Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Dale

Board Moderator
  • Posts

    3,511
  • Joined

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Avid balletgoer
  • City**
    Hartford
  • State (US only)**, Country (Outside US only)**
    Connecticut

Recent Profile Visitors

6,142 profile views
  1. Other news: AMERICAN BALLET THEATRE WELCOMES BARRY HUGHSON AS NEW EXECUTIVE DIRECTOR NEW YORK, NY (March 14, 2024) – American Ballet Theatre and Andrew Barth, Chairman of the Board of Governing Trustees, are delighted to announce Barry Hughson's appointment as the Company's new Executive Director, effective July 1, 2024. Hughson, known for his transformative leadership within the arts sector, joins ABT with an impressive track record from his previous tenure at The National Ballet of Canada, where he was pivotal in strengthening the company’s financial foundations and international stature. Hughson’s career is distinguished by his commitment to the arts, demonstrated through his strategic leadership roles at some of the most respected ballet companies, including the Boston Ballet and Atlanta Ballet. His achievements encompass a broad range of initiatives to expand audience engagement, enhance financial health, and foster artistic collaboration. At The National Ballet of Canada, he led significant projects that elevated the company’s profile and ensured its sustainability, underscoring his ability to merge artistic vision with operational excellence. Andrew Barth expressed his enthusiasm for Hughson’s appointment, emphasizing the alignment of his experience with ABT’s mission: “It is a great honor to welcome Barry Hughson to ABT. His commitment to the arts and his visionary leadership are exactly what ABT needs as we move forward. Barry's ability to balance artistic excellence with operational acumen promises an exciting new chapter for our beloved institution.” Susan Jaffe, Artistic Director, shared her anticipation of collaborating with Hughson: “What a profound honor it is for me to work alongside Barry as we chart ABT's future. His leadership and dedication to the arts will undoubtedly enrich our Company, furthering our commitment to excellence and innovation.” Barry Hughson shared his vision for ABT’s future: “ABT is an American treasure and holds an important place in dance history. It is a profound honor to help navigate post-pandemic challenges, pursue opportunities for growth, and protect a Company that I have loved from the time I was a young ballet student dreaming big dreams. I look forward to working with the exceptional team at ABT, Andrew Barth, and Susan Jaffe to continue the legacy of excellence and to introduce our remarkable artists to wider audiences. Together, we will write the next chapter in the storied history of this remarkable Company.” With Hughson, the Company looks forward to continuing its tradition of excellence and innovation in the world of ballet. For more details about Barry Hughson's professional journey and vision for American Ballet Theatre, please visit abt.org. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®.
  2. I did eventually get it sent to me. Yes, they said "check your junk folder" but it wasn't there. That's fine. About the pictures of Farrell and d'Amboise from Apollo. It's so weird that they're credited as from 1972 when Farrell was no longer in the company. They are probably either the 1960s when the two were filmed performing Apollo. Anyway, I really do hope this book comes out. The forward talks about Croce's mastery as a critic but that in her book, she's grappling and wrestling with a swarm of thoughts on Balanchine's work. I'm totally there for that.
  3. Yup. Same. From Helene's experience, I figured somebody forwards it by hand, so I waited until business hours the next day. When I didn't receive anything, I emailed. But never heard back. I'll try to track it down next week if it doesn't come.
  4. I've been picking my way through this. Pleasant nighttime reading. I do find it interesting where Homan goes heavy on a topic and where she just glosses over. For example, she had a page or so on the composer Xenakis and practically nothing on Gelsey Kirkland. She looked closely at Balanchine's use or non-use of Black dancers, quoting from an interview she did with Mel Tomlinson before he passed away in 2019, yet didn't mention Debra Austin, for whom he made an indelible solo in Ballo della Regina. Homan writes a lot about Arthur Mitchell but never mentions the charming pas de deux Balanchine created for him and Mary Hinkson for The Figure in the Carpet. Seems odd not to mention, in the context of a discussion on Balanchine and race, the two times he did choreograph parts on Black women.
