Balanchinomane

This past weekend was like the last volly in a fireworks display. Saturday's matinee featured 2 beautiful performances by Miranda Weese In Memory Of and Klavier. Wheeldon's Klavier is as lush and mysterious as the Beethoven piano sonata it is set to. It was well received and hopefully we'll get to see it again next year. Western Symphony was a delight - the cowboys all swagger and the gals flirty. Somogyi is looking great and Nilas is always the cavelier. Evans is a real ham and Hyltin took the cues from him well. I also like Fairchild in that role. Sara Mearns showed us that fouettes can be fun - she didn't wear the hat - maybe it was in Ringer's dressing room for that night's Vienna Waltzes. Saturday night - Baiser de la Fee - Fairchild and DeLuz are very compatible - but it's also good to have seen them paired with others. Fairchild subbed for Borree in Voices of Spring with Antonio Carmena Sat and Sunday. DeLuz with Weese in Voices of Spring last week, Scheller in Slice to Sharp, and Stering Hyltin 3rd mvt Sym on C on Sunday. Friandises is wonderful to watch - how can humans move so fast and with such precision. Tiler Peck and Dan Ulbricht are outstanding. This is a great piece to show off the talent in the corps. And the audience loves it. Rachel Rutherford is particularly elegant with Hubbe in Vienna Woods. Explosions Polka linked Carrie Lee Riggins with Arch Higgins on Sat, Tom Gold on Sunday. Ringer and Martins - the Merry Widow. For Rosenkavalier Kyra Nichols drew extra applause and she was divine. It's such a sentimental role for both the dancers and the audience members. Selfishly, Vienna Waltzes probably will never be set on another company because of the cost of the sets and the costumes. The last performance Sunday led with Symphony in C. Again, Somogyi was strong in the 1st movement with Jonathan Stafford. Quinn conducted the 2nd Mvt as slow as I've ever heard it. Whelan and Askegard. No other words are necessary. Abi Stafford and Albert Evans 4th Mvt. Andrea Quinn came out front twice for curtain calls - she was all smiles. Vienna Waltzes closed the season. Another terrific year. Thanks, NYCB

It was a magificent performance in every way. Coincidentally, last night was Tango Night at Midsummer Night's Swing. So we walked into the Met to the mournful melodies of tango music as some mere mortals shuffled around the makeshift stage in Lincoln Center Plaza. The theater was jammed to the rafters and despite the many outbursts of applause the ballet ran through without any showstopping interruptions. The entire cast delivered a perfect performance. After the routine curtain calls the tributes began. The curtain rose with Julio alone stage center and one after another the company members and friends came out with flowers - piling them up in a large mound. Some details I recall - when the conductor, Charles Barker came out, Julio gave him a bear hug lifting him off his feet. Amid the shower of flowers and silver confetti, someone handed Julio a bottle of beer and he took a couple swigs. At one point several pals lifted him to their shoulders as he waved and smiled. An Argentine flag was tossed onstage and he draped it around himself. Throughout all the clapping and cheering he smiled broadly and was clearly humble and appreciative of the crowd's response. About 1120pm he and Alessandra took their last bow together in front - he came out one more time alone - and he was gone. It was an unforgettable experience - an indelible memory.

Last night's Giselle was so special. Reyes gave a wonderful performance - so charming in the first act - so ethereal in the second. Bocca's final Albrecht was technically as strong as his first must have been. From his first entrance in Act II it was apparent he was going to say farewell to us as well as to Giselle. He stood center stage and gazed out at the audience, his head and eyes moving from the orchestra up to the balconies and down again. We were thus transformed into participants in this sad farewell. It must have been my imagination but I think the music became slower - Xiomara was more reluctant to leave him - the final flower dropped at his feet. After he placed the flower on her grave he ceremoniously took off his slippers and left them on the stage. This Albrecht was not left on his knees as the curtain fell - but stood proudly, turned away and slowly walked off the stage........ Life, Love and Loss - Everything is at the Ballet. Thank you, Julio -

I was thinking the same thing - Tyler was a romantic partner In the Night Wednesday, Romeo on Thursday, the Red Violin lead and a Fancy Free sailor on Friday. I kept looking at the roster thinking they got the Angles mixed up....and his debut in Liebeslieder last month was unforgetable.

