rkoretzky

I really don't want to beat this topic to death, but on the subject of Ashley Bouder--she has not appeared here at all. Disappointing, because after her successes in spring season I was looking forward to another opportunity to see her. Megan Fairchild was a wonderful choice for Swanilda, very likely the best possible choice at this time, but someone else should also have learned the role. Amanda Edge comes to my mind--she is looking spectacular here. She has a beautiful jump and very clear technique. She was far and away the standout in Chaconne, where Darcey and Nilas were muddled and sloppy (yes the old Nilas was back!), Amanda was a piece of crystal and they were a plain old rock. I'd like to see a softer port de bras and less upper body tension from Amanda, but she has come a long way since the last I saw her. Another small dancer who could be a lovely Swanilda is Lindy Madrijieff. I was not happy with the last few times I saw her (memorably and not for a good reason, I made a trip to NY to see Prism, and she was--umm-not good), but she has improved tremendously and I am eager to see more work from her. So there are other possibilities, but at this point, no one else knew it and was able to do it.

I'll second that, Cargill. One of yesterday's performances should have been pulled. Yes, Megan got through both Swanildas without major problems. Actually without minor problems. If anything she became more comfortable in the role with each performance. More comfortable, yes, but not stronger. Many that I talked with commented that she seemed fatigued by the end of the ballet. It is a most demanding role. Far be it from me to suggest that someone else who isn't at 100%--such as an injured Jenifer Ringer-- be forced to dance such an arduous ballet. Instead, a repertory program should have been substituted for one of yesterday's Coppelias. The programs are always subject to change and it has been done before. The issues, as I see them, are: 1. We have all seen this disturbing pattern before, and it is distressing to think that it will continue to happen. 2. Principals and even soloists can say "no". A young corps kid who is eager to please her boss and get ahead (and probably loves to dance so much that she wouldn't consider it) cannot turn down an opportunity. It is up to the administration to avoid stretching the employee to the breaking point. 3. The fact that Megan was able to get through yesterday without incident is immaterial. It should not have happened, and I feel perfectly comfortable saying so. She still has another performance tomorrow. The cumulative effect of this type of overwork is what troubles me. At some point it is likely to catch up and overtake her. Oh yes--that was truly a terrifying moment when Laurent slipped. His split jumps had been absolutely incredible. And I must say a word about Eva Natanya's Prayer in the matinee. She made me cry. Dana Hanson and Dena Abergel both danced the part beautifully--Dana with serenity and Dena with radiance...but I have never seen Eva dance with such purity and spirituality.

Oh! Would that it were the casting for a fourth Saratoga week! Symphony in C, Serenade, Dances at a Gathering--three of my very favorites and none seen at SPAC this season. :angry: Many of us are ready to buy plane tickets for Russia! Closing weekend is so sad...

Carbro, I did hear something but it was in the realm of backstage gossip, so I can't repeat it here.

It was a lovely idea--the debut of a fresh new talent on the SPAC stage, in a role originated on that stage by a beloved ballerina. And it was successful--at least 90 percent. Megan Fairchild is a delight, a tiny sparkler with precise technique AND, even at this early point in her career, a style of her own. Her Act I Swanhilda was close to perfect. I might like to see even more made of Swanhilda's little fits of pique, but that will come as she grows into the role. She had all the small allegro steps right where they needed to be. The "ear of wheat" had the proper poignancy. Act II, what many call the core of the ballet, came across well--it is my least favorite act, to be truthful--there is too much story and no pas de deux!--but Megan made a wonderful transition from doll to girl. You could see each step of the transformation as it happened. Robert LaFosse was a terrific Coppelius, and I think in part because Swanhilda/Coppelia was so believable, the audience could understand why he believed. She enhanced his performance--how many times can that be said of a newbie and a veteran? (thanks to my daughter for clarifying that point in my mind). By Act III, so-young Megan was beginning to tire, and that daunting pas de deux seemed to make her nervous--well duh! She seemed to be concentating so much on getting through the steps that Swanhilda's newly mature personality did not emerge, and I missed Megan's bright smile (such fond memories of Patty)--it wasn't there. The performance lost nothing technically, every hop on pointe and flashing turn was there, and the coda was a thrill, but it will be ever better as she develops in stamina. I can't wait to see how she grows as a dancer. BUT. Alexandra Ansanelli has pulled out of her 2 scheduled Swanhildas and Megan will be doing all four, including 2 on Thursday, matinee and evening. I am no dancer, but I have to think this is foolish, foolish, foolish. This young lady is a wonder, and if she is overused now, I shudder to think of what could happen to her. I am sure we all remember similar scenarios. Don't the powers that be ever learn?

