Balanchinomane

Mr. Gottlieb has spoken: http://www.observer.com/2007/b-t-s-new-sle...restless-fiasco

The cuts made to Aurora's Wedding led no build up to the Bluebird Pas de Deux. Too much of the opening music was played to a closed curtain - there were only 16 wedding guests, called Courtiers, dressed alike in white and their promenade steps were rather small in contrast to the expansive music. It's a shame to have cut the fairy tale dances - the Cats, Red and the wolf, Cinderella and her Prince were beautifully costumed and interacted with eachother charmingly. But that was it. Florine/Reyes was brought out in a covered cage and Bluebird/Cornejo let her out. She was suitibly grateful and danced as a princess showing no birdlike tendencies. The dancing was superb. The final scene is less satisfying than Martins. The kingdom is less populated and a curious plot change prevented the King and Queen from attending the wedding. The final tableau lacks the majesty it should have. And what they do to Wiles is downright scary..... So the curtain calls were watered down - we didn't get to applaud Jaffe, Barbee, and Chapman. But we did get to thank the Directors --- especially Mckenzie, Kirkland and Misha Chernov. A very exciting evening - Bravo and Brava to all.

I have a program from May 11 1985. The cast was Patricia McBride and Sean Lavery and 30 corps members. The program notes only talk about Gounod and his Symphony. and "This revival, dedicated to the memory of Edwin Denby, is made possible by a generous grant from The Jerome Robbins Foundation....." I remember a review stating that a pattern in the corps choreography drew snickers from the audience as it resembled a giant asterisk * At least I know that reviewer was not Edwin Denby. I remember it being light, frothy and very charming. I was disappointed it was not revived for the Balanchine Centennial. So it's good to know it's still around.....

No - but I remember Fancy Free being on the program this weekend as recently as 2004.

I enjoy Carousel too. Morgan and Orza did have that young lover's approach - very sweet. A big contrast to Woetzel's self assuredness and brashness that literally swept Tiler Peck off her feet - a lovely, mature pas de deux. Peck is also young but has that self abandonment that makes it exciting to watch her. Hope to see her tonight again in Sym in 3mvts. I have to see Mearns again in Walpurgisnacht. It feels like she's 3rd generation in this also underappreciated ballet - Nichols always played it straight - Mearns was stretching to the limit - so much like Suzanne. And she's a brilliant turner. In the 2nd solo she does a sequence of what I thought were chaines but she was spinning so fast it looked like her left toe never touched the stage. (Technical explanation ? please.) Someone is taking good care of La Sonnabula. You can't take your eyes off Hubbe - even when he is seducing the coquette on the bench. Wendy was all mystery, so light and etherial. A wonderful performance by all. It is Fleet Week and dress whites are all over town. There were 2 sailor couples in the 4th Ring. The ladies liked La Sonnabula the best. The men loved Kowroski!

When ABT first performed La Bayadere there was a review (perhaps Croce) entitled Makarova's Miracle. Of course today's success was the result of some very hard work and determination. The Shades were nearly flawless. Veronika was beautiful - she embodied her character with such passion and purity in her love for Solor. This story really is similar to Giselle. Gamzatti is the glamourous other woman - Solor is as clueless as Albrecht by not following his heart. And in the end he is forgiven. After the problems of the Gala, today was redemption.

At the Guggenheim Works and Process Wes Chapman spoke of the tension backstage surrounding the Rose Adagio. He said every ballerina he had seen was visibly apprehensive pre-performance, and that most of the cast members watched it from wings in a show of support. Afterwords there was a collective sigh of relief and the dancers went on to enjoy the rest of the performance. As much as we don't want to believe it, dancers are human. Part recovered quickly and it probably won't happen again.

And I thought the only decision I'd have to make is whether to wear the Vera Wang or the Badgley-Mischka

When P.M. and Kirkeby restage Jewels, the Alexandrite will take the place of both Emeralds and Rubies - thus changing the Ballet to two streamlined acts. After one intermission Diamonds will be restaged and renamed Cubic Zirconia.

Mr B's 100th birthday, Jan 22 2004 - along with a zakouski of cake. Did you know that Jewel of Russia is the official vodka of NYCB?

