Balanchinomane

The performance began and ended with a solitary figure in white onstage. With such a warm audience in attendance all he needed to do was just stand there. But boy, did he dance. He danced as beautifully as he ever had. There were so many moments in both Apollo and Opus 19 that are etched in my memory as gestures of farewell. The first flower was a single white rose tossed onstage when Peter and Wendy were still in front of the curtain. She picked it up, kissed it and handed it to him. He got on one knee and kissed her hand. My binoculars were fogged up by my tears but I believe the 3 raven haired muses presented flowers - Boree, Weese and Ringer and Maria Kowroski. The were all glammed up in party attire - hope they all had a wonderful time. The flowers and golden confetti rained down and we hated to see it end. I think the people who left early were running down to the orchestra - the aisles down there looked full of people trying to get closer to the stage. George B Fan, once you see Union Jack from the 4th Ring, you'll never want to sit anywhere else!!!!!

Saturday Matinee 5/28 I would have enjoyed seeing the original full length Baiser de la Fee. In contrast, the Divertimento has no story so we can concentrate on fine dancing to fine music. Again Balanchine tells us what is most important. De Luz and Fairchild are technically proficient but don't yet have the sparks we want to see. Maybe with more experience we will see some spontaneity from them. Tala Gaisma is complex and has a lot of references to Apollo. It is a final piece for Jock and a gift for 3 ballerinas who have a last chance to dance with him. I never saw Jock as Apollo - he must have done it - anyone know how long ago and with whom? BS Quartet was very well done - Kyra was so elegant and well partnered by Hanna. The intermezzo was outstanding. Can Jenifer Ringer be more beautiful? She and Fayette are lovely together. I'd like to see them in Baiser de la Fee. Of course Whelan and Woetzel brought the afternoon to an exuberant close. 3 curtain calls for them too. We tried for a 4th ........maybe next time.

End of week 4 already? Highlights were the great casts for 4 Temps, Rubies, Emeralds, Glass Pieces and Polyphonia. Polyphonia is clearly inspired by Balanchine. It was interesting to see it on Tues following 4 Temps and Sat following Stravinsky VC - both pared down masterworks. It does not copy, but the choreography pushes the dancers to do things we haven't seen before and lets us "see the music" in Balanchine tradition. How else can you describe Ansanelli's quiet solo and make a simple off-balance waltz seem hypnotic. The duets for Jock and Wendy are sublime. They move together as one body. She could fall from the sky and he would catch her softly in the palms of his hands. It is mesmerizing to watch them. And how about the lights casting the dancers shadows on the back wall in the 1st and last movements. This is a Wheeldon ballet that will last. Not the over-budgeted, over-produced pieces like American in Paris. I predict in 10 years we will be reminiscing about this Ballet with this cast.

May 07 matinee - Apollo - Nilas and his Muses - Weese, Sylve, and Kistler gave a fine performance. When the 3 muses approached Apollo for the first time, Terpsichore smiled broadly and Apollo grinned back. Never saw smiles in this ballet - maybe it was spontaneous joy. NY Export : Opus Jazz I loved it - the musical score is great - 50's style jazz - Snapping fingers and swinging ponytails. Standouts were Georgina Pazcoguin and the duet with Rutherford and Hall. It is so full of life and Robbins' cleverness. The girl's costumes looked OK but the men would look better in jazz pants. Did beatnik men wear tights? American in Paris It's difficult to do justice to Gershwin. There is no attempt to tell a story - it is a frothy walk in the park. Woetzel is a happy tourist, weaving among the Parisiens. He encounters a luminous Jenifer Ringer but their dance together is casual rather than romantic. Carla Korbes has a good part - more soubrette than temptress.The ballet seemed short - as fast paced as all those Parisiens. Or maybe it was Andrea Quinn's conducting.

Albert Evans!

I saw Sylve in Stars in Feb. and she was excellent - a bravura performance- holding her balances etc. But during the section she stands downstage she was almost hyperventilating she was so out of breath. By contrast Tuesday night, Ansanelli looked as if she could run through it again, and she was in Union Jack as well. Maybe it's a result of Alexandra's SAB training.