  5. Official release: NEW YORK PREMIERE OF WAYNE MCGREGOR’S WOOLF WORKS TO HIGHLIGHT AMERICAN BALLET THEATRE’S SUMMER SEASON AT THE METROPOLITAN OPERA HOUSE, JUNE 18 – JULY 20, 2024 FORMER ABT PRINCIPAL DANCER ALESSANDRA FERRI TO APPEAR AS GUEST ARTIST IN WOOLF WORKS SUBSCRIPTIONS ON SALE MONDAY, NOVEMBER 20 AT 12:00 P.M. NEW YORK, NY (November 15, 2023) – American Ballet Theatre’s 2024 Summer season at the Metropolitan Opera House, June 18 – July 20, will feature the New York Premiere of Wayne McGregor’s Woolf Works, as announced today by Artistic Director Susan Jaffe. The season will also see the return of Tony Award® winner Christopher Wheeldon’s Like Water for Chocolate, as well as beloved classic productions of Onegin,Swan Lake, and Romeo and Juliet. Principal Dancers for the 2024 Summer season include Joo Won Ahn, Aran Bell, Isabella Boylston, Skylar Brandt, Daniel Camargo, Herman Cornejo, Thomas Forster, Catherine Hurlin, Gillian Murphy, Calvin Royal III, Hee Seo, Christine Shevchenko, Cory Stearns, Devon Teuscher, Cassandra Trenary, James Whiteside, and Roman Zhurbin. New York Premiere ABT will present the New York Premiere of Wayne McGregor’s Woolf Works on Tuesday evening, June 25 at 7:30 P.M. Woolf Works, an award-winning ballet triptych, re-creates the emotions, themes, and fluid style of three of Virginia Woolf’s novels: Mrs. Dalloway, Orlando, and The Waves. Enmeshed with elements from Woolf’s letters, essays, and diaries, Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism. It brings to life Woolf’s world of “granite and rainbow,” where human beings are at once both physical body and uncontained essence. Woolf Works has received notable recognition and outstanding critical acclaim. The full-length contemporary ballet won the Laurence Olivier Award for Best New Dance Production, and McGregor was awarded the Critics Circle National Dance Award for Best Classical Choreography for the work. Created for The Royal Ballet in 2015, Woolf Works is structured into three acts: “I Now, I Then,” “Becomings,” and “Tuesday,” each starkly distinct in visual design and choreography. Woolf Works features choreography by Wayne McGregor and music by Max Richter, with set design by Ciguë (“I Now, I Then”), We Not I (“Becomings”), and Wayne McGregor (“Tuesday”); costume design by Moritz Junge; lighting design by Lucy Carter; film design by Ravi Deepres; and dramaturgy by Uzma Hameed. It is set to receive its North American Premiere by American Ballet Theatre on April 11, 2023, at Segerstrom Center for the Arts in Costa Mesa, California. Woolf Works will be given seven performances through June 29. Alessandra Ferri, former Principal Dancer with ABT from 1985 to 2007, will make a guest appearance for two performances, on Tuesday, June 25 and Friday, June 28, during ABT’s 2024 production of Woolf Works at the Metropolitan Opera House. The performance on Friday, June 28 will be dedicated to honoring Ferri and her career. Full-Length Productions ABT’s Summer season will kick off with seven performances of John Cranko’s Onegin beginning on Tuesday evening, June 18 at 7:30 P.M. with Devon Teuscher and Daniel Camargo in the leading roles. Set to music by Peter Ilyitch Tchaikovsky, arranged and orchestrated by Kurt-Heinz Stolze, Onegin is based on the verse-novel Eugene Onegin by Alexandrer Pushkin. Onegin received its World Premiere on April 13, 1965, by Stuttgart Ballet in Stuttgart, Germany. The ballet received its Company Premiere by American Ballet Theatre on June 1, 2001, at the Metropolitan Opera House in New York led by Julie Kent (Tatiana), Robert Hill (Onegin), Vladimir Malakhov (Lensky), and Maria Riccetto (Olga). This new production, with sets and costumes by Santo Loquasto and lighting by James F. Ingalls, was premiered by National Ballet of Canada on June 19, 2010, at the Four Seasons Center for the Performing Arts, Toronto, Canada, and was first performed by ABT on June 4, 2012, at the Metropolitan Opera House. Onegin is staged for ABT by Reid Anderson and Jane Bourne. Week three of