Dale, she did talk a bit about upcoming events, especially as they relate to the Balanchine Centennial. There will be a series of four lectures, the first one on November 16 and 17 (phooey--I have plans to be in Florida and will be seeing MCB, but still....). There are also more video projects in the works, including a very exciting series with original dancers of Mr B's works coaching new dancers-- YAY and HOORAY! Among them, Helgi Tomasson and Maria Tallchief are the ones I remember offhand. She indicated that there will be other events, NY Public Library and Manhattan School of Music were two venues that she mentioned, some of these are Foundation and some are Foundation supported. Additionally, there has been "talk" about another "Balanchine and" video--she mentioned Tchaikovsky, but my impression is that is very early stage and heavily dependent on financial issues. It should be an exciting year! And re Stephanie Jordan's books: I have read "Moving Music", but not all of it. Like the film, it is dense and tough going. I think she is brilliant, and that she has the most interesting career. I was most fortunate to hear her speak about two years ago and I won't forget it.

OK then! I'll do that here, and if one of the moderators thinks another place is more suitable, it will move. I am very pleased with yesterday's program. As it turned out, we were competing with two other dance events in town. I just hate when that happens! We go for months here longing for things, and then everything happens at once. But we were aiming for different audiences, so no big problem. Jenifer Ringer was doing a children's program at the mall, so we didn't have young kids, just as well since my program would have bored them silly. The dance museum had a workout program, so the fitness buffs went there. And we got a group that was interested in the cerebral...so it was all good. We had about 50 people, not bad on a day of glorious summer sunshine. Nancy Reynolds began the program. I asked her questions from a prepared list that I had emailed to her: about the video project and the foundation in general, about the intended purpose and audience for the video, about Stephanie Jordan's background and her own. We could have gone on forever but held that part to about 45 minutes because Nancy had to get back to the city and the video is over one and a half hours. Some attendees got restless during the video, some watched part and had to leave, but the majority stayed right with it, and that is no small trick: the material is dense and complex and it requires close attention. Afterwards I introduced Chuck Joseph who is a friend of mine, and we followed the same type of question and answer format: Stravinsky and Balanchine and their backgrounds, their friendship, the structure of the music, memories as related to Chuck by Stravinsky's son, who was his teacher. It was a long afternoon--almost 3 hours--and I got lots of positive feedback. I had asked Albert Evans and Wendy Whelan (both in the video) to come, but they were unable to, due to rehearsals--just as well, although they would have added so much, the time would have been just too long. Interestingly many NYCB dancers (including Peter Boal, who is in it) have not yet seen the full video, due to their crazy schedules. The library is donating the video to the Dance Museum--it is intended for research purposes and my library has no research collection in video. This is just one more reason for all of you to come to Saratoga!! Come to the museum and view this work. I really enjoyed the day, and meeting Iris was such fun. Farrell Fan: this morning I sent you a snail mail note telling you that we had met, and that we want to have a get together in DC during Suzanne Farrell Ballet. Start thinking of restaurants! NOTE to admin: As I think about it, this should be moved. This is not a City Ballet event, but a Balanchine Foundation event. The Foundation was very clear about that. So can you move it please? And thanks!

