a former horn player I can tell you, the instrument is not easy.

I imagine that most professional musicians would like to be playing in a major symphony orchestra. And preferably as a Principal. Being as those jobs are limited in number, people find their own niches. I have often admired the orchestra at NYCB even though they do not all seem to be first class musicians.

They play a huge span of styles, from Bach to Adams, and the sheer number of ballets in the rep (far more than ABT, though the pieces are shorter) means lots of rehearsals with rotating conductors. One could say: they are professional musicians and the level should be higher. Maybe so. They are also human. Even the Met orchestra, which Levine has honed to be probably the greatest opera pit band in the world, has off-nights, bloopers, early entries, blown-out lips, etc. Like any other job, even if you love it and work your butt off and give 100%, you can still screw up. I have a friend in the NY Phil and I know he is a great player and takes his job very seriously, but I've heard him make mistakes.

All that said, I sometimes wince when things go awry. And I don't really like to see the players reading, whispering to each other, etc. But I suppose somewhere in the union rules it says a pit musician who must sit thru a piece in which he plays only a few measures can quietly read when he is not playing. I guess that's better than having them come and go from the pit when their "moment" is over.

I think Quinn is doing pretty well. As for being "fast", I think speed was always associated with NYCB. Maybe we have gotten lulled by conductors slowing down things for some of the older dancers. I suppose accomodating the dancers is part of the job, and so is pushing them sometimes. Couple years ago, Quinn was conducting for one of the senior ballerinas and I thought, "This is way too fast...she'll never make it at this tempo." But she did, and gave one of her best "late career" performances.

Final note: the other day when leaving SWAN LAKE I passed a man saying to his wife "Wasn't the orchestra wonderful?" and then, downstairs by the door, two women complaining how poorly the musicians played, ruining the afternoon for them.