ABT’s Summer season will open on Monday evening, July 1 with the first performance of Swan Lake, led by Isabella Boylston as Odette-Odile and Daniel Camargo as Prince Siegfried. Set to music by Peter Ilyitch Tchaikovsky, Swan Lake is choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov and features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile) and Angel Corella (Prince Siegfried) in the leading roles. The ballet will be given eight performances this season. The Friday, July 5 performance of Swan Lake will be a “Corps de Ballet Celebration” to honor ABT’s world-class talent in the corps de ballet. Kenneth MacMillan’s Romeo and Juliet will open on Tuesday evening, July 9 with Devon Teuscher and Aran Bell in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere by The Royal Ballet in London on February 9, 1965, and was given its ABT Premiere at The John F. Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985, with Leslie Browne and Robert La Fosse in the leading roles. Romeo and Juliet will be given seven performances through July 13 at the Metropolitan Opera House. The final week of the 2024 Summer season will feature seven performances of Like Water for Chocolate beginning Tuesday evening, July 16 at 7:30 P.M. with Cassandra Trenary as Tita and Herman Cornejo as Pedro. Based on the bestselling novel by Laura Esquivel, Like Water for Chocolate tells the story of Tita, a young Mexican woman who is overwhelmed by a sense of duty and family tradition. Tita’s only form of expression is through cooking, but her life takes an unexpected turn when she falls in forbidden love with her neighbor Pedro. From the award-winning team of choreographer Christopher Wheeldon and composer Joby Talbot, this co-production with The Royal Ballet features scenery and costumes by Bob Crowley, lighting by Natasha Katz, and video design by Luke Halls. The ballet received its World Premiere by The Royal Ballet on June 2, 2022, at the Royal Opera House, Covent Garden, London, led by Francesca Hayward as Tita and Marcelino Sambé as Pedro. It received its North American Premiere by American Ballet Theatre on March 29, 2023, at Segerstrom Center for the Arts in Costa Mesa, California, led by Cassandra Trenary as Tita and Herman Cornejo as Pedro. The Friday, July 19 performance of Like Water for Chocolate will celebrate Herman Cornejo’s 25th Anniversary with American Ballet Theatre. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet for families, is scheduled for Saturday, June 22 at 11:00 A.M. All tickets for ABTKids are $25. Subscriptions Subscriptions for American Ballet Theatre’s 2024 Summer season at the Metropolitan Opera House, on sale beginning Monday, November 20 at 12:00 P.M., or online at ABT’s website www.abt.org. *All casting, programming, and pricing are subject to change. ABOUT AMERICAN BALLET THEATRE American Ballet Theatre is one of the greatest dance companies in the world. Revered as a national treasure since its founding season in 1940, its mission is to create, present, preserve, and extend the great repertoire of classical dancing for the widest possible audience. Headquartered in New York City, ABT is the only cultural institution of its size and stature to extensively tour, enchanting audiences for eight decades in 50 U.S. states, 45 countries, and over 480 cities worldwide. ABT’s repertoire includes full-length classics from the nineteenth century, the finest works from the early twentieth century, and acclaimed contemporary masterpieces. In 2006, by an act of Congress, ABT was designated America's National Ballet Company®. Swan Lake is generously underwritten by R. Chemers Neustein. American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. Leadership support of ABT’s New Works Initiative is provided by Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT Today Fund, advancing the Company’s mission; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion. ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council. For more information, please visit www.abt.org.