Still having computer problems, hoping they are finally resolved! "Piano Pieces"--on first look I couldn't really see why the fuss in NYC over this revival. Yes, it was very lovely, the music is a delight, but if I had my choice for a Robbins piano ballet it would be "Dances" or "In the Night"--and I still feel that way, but "Piano Pieces" revealed itself to me on the second look. I don't know that I had ever seen it before, but I don't know that I hadn't either--sections looked or sounded vaguely familiar, as did the costumes--but I definitely want to see it again! Soon! And I don't believe it is in next season's rep at all. Why revive something, to accolades no less--for only one season? So much work to put it back together. Although I was very sorry to see that Ansanelli had withdrawn (what up with that, anyway? Please don't let her be injured again!), I was delighted to see Abi Stafford in the first fully realized performance that I have seen from her since last summer. "Piano" is a gentle breeze, it doesn't have the bravura tornadoes that "Dances" has--but it has so much of the same poignancy and wistfulness that touched my heart from the first, and made me a Robbins believer. The Russian character came through much more clearly the second time around as well. Please don't take it away now! I wish I could tell you something about "Symphony in Three Movements" but unfortuanately I had a crisis over seating right at that point and could not concentrate on the ballet. What I saw was very good indeed--tight and crisp in the corps and languid and complete in the pas de deux. Looking forward to the next performance and will be sure to have no issues that would prevent my scrutiny. The Gala--not as bad this year as in previous ones, in terms of drunk, badly behaved audience members. A beautiful night and the already inebriated didn't even show up in the theater, they stayed on the lawn, becoming noiser with each ballet. What a shame that we had the only SPAC performance of 'Liturgy" that night. Totally inappopriate for the Gala audience, most of whom don't come to the ballet at all for the rest of the season, and who had no idea what they were looking at. Give them "Thou Swell"--that was a great choice! They adored it. In previous years they have had "Vienna Waltzes", "I'm Old Fashioned", maybe they could sit through "Union Jack" or "Stars and Stripes". The vast majority couldn't care less what is on the program. Meanwhile, the true fans and knowledgable audience stay away from the gala in droves, and they missed out on seeing Kyra in her only SPAC appearance and the only performance of Chris Wheeldon's new pas de deux. "Walpurgishnacht" with Kyra was a perfectly fine curtain raiser. It is short enough to hold the audience's attention and it certainly has drama. I would have preferred to see Kyra in one of this week's Chaconnes and I fear that we may not see her at SPAC again. It has been years since she danced here. It wasn't one of her more inspired performances sadly. There were no mistakes or glaring problems, and Kyra on an off day is still so wonderful to behold, but the audience was pouring down the aisles (got to finish that last drink before we head down to our seats...) and it was distracting. I will say though, that I was captivated by Janie Taylor's performance, and she isn't usually one of my favorites. As for "Liturgy"--I was afraid I wouldn't like it, not being a fan of Arvo Part. This music is exquisite! I loved this pas de deux and long for another opportunity to see it. The pas from Agon is described as "one long breath" and that is how I felt about this piece too--it has a similar character. I do find more to like in "Thou Swell" each time I see it. It doesn't move me to another world, but it is enjoyable enough. There is so much to look forward to this week! Megan Fairchild's debut in "Coppelia"--there is much buzz about her around here. Everyone is talking about this new wunderkind. Carnival, Chaconne, more Symphony in Three, and one more chance to glimpse heaven with Barocco.

If this isn't the right place for this topic, please move it!! We just completed four perfomances of Martins' Swan Lake at SPAC last week. I remember reading a quote from Peter when this production was new, addressing the fouette question--his take as I remember it, that he doesn't care if his dancers do 32 fouettes or no fouettes--he is looking for whatever turns the ballerina feels are appropriate, and whatever number of turns, to fill the music and look good. Of course this is a paraphrase and I apologize to Mr. Martins if I have gotten the gist wrong, but this is the best of my memory. So the Odiles went down this way: Maria K (28 fouettes and a sliding mess at the end, finishing somewhat off the music), Miranda W (first performance--27 very clean fouettes and a nice finish, second performance--1 double, 28 singles, another double for a grand total of 32 remarkably clean fouettes and a beautiful finish), and Jennie S (I couldn't count 'em, she was so fast and clean-- and there were doubles and possibly triples in there so I lost track quickly). Now, am I making too much of this fouette question? Obviously there are many who would say I am, but I don't think so. Doesn't the whole ballet turn (ha!) on the fouettes? Isn't that the point where Siegfried betrays Odette? Up until then, he is charmed, but the fouettes are a spell and there is no turning back. (ha again). He is completely bewitched by Odile. So are 32 necessary? I'd rather see 28 clean turns than 32 sloppy ones, but I'd say that this is one instance where the goal is to be as faithful to the original choreography as possible. So I found Miranda's 32 clean ones, stopping on a dime, to be the most satisfying, and Jennie's series of singles, doubles and triples, seemingly even stronger at the end than at the beginning (!) to be the most thrilling, and I'd say that might describe how I felt about their performances as a whole, too. Both of them, and Maria, too--were beautiful, vulnerable Odettes, but a strong, cold, menacing Odile is so much harder to pull off. And as for the Siegfrieds--an unconvincing Philip Neal (our local reviewers seemed to disagree with me about that), a Nilas Martins who seems to come alive when he is paired with Jennie, and has been dancing quite well here, and Peter Boal, finally, finally, for one performance on Saturday afternoon. Mr. Boal is in a class all by himself--this is the phrase that is used over and over in talking about him. What a gentleman, what a partner, what an interpreter, what a fine dancer.