Other than being home with my family, there's no where else in the world that I would rather be than the State Theater. The joy I've had from watching NYCB is immeasureable. Mr. B died 22 years ago today. Maybe he would be surprised that his ballets and ideals have been preserved for so long. His legacy continues to inspire everyone involved. And that's very special.

Thanks for the thread Ari, it sounds ghastly. The image of the always elegant Nina Federova in such a position would linger in my mind also. It sounds like a bad opera ballet. And so we are better off without it. Of course, it wasn't Balanchine............

The tryptych was called Entente Cordiale and was performed in its entirety on closing night on July 2 1978. The second section was the salute to France, Tricolore. It was choreographed by Martins, Bonnefous, and Robbins after Balanchine's illness in 1978. George Auric was commissioned to write the music.The leads were Neary, Luders,Ashley, Lavery, Von Aroldingen. We can speculate of it's revival or reworking - it would make a full evening length performance like Jewels. Did anyone remember what it looked like? The 1st Regiment of Stars and Stripes was called Corcoran Cadets led by Allegra Kent and the "short girls." I recall some ballerinas actually twirling the baton. Last night Sterling Hyltin used it like a conductor's baton.

Another Opening - Another Show I loved last night's performance. The Barber sandwiched between two rousing masterpieces was irresistible programing. Contrary to the NYTimes review there was not "too much marching." Nor was it "monotonous." Everyone looked fresh and strong and happy. It was alarming to see the sparse crowd upstairs -- it looked like the orchestra was full except for the front edges. There were no program inserts replacing Jock. They were printed with Evans and Neal's names. The Playbill has a nice 5 page article about Peter Boal entitled A Glorious Career. The June issue will probably do the same for Jock. During MacDonald of Sleat someone's sporran fell off and was in the path throughout that variation. Fortunately it didn't cause a problem and was scooped up unobtrusively as they marched off. I am looking forward to Kyra as the Pearly Queen - Jenifer Ringer is fabulous in the role but then I felt that way about Patty McBride too. I still think we're fortunate to have as much talent as we had in the past.

Thanks for the tip. I went to the box office this morning. I got 4th Ring right - row D for Boal - F for Soto. I'm boycotting the Gala - no Balanchine or Robbins What's up with that?

Theme and Variations with Baryshnikov at NYCB in 1978. At 5'2" and blonde we would have looked smashing together!

Another great line from My Favorite Year occurs when O'Toole's character finds out he is guest starring on a live television show. He says "I can't appear live on stage - I'm not an actor, I'm a movie star."

Rimsky-Korsakov's Capriccio Espagnol. Performed by NYCB, of course. The tone is Spanish - castanets in the orchestra. The Ladies in red and black tutus - the Men in toreador pants and black velvet bolero jackets. The overall look is very Russian - fast and sharp and brilliant......... a huge ensemble of 40 dancers in a grand Petipa/Balanchine finale..... Oh, I've dreamed about it for years and recast it many times. This piece of music is so exciting - it is perfect for a Ballet. Peter, can you hear me?

I recall a Royal Ballet Production about 20 years ago - Anthony Dowell pulled Leslie Collier along on a piece of cloth --- it was stage left to right --- and I think this was the version Peter Wright did using archival material. It's not in the recent production video 2000. Maybe Leslie took her magic carpet with her when she retired.

I don't think anyone could equal Merrill in Ballo. It is so perfect a role for her. I liked Kyra Nichols perform it afterwards. Her approach was more like Merrill's in her lyricism. Bouder looked like an athlete to me - I still have trouble watching her. I can't look at her face. It looks like she is wearing a mask. I hope I get over it because she's taking over more roles and I want to enjoy her as much as everyone else seems to. I'd like to see someone choreograph something especially for her -- she is such a gifted dancer. I liked de Luz and the rest of the cast. The corps was well rehearsed and I think the costumes are new. Four T's with this cast would be hard to beat. It was near perfect. As usual - the only skunk at the picnic was Boris Eifman.....