Just got home - I loved it. Hyltin became a star tonight - Fairchild her passionate consort. The characters told the story without a lot of mime - it seemed modern, concise and spare of acting - it was mostly dance ---- the comaraderie of Romeo and his friends - Ulbricht drew the most applause. You'll hate Jock Soto for hitting his "daughter." The set was cool - just one piece with moveable parts.The costumes were beautiful without being too fussy - the colors worked well together except Tybalt, the only one in bright yellow. The sword fighting is amazing, the orchestra was great, a very satisfying and enjoyable production. Me thinks it's a hit - Peter gave a little speech about Lincoln - and introduced President Clinton as sitting in the seat Lincoln used to sit in - the joke being Lincoln Kirstein was the President of SAB so tonight he could be called President Lincoln. It was kind of lame, considering what happened to Pres Lincoln in a theater. But people laughed. Wonder if Clinton stayed for dinner?

It was a wonderful opening night. Everyone looked fresh and sharp and happy - The stars were out last night and the audience showed their appreciation. Lots of curtain calls - it wasn't a new crowd - these folks knew who they were seeing. Ellen Bar subbed for Reichlen as Choleric, Reichlen did the 2nd Pas de Trois in Agon. So many standout performances - just wonderful casting. Suozzi as Melancholic, Sylve, Kyra, Whelan and Evans, Veyette. The Crown Jewel is Symphony in C. Scheller is as grand as Ringer in 1st Mvt.-perfect placement. Kowroski is expansive and regal, expertly partnered by Neal. Bouder and DeLuz well matched. He poufs up his hair which adds a little height. Each couple took a call back bow - Tiler Peck bounced on stage just as they were called back. She stood still with that infectious smile - thought she would start clapping too. The large photos were not yet hung on the promenade balconies yet - hope to see them up tonight!!

Tuesday, Wednesday, and Friday for me!!

There should have been flowers for Miranda Tuesday night - I hope they do something special for her tonight - she deserves to be acknowledged for all the joy and pleasure she has given us throughout her career here. While there are many roles she may never perform again, she probably will be seen again in the parts Wheeldon created for her in Evenfall and Klavier.

If anyone should have been exhausted Tuesday night it would have been Whelan and Evans who had lead roles in both Klavier and Russian Seasons. Marcovici was scheduled for both Klavier and Melancolic but Tom Gold subbed for him in 4T's. So this blocked program was tough on those Principals. And at first I was disappointed not to see Evans as Phlegmatic!! But La Cour was very good ---- as was the whole cast. Maybe the Times Critic was dozing off and only saw a "blur of steps". Another very unfair review of a very fine evening.

Yes, Yes - Episodes was a fine performance - Bar and Amasar are well matched - Janie Taylor looked fantastic - in top form with Marcovici - Kowroski's Ricercata sings. Interesting to see a "real" black and white ballet next to the "fake" as is Tribute. It's to very danceable Bach and a very watchable ballet. Lots of references to Mr B's work, especially a lot of Barocco steps. It's broken down into 8 parts so it doesn't really flow. The opening soloist Devin Alberda is outstanding. The costumes are black and white practice clothes except for Ashley Bouder, clad in grey. Her pas de deux with TAngle is lovely. At one point he offers his hand and she taps it away - a reminder that Mr B's Ballerinas can dance it alone. The finale was like a reverance - a respectful Thank you to Mr Kirstein and Mr B for giving the dancers and the audience such wondrous gifts. And thanks to Chris D'Amboise for this fitting addition to the repertory. Vienna Waltzes rounded out the evening. Vienna Woods is a good role for Mearns, partnered with JAngle. She looked lush and elegant. Woetzel and Weese were sprightly as Springtime on a cold winter's night. Oh how I'm going to miss her - Although she embodies the Merry Widow, I'd love to see Jenifer Ringer in der Rosenkavalier.