I think there is definitely a sea change in programming at NYCB. At first I thought it was just for SPAC. Last year there were no story ballets at SPAC, and the word was that there were "complaints", that people love the stories and that SPAC will be rewarded with ticket sales if they are programmed. Well--true, but not completely. Yes, the story ballets have done markedly better at the box office this year than the repertory programs. But that can be partially attributed to the fact that the stories are being done for all six matinees--Thursday mats get the biggest crowds at SPAC because the tickets are heavily discounted for students and seniors. We get busloads of both. However, neither Thursday has been a sell-out this far. The evening crowds are bigger too on the story evenings, but not even close to full. And for every patron who has cheered the abundance of story ballets, two diehard fans have bemoaned the dearth of rep. So what does NYCB do? Darned if I know the answer....but I'll say that I only attended one spring season program at the State Theater because the season was so heavily story ballets. Instead I went to ABT, where I expect an emphasis on story ballet, and even there I only saw two full lengths. And looking ahead to winter and spring seasons...there is again, a strong slant to full length ballets. There are subscriptions that are almost entirely full lengths. If that is happening in this, the year of celebrating Balanchine--with his well-known preferences, what does the future hold? My guess is more and more story ballets, more and more full length programs.

I'll certainly be at both performances and will make time to report! This is an inspired choice. Megan Fairchild, from what I have seen this week, has the whole package: lovely, precise, clean allegro foowork, beautiful port de bras, a quick and accurate jump, a personality that shines through, energy and ambition. I haven't been this excited about a new corps member in many years. She did the pas de trois in Swan and I couldn't take my eyes off her. Robert La Fosse chose her for his otherwise complete disaster--"Land of Nod", I think it was called, for the 2002 opening night and I thank him for spotting her! If she can remain injury free (please be careful!), and if she gets good coaching and is suitably cast, I think she will be a force to be reckoned with. I had heard from someone in a high position that there would be a new Swanhilda for Saratoga--and I couldn't be more thrilled that it is Megan. Can't wait!

Well, I have given up on finding the time to post about "Midsummer", other than to resoundingly echo Manhattnik's comments about the perfection of that ballet in the SPAC setting. I love it, I love it. The music is divine, too, and the orchestra sounded GREAT. So on to Swan Lake. Some cast shuffling last night, my hope is that Wendy isn't too injured, but that she is saving herself for the gala, where Liturgy will have its only Saratoga perf. Certainly trying to get through Odette/Odile is grueling indeed. This production of Swan has to be the most unattractive ever. Those green and orange costumes in the first act--ugh! Those green and brown peasant dresses-ugh again. The courtiers' get-ups--ick. The red lines on the black swan tutu--very ick. The abstract backdrop--well you get the idea, as my good pal Farrell Fan would say: "So how do you really feel about it?". Nothing can harm that exquisite music, and it was beautifully played, with special mention for sensitive solo playing from the violin, cello and harp. Truly lovely. As for the dancing...Maria Kowroski handled the white swan sections quite well. She has lovely fluidity in her port de bras. Her super-high extension is a detriment though. It is just too high. She doesn't need to fling her leg over her head so that her penchee is at a 200 degree angle. In the Agon pas de deux, that is appropriate--not so for Odette. Her Odile did not convince me at all--I tried, I wanted to believe her, but I could not. And Philip Neal, with such beautiful light landings and such ease of movement, was totally ineffective as Seigfried. From him, I got either no emotion, or such overdone pathos that it was almost laughable. Lovely clean dancing--not much else in this performance. I have figured out what offends me most about the planned Balanchine centennial at NYCB. It is the placement of this Martins work in a season that should be devoted to the memory of Mr B. Balanchine never wanted this company to do a full-length Swan. His own one-act takes the very best music, the very best sections of choreogrpahy and the essence of the story, and distills it beautifully. I receive more emotional satisfaction from a well done performance of the Balanchine Swan than I do from this Martins thing, ever, and including it in this Balanchine tribute season is a insult to his memory and his expressed desires. Not to say that the four act Swan doesn't have a wonderful place in the ballet canon. Of course it does, and I love to see a well-done and well-designed four act. Maybe sometime I will. But not this week, I fear. Got to go to work at SPAC now, for the matinee, of....Swan Lake.