  6. Mmm. That's an interesting question/point. I certainly don't think she should be played in some earthy way, some commonplace way. But some dancers sort of sketch in the steps seemingly in an effort to appear barely there. I thought it was interesting that Phelan noted that she had been trying to make herself to nonexistent and she was corrected by Kent. From the NYT article: The heroine may be walking in her sleep, but “she’s not expressionless,” Kent said. “You can’t come in like a zombie.” ... “You are sleepwalking, but you’re aware,” Kent said. “You’re in another realm but there’s something going on within you. A great tragedy that is not explained.” ... “You can still be active, but if it gets all tense then it looks like you’re putting on a show instead of it coming from a genuine place,” Phelan said later. “If I’m just being myself and actively doing something, I’m not sensing everything in my body. So that’s what I’m trying to bring it back to.” When she first danced the Sleepwalker, Phelan wanted to prove that she could be ghostly, waiflike, light. “What I’ve discovered from Allegra is that I may have been going too far with that,” she said. “You let yourself be involved emotionally. I think I was trying to stay so disassociated.” And then I think of the atmosphere of the gathering. It's slightly sinister. It's not a wholesome gathering. This isn't a good place. And what the Poet represents in Balanchine's work. What the seeker represents. And what the seeked (or the woman pursued) represents. So, yes, more than just a woman. But not a fairy. But I think the mischaracterization of the Sleepwalker was part of a larger change that was going on within the company's dancing in the previous 20 years. I think there has been a reversal, but during this period, plies became shallow, batterie so microscopic as to appear not to be there, arabesques were given short shrift. Always the emphasis on the up and not the down, which is not the way Balanchine wanted it (see some of the coaching videos on YT). In comparison to this, were other companies coached by people like Villella or Farrell with deep plies and digging deep into the floor to rise up, the steps always fully done. I first saw LS with Kent, McBride and Farrell. Kistler and Nichols were also good. Then those wispy performances. Janie Taylor was a natural for the role but it was given to her too late and sporadically. Seeing clips of Lovette perform the duet in Vail made me think she should have had a chance at the part, too. Meanwhile, I did see excellent productions with the Cincinnati Ballet (coached and reconstructed by Frederick Franklin [with help from Bart Cook] with Kristi Capps as the Sleepwalker) and the Suzanne Farrell Ballet (with Chan Hon Goh), performed right after 9/11.
  7. I loath the new Who Cares? costumes with the force of a thousand suns and have been in a snit about them all day! They are too long, too heavy. They aren't opaque so you can't see the legs. A good portion of the ballet is the women's legs. The skirt should be at mid-thigh and should float. Not only that, they are completely unflattering to the women I saw in them. Only Peck looked remotely attractive. For the others, the bodice and neckline was unflattering and the tule tufts coming out from between the heavy jeweled panels, made everybody look heavy around the middle, rectangle-like. Just a complete disaster. If you had never seen Who Cares before and saw it now, you'd wonder "what's the point of this?" The dresses completely obscure the dance. And it's worn with bare legs. I'm not against bare legs in ballet, but you have these bridesmaid-like, tackily jeweled 60s-era looking cocktail dresses and then bare legs. I'm very salty about this! I was much happier Wednesday. Apollo, however, was a bit off. Danchig-Waring danced beautifully in a sculptural way but he was a mature Apollo throughout, there was no progression. Maybe that's what we get in Balanchine's last truncated version of the ballet. It is harder for some dancers to make the first solos confidently danced but with a hint of gawky youth required without having that initial birth and wobbly earlier moments. The three muses...maybe they rehersed the ballet faster than it was played Wednesday night because I found all of them had to insert little bitty steps to fill out the some phrase because they finished early. Or something. I definitely saw steps I don't normally. Like, Phelan's Terpsichore. When she first comes out for her solo, she paws at the stage with her toe and then does a shift this way and that. But she added a few steps in there so that she pawed less and shifted more or maybe it was the other way around but I was like "huh?" The same in the middle of the solo when she sort of steps out in a circle and comes back where she is. This has gotten very exaggerated over the years - and now it's almost like a harkening back to the longer version of the ballet when Apollo makes his first gawky steps. The opening of the pas de deux also had an unwelcome change. When Apollo ends up on the ground then holds out his finger, Terpsichore walks on and as she does, Apollo looks away. She touches his finger and then she looks away. Then the high strings come on to begin the pas de deux, Apollo turns to look at her and then she looks at him. But on Wednesday night, I noticed he looked at her throughout. I don't remember if he eventually did look away but I definitely noticed that he didn't look away when