At the matinee I sat in A-123 and he hummed during Monumentum and in Symphony in 3. It was annoying, yet fascinating to hear a melody line that wasn't always obvious. Maybe he only hums to complex scores. I asked the people seated near me what they thought - no one I asked heard it - guess I was the youngest in the area

Saturday Jan 6 Matinee was a wonderful performance. Whelan and Hubbe are both so experienced and secure in their technique - it was a pleasure to see them portray their characters so believably and dance so well. Wendy is more well known for the plotless modern ballets but she reminds us time and again that she is a true ballerina, capable of a flawless Rose Adagio and a majestic Wedding Pas de Deux. I love Merill Ashley's Carabosse - she is as scary as the queen in Snow White and oozes evil down to her splayed fingertips. Wish there were more opportunites for her to be onstage. The corps looked well rehearsed - the Garland dance in particular looked great. The soloists that stood out most for me were Megan Fairchild as Florine, Veyette as the Bluebird, Ulbricht's jester, Reichlin's Diamond, fairies Lauren King, Ellen Bar and Alina Dronova. And how about Ask La Cour as the King - he looked like Louis XIV. Jennie Somogyi as the Lilac Fairy told the story - she was divine. Every step, every gesture, every emotion on her face moved us along. I wanted to jump into the boat too. I hope this production with this company lasts happily ever after.

I was hoping for at least one revival ---- wishing for Farrell's restaging of Don Quixote. This is very distressing.

It would be more fun to rent a Winnebago, picking up Ballet Talkers along the way out west. We can all camp out in Helene's driveway. The Aurora I'd like most to see this year is Rachel Rutherford.... along with a promotion to Principal. :huepfen024:

How about fulfilling his wish for the Audobon themed ballet, Birds of America? I wish the State Theater would commission statues of Balanchine and Kirstein for the Promenade. That would be so appropriate.

If you can, by all means see Ferri/Carreno. I love Alessandra, so anyone she falls in love with is ok with me. Carreno was very very good. It's such a demanding role - the bravura dancing with his friends, 3 major pas de deux, the sword fights, and the acting ability to tie it all together. I like the way the characters drive the drama and get us emotionally invested in the story. Craig Salstein was brilliant as Mercutio - humorous and playful - you can understand Romeo's rage when he is murdered. Sascha Radetsky as Tybalt was the neighborhood bully. The Paris character should be slightly repulsive - Juliet's parents are insensitive to their daughter - it is her nurse who knows her best. The production flaws are minor except for the Balcony Scene. Alas, from the Family Circle, you can only see Juliet's feet. It's a worse frustration than in Swan Lake when you can't see Odette in the window. I can only imagine that parting is such sweet sorrow. However, Juliet/Alessandra's silent scream in the tomb reaches the rafters and almost makes up for it. I would go again but opted for Hallberg/Herrera Saturday afternoon. I know I will love them as well.

It was a delightful performance. I had been looking forward to Gomes as Conrad, but was thrilled by the Hallberg and Wiles partnership. They were so comfortable together and looked like they were really having fun. She is such a strong technician (think Cynthia Gregory) she barely needs a partner but when he touches her she is pliable. He spun her so fast and lifted her so high she could have been airborne. I could kick myself for missing their Swan Lake and Sylvia. Now I'm already looking forward to seeing them next year. I was very impressed by Riccetto's Gulnare. I'm used to seeing her as an odalisque or in a peasant pas de deux or trois - she's ready for more principal roles. Carreno, Lopez, and Radetsky were exciting without showing off too much. This is a fun Ballet to watch and I'd like to think the dancers enjoy it as well. Too bad ABT doesn't have some of the marketing Disney has this summer for its pirate movie, which is PG. Le Corsaire is entertainment for everyone.

After hearing how wonderful Vishneva would be it was disappointing to see such a mediocre performance. I sure didn't expect the wobbles and missteps. Carreno was fine on his own, but together they looked like they had never met let alone rehearsed. The main difference between her Odette and Odile was her facial expression. And the 3rd face when she took her bows. There were many good things about last night. How wonderful to see Frederic Franklin onstage. I wish more retired dancers would be cast in character roles. Would Jacques d'Amboise ever want to be Drosselmeyer? Radetsky's solo work in act 3 and the way he slumped on the prince's throne to watch the show. The 4 petit swans were perfectly unified with quick, sharp footwork. The corps and the soloists did a terrific job. The Pas de Trois was the best - now there was chemistry. I wish Erica Cornejo would have been the lead. She will be missed. What always bothers me is that old can of worms about the guest artists vs the permanent company members. Oh well, if it had been the one, definitive, perfect Swan Lake then my quest would be over. I'm doomed to go again and again, back to the swamp, er lake.

Farrell Fan, I wish you would write a book!!!