Friday night 7/11/03 Tonight was quite special. I came close to skipping the ballet, in favor of a performance of "Susannah" by Lake George Opera. I still wish I could fit in the opera, but I am so so glad to have been at NYCB tonight. The reason? A truly inspired performance by Nilas Martins in first movement Western. At just about the midpoint in the movement, I realized that he was in the air. He was achieving elevation! He was turning--quickly,cleanly and accurately! He gave the first complete performance that I have seen from him in the longest time--maybe the first ever. He also seemed to be having a blast up there--poor guy, I had seen him in such misery so many times that I was thrilled for him and thrilled to have seen it. In fact the section with his hat at her feet was far, far better than on Wednesday, with my beloved James Fayette. His hat was right there, right at Jennie's feet....thanks Nilas. Keep it up. As much as I enjoy Maria Kowrowski in the final movement, her performance tonight was sloppy, extremely so. Her fouettes were all over the stage and her free leg was swinging wildly in the grande battements. She must be hyperextended, but she must watch this tendency. I love high extension as much as anyone, but extension for no reason other than to kick to the stratsophere is not attractive, nor is it balletic. I forget how much I enjoy Glass Pieces, until I see it again after a long hiatus. My ears are offended by much of Adams music, and I associate that with Philip Glass, to the detriment of Glass. My musical daughter put it better than I can and I don't remember exactly what she said, but to the effect that Glass has an underlying melodic structure that drives the music forward? In any case, Glass looks as fresh today as the day it premiered. It appears to be timeless--that type of choreography can so easily look dated. In Robert Tewsley's first appearance on the SPAC stage he did himself proud, and we are looking for more from him. The corps is the star of the show and they looked wonderful. How many of them were even born when this ballet was made? The opener was Donizetti, with Miranda Weese subbing for Jenifer Ringer. The feature was a very clean, experienced corps of senior members. Woetzel was in as well (I believe Tewsley was originally cast). I like Damien in this type of part. He showed the control that is necessary, while sacrificing none of the bravura that is called for. Of course his turning ability is well known, but he also posseses an excellent sense of timing in his turns, and is able to shift speed effortlessly--makes for an exciting sequence. I tried my best, but I could not warm to Miranda. Clean, lovely technique--but, to my mind, no personality. Like with Maria, I enjoy the two of them most in a part where there is humor. In a ballet without distinct character , they don't bring any of their own. Maybe this is what Balanchine wanted ("just dance, dear"), but I don't think so? Remember Patty McBride in Donizetti? I expect that Jeny Ringer would bring her warmth and sparkle along as well, and I mourn that we didn't get to see her. Of course many of you know that she is one of my two current favorites! I realize that I have still said nothing about Midsummer, and not because I don't (and didn't) like it. I adore it, at SPAC (have never seen it at the state theater, and don't really want to), relived opening night through Manhattnik's outstanding review, and will say more....later. I promise.