I saw Merrill Ashley on the Promenade. She's beautiful. And she looks so happy. For me, she's the quintessential former Ballerina. She's like an Ambassador for the Company. She took part in so many of the Centennial programs and events this past year. I think I saw her imprint on Sofiane's brilliant debut in Tchaikovsky Pas de Deux - the use of her head and upper body - coupled with Ashley's speed --Wow. Octet was pleasant to watch. Very good dancing, a nice piece of music and lovely costumes. Holly Hynes designed those too - Raspberry for the allegro and Jade for the adagio. Her designs always show off the work so well - she is very talented. Liturgy was the Best-In-Show. What are we going to do without Jock? What is Wendy going to do without Jock? They are sensational together. We have a wonderful year to look forward to. :rolleyes:

Reminder - Tuesday Nov. 16th - 700pm - Barnes and Noble Union Square. Teachout and Gottlieb will discuss their books - moderated by Robert Greskovic.

I was dismayed to see it's on the schedule for Winter Season. Also the ticket prices are increasing $3.00 across the board. Not much if you're a First Ringer---- but a whooping 25% increase for Fourth Ring Society tickets. Oh well, it's still the best bargain in Town and still a privilege.....Wish I could be in Saratoga tomorrow - looks like two joyful performances to end on.

Yes - that Other NY State Funded summer theater ----- Not only the Joffrey --- The National Ballet of Canada was there every summer for two weeks, John Clifford's Los Angeles Ballet, Villella and Company, Cranko's Stutgartt ( Yes - Cragun and Haydee in Taming of the Shrew) Pennsylvania Ballet, Nureyev and Friends...etc all the Modern companies - Graham, Taylor,Cunningham, Pilobolus, all in the 70s and 80s. And Aaron Copeland conducting....etc etc. Artpark was terrific and had a huge dance audience. It whet my appetite for more - that's when I started going to Saratoga too, and as I craved more I finally moved to NY. :rolleyes: And live happily ever after.

What I don't understand is who do they think is going to be replacing NYCB? What 21 consecutive spectator events will each attract 3000 people in July? What are the crowds like for the Philadelphia Orchestra? On the SPAC website they've posted ticket sales as of July 5, and NYCB has brought in more than twice the money Phil Orch has. Or would they rather see the theater dark. It is all so distressing.

I used my last ticket on Sat Afternoon. But on Sunday I wandered over because I could not miss Sofiane's debut in Stravinsky VC. What a terrific cast. I cannot get over how exquisite she is. For those of you who havn't seen her yet she resembles Catherine Zeta Jones only prettier. She has nailed the 3 most complex Stravinsky Ballets and every thing she's done this season and she is just getting started with the Company. With Ansanelli and Hubbe, she and Marcovici got that elusive 3rd curtain call. The houselights had already been turned on. The applause continued as they bowed in front of the curtain - the whole theater ablaze. Viva La France !!!

Yes, Jerome Robbins requested no program notes be included. That was always the case and after his death the Company continues to respect his wishes. He wanted his ballets to be viewed at face value with no preconceived ideas. NYCB is still Balanchine's Company and will be as long as the former members and associates are involved with the School and the Company. Many of the current dancers were inspired by seeing performances and videos of his work and as they end their stage careers may decide to stay on. So as long as there is a theater to showcase his works and hopefully Robbins, and a receptive audience, this is still his house. As his works continue to be staged all over the world, his legacy will continue.

You're right. If Hollywood were to make a bio of Balanchine this is what we would get. They'd use his personal life salaciously to attract an audience. Remember that awful Ken Russell film about Tchaikovsky? Musagete is reminiscent of that. The irony is the fact that it was a good idea. The image of him working with his dancers - teaching, demonstrationg and creating variations from the classroom to performance could have been lovely. NYCB could have done it - too bad they didn't think of it first.

Apologies are in order to Bach, Tchaikovsky, Balanchine and Karinska. Yes. the costumes were awful. The Finale tutus were especially garish and cheap looking. The dancers had at least 3 different costumes --- I think Ansanelli had 4 changes plus the tutu --- maybe she was all 4 wives, each in a different outfit. I still don't see where Kisselgoff saw Zorina. They must have spent a fortunes on all those costumes. Maybe they can salvage the chair on wheels and use it in an office. One of the grants for this piece of drek came from the New York State Council on the Arts Dance Commissioning Program, whoever they are. Maybe the chair cost the equivilent of the Pentagon spending $700 for a toilet seat. I just had 2 Reeses peanut butter cups.