Just got back from the matinee - a very entertaining ballet. Something for everyone. Gillian Murphy was sweetly vulnerable - David Hallberg a regal powerhouse. Their dances together had a lot of Cranko-like lifts and tosses. There was a lot of dancing for the corps - the garden creatures, and of course the ball-goers. The ball gowns were all black and silver 1920s fashion - the men handsome in white tie and tails. The stepmother wasn't wicked but was a hilarious parody, drinking from flasks hidden in the kitchen set. She reminded me of Carol Burnett in one of her character sketches. I liked these stepsisters much more than the "drag" sisters from other productions. I saw Kristi Boone and Marian Butler and they were genuinely funny, and yes, they stayed in character even in the curtain calls. There seemed to be additional music- even a tune from Prokofiev's Lt. Kije. Or maybe I had never heard the whole score. I had only seen TV versions before. The sets and costumes are art-deco inspired and the whole production is new and inventive. I loved it and would recommend it , NY Susan.

Thanks for the detailed reviews - the stars were lined up for a spectacular evening. This one goes down in my book of Great Performances. Bravo, ABT

So happy to have seen Kowroski in Barocco last night - Those effortless extensions and sharpness without appearing mechanical. Evans makes her look weightless. Stafford is a fine "Second Fiddle", engaging both the corps and Kowroski. I always think I like the first part of Liebeslieder more until I see the second part. Then I want to see the whole thing over again. It's almost too much to take in at one sitting - too gorgeous for words. I love this cast. American in Paris was a real crowd pleaser...Sara was kookie in her red beret - was it just last year we saw Carla Korbes originate this role? I wish they would get rid of that scrim - you can't see what's going on. Or is it my eyesight that is failing.....

The tattoo is on his right nipple area and looks like a sunburst or multi-pointed star. I noticed it from the 4th Ring Friday night, but couldn't make it out until Sat from the 1st row orchestra. I was lucky enough to see both Hall and Marcovici in both Cage and After the Rain. I'll never forget Soto in After the Rain, but they both are excellent successors as was Wendy's responsiveness with her new partners.

I guess I was comparing them, as W and W's performances are the ones I've seen most recently. You are right - Mearns debut was extra special and she will grow into the role and add her own spice to it.

Check out your local library. My library branch has it among a lot of performing arts videos.

I can't compare Mearns and Askegard with Whelan and Woetzel's Rondo - they didn't have the same fire - The schmaltzy abandon comes from extreme confidence - more experience is needed.

Not to forget Peck and Ulbricht! What a lineup! See you there!

As I recall that scene - Ansanelli was being coached by Sara Leland for her debut in Serenade. The Company was in dress rehearsal and Sara told Peter that she was ready for the performance. He indicated that he wanted to see her dance it. Alexandra approached him and said, (paraphrasing)" Is it all right if I don't dance full out - I want to save it for the performance." Peter said "what are we doing here then." She said "You want to see all the emotions...." he cut her off and said "Yes". The tour was almost 2 years before she left and she had so much success in that time - it seems doubtful that incident was that important. I wondered if the film was edited before or after she left. Either way I don't know why they left it in. It's unfortunate so much of the film focused on her, especially with all the footage they had to work with. I would love to have an uncut tape of the performances at the Maryinsky. ~~~~~~ Moderator's note: I'm going to close this thread. Phase II of Ms. Ansanelli's career starts here: http://ballettalk.invisionzone.com/index.p...95&hl=Ansanelli

Giselle, so glad to hear how much you enjoyed Sara Mearns. It will be fun to watch her progression through the repertoire. I've come to terms with the Russian Dance in this respect - the lady's costume is similar to the Arabian/Coffee number from the Nutcracker. A quote from Balanchine approving the scanty outfit was "something for the fathers to see". Maybe PM is tipping his hat to Balanchine and all the fathers who drove us to Ballet Class and paid for our lessons. Just a thought...

There would be a red swan pas de deux, and the jester's costume will be a Nehru suit. Hopefully we'll all be around for the next revision to share the joys and the inevitable horrors. Keeping in mind that most everyone detests this production, look how many attended multiple performances. After all, it's the timelessness of Tchaikovsky's score, the brilliant dancing, and of course these dancers that couldn't keep us away. For those unable to attend at least once, Orange you all Green with envy

Sorry Oberon, no swans this Spring. Just got the Spring Brochure in the mail. Seven Diamond Project premieres, 3 Wheeldon 3 Martins, 7 Robbins, 16 Balanchine. The only full length ballet is Midsummer Night's Dream. Maybe we'll see multiple Titanias.... Glad to see Liebeslieder and Vienna Waltzes back. How would you like to see Mearns as the Firebird?