Major computers problems at home! No access until today! Let's see what I can remember of this week's performances: Not in chronological order, but I'll begin with Wednesday night's repertory bill of Barocco, Strange and Western. Again out of order: Guide to Strange Places has pretty colors in the lighting and the women's dresses. Peter Martins is a very angry man, I think, and a psychiatrist could have a field day with his choreography for his wife. Western: such wonderful fun! I had seen it in the city with Jennie Somogyi and Nilas Martins in the first movement, here it was Pascale van Kipnis and James Fayette. (We'll have the NYC cast tomorrow). I think I'd like to see Jennie and James together! As much as I love Pascale, and I do--I don't think this part is suited to her. I adore her adagio technique-- and this doesn't give her much of a chance to show that off. As for James Fayette--he has developed into a wonderful partner (more about that re Barocco) and his hornpipe in Western was first rate. His Bottom is also tops--more on that re Midsummer. It's a pleasure to see Alexandra Ansanelli relaxed and enjoying herself--I chatted with her for few minutes. She is so genuinely thrilled with her promotion and has worked so hard for it. They are using her a lot and let's hope she stays healthy. She and Albert make a wonderful pair in 2nd movement. A review (perhaps it was the Times Union?) opined that the dancing was first rate with the comedy a B for effort, but I do not agree. If anything, the comedy in Western has become a bit too broad--I love it, but wouldn't want to see them play it up any more than they already do. Maria Kowroski is at her best in a kooky, comic part--those are the times that she lets her personality shine through, and the final movement is a perfect example. And the finale of Western has to be one of the most enjoyable scenes in ballet. Of course, the unison needs to be perfect--and it wasn't. But it was close...and a great way to end the evening. The evening began with what Suzanne Farrell calls "twenty minutes of salvation" [snip] --for the audience and for the dancers. (Although those jumps on pointe in the third movement must feel anything but heavenly to the dancers, it seems that they love to perform it.) And why not? It is the perfect blend of music and choreography. Just as in the Bach score, there is not a single note that is wasted, nor is there a single note that is out of place--there is no excess in the choreography either. No excess, but exactly what is needed. Indeed, Wendy Whelan does virtually ascend to heaven--the arc that she follows in the second movement takes one's breath away. Here James Fayette shows his attentiveness and care as a partner. The eight corps dancers were all veterans and it showed. Nothing was out of place. I hope Mr. B would have been pleased. I was. I'll save Midsummer for another post. Soon!

Hi to you too, M! Will I see you and J at the ballet tonight? I'm not working, so I am a civilian and therefore able to indulge in a glass of wine and some dishing! FF will be there tonight, too, as well as tomorrow night (when I am working however). I LOVED your commentary on Tuesday night's perf and will add my own, as well as some words on the other performances, in the NYCB thread. Hope to see you tonight......R And for you and any other BAers who are in Saratoga this weekend...a meeting place for tonight and/or tomorrow: the corner by section 14, 7:30ish?

I have an opportunity to spend some time in Paris in October. The deciding factor for me may well be the POB's schedule, including Palais de Cristal. Although I have seen Symphony in C countless times, I have never seen the full POB company (just a few guest artists) and have therefore never seen PdC. I've also never been to the Opera Garnier, although I have been to the Opera Bastille. Should I go for it?

Friday night June 13 was my only opportunity to see NYCB in spring season and I left the theater feeling mildly let-down. I chose to use most of my opportunities to see ABT this spring. Frankly (and this goes with the "which company is better?" thread) I have seen more energy and--well--better dancing at ABT, although the two companies are so different and comparisons really can't be made... Except for a kick-a** performance of The Cage and Jennie Simogyi in first movement Brahms, I thought the City dancers looked tired and lackluster. I echo Bobbi--Abi Stafford was wooden and heavy in Valse Fantasie. I expected more from her. Even my favorites Jenifer Ringer and Peter Boal (dancing separately) seemed to be joyless. A bright spot was seeing the beautiful Eva Natanya in a featured role in Reliquary--but why have ersatz Balanchine and ersatz Stravinsky when you can have the real thing? Oh well--countdown to Saratoga commences. Midsummer is perfect here-great way to begin our season.

Kennedy Center website now lists dates for Suzanne Farrell Ballet: December 2 to 6 I believe, but no program info. Also I cannot find any online information regarding the tour--where she will be and when? Does anyone know anything yet? Farrell Fan? Anyone?

Hmmm. Interesting that Peter Martins will let them accept another gig during the Saratoga season. I guess this means that Yvonne won't be doing all the performances of Barocco (good news!), but that Peter Boal and Miranda Weese won't be around for the last weekend (bad news!).