he was supposed to. Sort of ruins that moment. Beyond that, the pas de deux was well done. I love La Sonnambula. There's an old thread somewhere on the board about ballets we love that are seldom done well. And this, for me, is one of them. I have felt in the past with some casting that the Sleepwalker was being done as some apparition, a Sylph or Willi. And because of that it was danced in a light, lightest, lighter way, with the steps sort of sketched in. She is not supernatural. The Sleepwalker is a real woman. Not a vision. Not an apparition. It is best when danced full out with proper weight given to the steps. I thought Unity Phelan, especially fresh off being coached by Allegra Kent, gave a marvelous performance. For once, there was minimal laughter during the pas deux, maybe because, like me, they had their heart in their throats. I admit to swallowing down a cry after the deep backbend and the way Unity stepped out of his encircled arms. The rest of the ballet could use some fresh eyes on it. The entertainment pas de deux was quite lovely with Jacqueline Bologna and Davide Riccardo. And Daniel Ulbricht lived up to his high standards as Harlequin. The Pastorale was a little underpowered as it was and then there was Lars Nelson's unfortunate injury. I do glory in any moment to see Olivia Boisson (and Kristen Segin) dance a soloist part. Andrew Veyette projected the authority of the Baron well. I usually find Ashley Laracey's instincts quite good but is there a movement to make the Coquette a sympathetic character now? Maybe nobody likes playing the bad guy. Not that I think she should be played as some one dimensional vamp but her name is Coquette! I also think there was way too much reluctance to go into dinner with the Baron rather than the Poet now, with some extra bit of clutching at him before being swept off stage. The Coquette weighs her options pretty quickly and while there maybe a backwards glance, she's made her choice in that moment. The best move is to be the Baron's dinner partner, not stay behind with the Poet. I don't like this new change where she is seemingly torn from the Poet's arms with no agency. Tchaikovsky Piano Concerto No. 2 was transporting. Loved Sara Mearns, as always. Tyler Angle provided way more than just able support, looking good in his solos. And Emily Kikta makes a statement in the solo role. I also loved seeing India Bradley and Bologna guide the cavalier and be guided by him in the 2nd movement as the corps rush through the arbor they provide. Now, these costumes I wasn't sure about. But I think they look better on stage than they do in photographs. I'm a convert on these. (although I do think that contract with Swarovski is a deal with the devil - everything now is bedazzled within an inch of its life).
  8. I think it's just something one gets used to seeing. I'm used to seeing Tyler with this look and so after the first nod of recognition Wednesday night, it blended in for me. I really liked him in Tschaik Piano Ct No. 2. ETA: people used to say the same thing about skin color or large hair, short hair. My feeling is, the more you see it, the more it just blends into everybody else. For example, one of the male dancers in La Sonnambula had naturally relaxed hair. There's a movement now to be more culturally sensitive on the issues of hair and tights etc... It wasn't a problem for me. But I think maybe 20 years ago or earlier, people would have complained. Same with tattoos. Used to be, those were always covered up. Now people are leaving them (mostly in modern roles). There have been male dancers at NYCB that wore hair pieces or bald spot coverups and I'm OK with people embracing how they are now. As long as they're fit to dance and are neat, clean etc...
  9. Yes, that was a consideration for me. Not to get too off topic here. I'm still masking. Took MetroNorth in, then the Shuttle over, then the 1. Due to a combination of luck and commuting savvy honed over decades of experience, I had an empty car on the Shuttle and then I finessed a seat on the 1. Took a taxi back to GC. It was expensive but a person pissed off at my driver cutting them off threw a bottle into the car - at least it was entertaining! Yes, I realized a lost a lot of city walking energy and stamina. And it was a lot of mask time. Going again but I'm going to drive in. I hope you enjoy your trip!
  10. I thought that the open class was just a fund-raising thing. I doubt it will happen more than once a season. (Doesn't the Miami City Ballet have one of their rehearsal rooms open to the street outside?) Probably just a little bone to throw those who contribute at the $250 level or something like that. I was a member for a few seasons and the company doesn't really have much to give you other than watching rehearsals. They don't want to give you a discount on your tickets. And I didn't contribute enough to get into the nice lounge that's open during the performances. I loved watching the coaching sessions. As for viewers watching orchestras warm up - happens all the time! Most warm up in the pit while everybody comes into the performance. And the NY Phil has had open rehearsals and run-thrus.
  11. Agree. I had seen Miller in Agon with other partners and really like her in this. I forgot who said it but I remember a male dancer lauded for his partnering said in an interview if your partner comes off point while you're partnering her, it's your fault. Period. Hopefully, Walker will sort that out.