Sara was simply exquisite. She looked completely at ease and secure in the role. The emotional emphasis in Swan Lake has always been Siegfried's love for Odette. With this performance you see Odette falling in love with Siegfried. Tentative and shy at first and more trusting and mature as the Act II pas de deux unfolded. Her arms had the right amount of flutter - her back is pliant and flexible - She really let Nilas lead her movements but she was clearly in control. As Odile, she knew she was the prettiest girl at the party. The pas de deux was a seduction. She was ever present of Von Rothbart's evil daring and sought his approval as our hapless hero was duped. I didn't miss the fouettes - she has lots of time to perfect them. This young lady has a bright future.

It was a stellar opening night. Barocco and Symphony in C are indestructible. Whelan was superb - Ringer was gorgeous - Fairchild sparkled. Everyone was energetic and smiling - they looked as happy to be there as we were. During the first intermission I overheard a reference to Martin's Ballet as a "Fearful Symphony" - a rather loaded malapropism.

This is distressing news to me also. She's become a dancer of such magnitude that I thought she had the staying power to become one of the great Ballerinas of NYCB. It's hard to believe the Rep was not enough for her. Her statement echos some of the things she said in the June 2004 Dance Magazine cover story. "When I have a challenge, I give it 100%...I always think about the possibility of what I desire, and that it's reachable." And her disappointment in her debut as Aurora -"I knew I could have done better.....but I know I'll master it in the future, because I'll make sure I do." It looked like there were endless opportunites within her reach. Is there any company in the world with as large and varied Rep and a long performance schedule to match? She certainly won't get to dance as often. Maybe she is aiming for quality of performance rather than quantity-- perfectionism a la Kirkland. I hope not. All I know is we'll miss her in so many roles she has done and only wonder what she may have become in the future.

I loved seeing him dance with Jenifer - Those are memories they will treasure their whole lives and we were privileged to witness them. And I'm with you, Kathleen - I would have given anything to be in the Corps. Can you imagine learning Serenade? Well, our only hope is Oprah's Wildest Dreams Contest!!!

I went last night and really enjoyed it. It was a very eclectic mix of Ballets. I think Nilas has inherited his father's gift of programming. You would think these dancers would be exhausted this time of year but everyone really sparkled with high energy. Whenever I see a section of a Balanchine Ballet plucked out for a showcase I marvel about its ability to stand alone and be enjoyed by itself. Such was the case with Harlenquinade pas de deux - Fairchild and DeLuz with 8 students from SAB and Symphony in 3 Mvts with Weese and Evans. During the Stravinsky as they did the "helicopter step", an airplane was flying overhead. Bouder's Allegro was Brillante - partnered nicely by Martins. If we had been indoors, Tarantella would have blown the roof off. Tiler Peck showed her fancy footwork and a great big smile. Dan Ulbricht was totally in character at every moment and was spectacular. I love him in this piece. Valse-Fantasie was dreamy and pretty - Abi Stafford and Amar Ramasar looked nice together. A Fool For You was a nice finish. I hadn't seen it in ages and forgot how entertaining it is. The costumes are nicer - the girls lost those awful ankle socks. DeLuz was outstanding , especially in "It Should've Been Me." The audience loved this piece and reacted to the whole performance with enthusiasm. It was a beautiful evening - SRO in fact. Now if only all these people would buy tickets for a Thursday night in January at the State Theater.............

Now you see it, now you don't ----- it appears that Front Row Center has been pulled from the website , not to reappear until January 11, 2006. Was it something we said? Where can we get a Fix - I'm having withdrawal symptoms already.

Yes - she danced Elegie with the thrilling abandon that we long to see in so many roles. I will never forget her. It looks like Ellen Bar is inheriting her parts.

It was such a heartfelt performance in so many ways. A tribute for Jock that he scripted himself to pay tribute to 5 choreographers and as many dancers who would fit onstage. He looked so happy - they were all having such a great time. It wasn't as sad as Peter's farewell because he will still be around the theater - teaching, coaching , and being everyone's friend. What a wonderful send off. What a wonderful day. Only one bit of sad news - at the Fourth Ring Discussion we were informed that Carla Korbes is leaving to join PNB with Peter. We will really miss her. When I heard the laughter during the flag signals I thought maybe they were spelling out J-O-C-K S-O-T-O. But I guess not too many audience members can read them!

A favorite film of mine is Garbo Talks - it is both funny and sad. The scene where she dances in the hospital room is priceless. She has left us with some wonderful entertainment. Sympathy to her family and friends.