  12. I finally returned to NYCB for the first time since the pandemic on Sunday. I was thrilled about nearly everything. I had been aching for the company to bring Bourrée Fantasque but with proper casting (and I hope it stays in the rep). Mira Nadon and KJ Takahashi were fun, sharp, stylish in the first movement. The two had all the fun details down but also looked natural and not contrived. I love the 2nd mvt Prelude. It's just one of those Balanchine dream movements and everything was flowing and rippling. I was sort of surprised that the audience continued to laugh in this movement. I suppose it's because the program notes said it was "comic" aim at ballet "conventions." Mmm. Emilie Gerrity had just the right swoon power and Gilbert Bolden was ardent with some of the smoothest partnering. There's some tricky partnering and he made this one great save that made a would-be fluff into something triumphant. Alexa Maxwell and David Gabriel led all the jumping in Fete Polonaise with verve. The finale is so much fun. Love the patterns. Love the costumes. And the music. Hope it stays. Several years ago, I interviewed Susan Pilarre when she staged the ballet for SAB (and then later MCB) and she said that in the 50s and 60s, it was regular rep and everybody would have been in it at one time or another, like Symphony in C. The program ended with Slaughter and it was just so much fun. Sara Mearns gives the best performance in this. I know some reviews says she's more "Vegas" than Balanchine but she's the only dancer I've seen (several companies) in this in decades who doesn't dance as if they've got a running plan of the steps/movements in their head like "Now I bump my hip, now I thrust out my leg, now I put my foot down..." The movement flows out of her naturally as if she's dancing in a club. But the steps are all there. Andrew Veyette was one of the best all-around Hoofer I had seen in awhile. Sometimes, it's hit or miss if the the guys have tap or jazz dancing in their background and the steps are sort of tailored to hide that away. Not saying Vedette was another Savion Glover but I didn't watch with my heart in my throat worrying for cringe moments where we all just pretend he's tap dancing! 😁 He also was a good partner for Mearns and they danced with fun and abandon. The whole company looked good. Another nod to Bolden as the Boss (me thinks somebody is going to be promoted to Soloist soon). Saved Agon for last because it wasn't a wholly satisfying performance. I would say the first pas de trios was the most realized, especially the dance with the two women --Meaghan Dutton-O'Hara and Ashley Hod (although they could still use more epaulement - there's been a flattening out over the years). I'm not sure what I thought of Jovani Furlan's solo. For the most part, good. Could use refining. The second pas de trios started with a bang with Isabella LaFreniere seeming to hang in the air. But there seemed to be timing issues overall and in the men's duet. Isabella's solo was very elegant and musical. It almost stood out weirdly from the rest of the section. Everybody seemed sort of tense in the rest of their section. The pas de Deux had some things...I liked Miriam Miller. She has the beginnings of performing it in a very cool detached Diana Adams way, rather than the scorched earth style some later interpreters had. But, and I feel badly pointing this out, I didn't find Peter Walker the right fit. I feel badly because I just don't think I've seen enough of him in principal parts to make a judgement on him overall. The partnering bit where the man drops down on the floor didn't come off well. He's not particularly flexible nor strong in the upper body (again, I don't want to say this with so much certainty because maybe he has a ton of strength in a role I haven't seen him in). I think maybe not the best part for him but he's tall and Miller needs a tall partner. All in all I was delighted to be back in the state theater. I used to live near the center of the NY metro area and could pop in whenever I wanted AND DID! Now I'm on the outer edge and while not impossible, it takes more planning, more time to attend. I was feeling a little sad to miss the big alumni reunion (I had been there for the 50th - God, I can't believe it's been that long) and for various debuts and retirements. But it was good to be back.
  13. It's a geographic exclusive. Not available in the US but in Europe for Medici subscribers. (you can play around with your location to possibly gain access)
  14. It seems like it was a Medici TV recording and already available to watch (with some VPN magic and an account). Still, the first time the NYCB is going to be on PBS in a long time, although we were spoiled with those YouTube videos during COVID.
  15. ETA This was originally announced in the season press release but without a date. The New York City Ballet is going to be seen on PBS Great Performances on October 27, 2023. It was filmed in Madrid and features George Balanchine's Serenade and Square Dances as well as The Times Are Racing by Justin Peck. https://www.pbs.org/wnet/gperf/new-york-city-ballet-in-madrid-about/15047/ The casting is here: https://www.medici.tv/en/ballets/new-york-city-ballet-performs-george-balanchine-justin-peck-serenade-square-dance-times-are-racing-teatro-real-madrid Square Dance excerpt:
×
×
  • Create New...