I did like HereAfter and I'll try to explain why. I'm certainly in the minority here. Re the two choreographers: I had no prior familiarity with Natalie Weir, except for the bits of the Harrison ballet that she did. Previous Welch pieces that I had seen had not impressed me much. Re the music: I'm no fan of Adams and don't care for anything that Martins has done to his music. I found the music in the first section of HereAfter to be very repetitive and not very interesting, although beautifully played and sung, as has been stated here. Carmina Burana: I know it is overchoreographed, but I searched in my memory and can only recall seeing one version: that by Michael Uthoff for the Hartford Ballet over 20 years ago. I have not seen PB's version, or even the one that our local Albany Berkshire Ballet has. I adore this music, even though it is also overplayed and oversung--and so I was eager to see another ballet version. It is an interesting approach to choreography, isn't it? To have the AD choose music and then search out the choreographer to make the work. Frankly, even though Kevin McKenzie heard both choral pieces on the same program and therefore wanted the ballet to mimic that, I didn't find enough of a link between the two: only the reappearance of Ethan Stieffel at the end, a tenuous link, at best. So I don't think the ballet works as a whole. I thought the hamster cage set in Part I was rather silly. Happy to see it disappear in Part II. Part I was fine enough to sit through, but I loved Part II. I found it exciting, dramatic, and not at all derivative, but that is, I am sure, because I haven't seen umpteen dance versions of Carmina Burana. In fact I thought it was the best work that I have seen from Welch and I would be delighted to see it again. After those reviews, not likely..... I tried not to focus on the costumes, because they were rather silly too. There were lots of "Welch-isms", as my daughter and I agreed, it wouldn't be Welch if there wasn't some falling and rolling going on--but there was also some beautiful lifting and jumping going on. Both sections really focus on the men--well ABT has lots of men right now, with lots of bravura. As I watched Ethan Stieffel yet again, I thought about his all-too-brief stint across the plaza.... and it was a true pleasure to see Monique Meunier on a stage again, woefully under-utilized, but your eyes go right to her and they don't leave her. As is my tendency, I didn't look for a story, I didn't look for deep meaning--I just enjoyed the juxtaposition of powerful music and powerful dancing.

Beautifully written Leigh. Thank you.

[edited] On the one hand I wish that NYCB at SPAC would sell out every performance without an additional "hook". On the other hand, whatever gets a paying (and hopefully returning) audience into the seats is a very good thing.

I caught the end of the segment and almost bought a ticket to NYCB for that night! The fact that I am 170 miles away and had just come back from two days in the city was a bit of a deterrent, though. We are 6 and a half weeks from the SPAC residency and we have three performances of Carnival. Is there any word on who we might see as the Elephant? Dare we hope that John Lithgow would come here? If so, and if marketed, the place would sell out, which it sadly doesn't too often for the ballet. Yoo Hoo, Dale??? Can you get any info?

I saw it, I saw it! Tuesday night, with a group of librarians from Russia who were visiting my library for the past week. Daughter came along too, and even though I had not gotten a playbill online discounted ticket for her as I did for the rest of us, she was able to pick up a ticket at TKTS for even less. We all loved it. The theater was not full, but it certainly was a good house. I only saw a large block of empty seats in the last few rows of the rear mezz. We were sitting front mezz, 4th row. Perfect seats. Not a large house by any means. It was a delight to be so close to the singers. I did not notice any miking or amplification, so although I am sure it was there, it didn't blast or offend the ears in any way. There was no distortion of the voices that I could discern. I think the change of time period suits the production, and the story, very well. And Juliet--oh my yes--the RED DRESS! In fact, I am going to disagree with my very good friend Farrell Fan, and say that Jessica Comeau's Musetta made the show for me. I was absolutely entranced by her "Quando M'en Vo". The red hair and the red dress...to die for. I have heard many renditions of Musetta's Waltz, in fact I just listened to THE VOICE of Renee Fleming on the Dream Cast CD, and even though Fleming does have the voice of the century, I preferred Comeau's freshness, sauciness, her racy-ness. It was a different interpretation, for sure, and one that I adored. I, for one, found Mimi to be a bit over-flirty, to tell the truth, although Ekaterina Solovyeva has the voice of an angel (and since I was accompanying Russians to the theater I was delighted that we got the Mimi from St. Petersburg), I am accustomed to a quieter and more shy Mimi. Only one of my visitors spoke English fluently, and one spoke none at all, but I had a translation of the synopsis in Russian, and it didn't matter anyway--the story is easy to follow, even without the supertitles. I did find the different fonts a bit distracting at first, until I got used to it, then I didn't even notice. I'm not too worried about this production closing imminently. The theater was quite full, the lines for the rush tickets are still long (my daughter and her friends had tried several times without success), and the audience was appreciative. Wednesday afternoon we ran over to the Met to catch "Hereafter". I'm almost scared to say that I liked it--after the reviews and the reactions here. But that is for another thread.

Why not indeed??? I do see her more in the Gamzatti mold, than in the Nikiya--but I'd be thrilled to see her in anything. One perf of Opheus--possibly the silliest ballet on this year's program (imo, but I am the first to say that I have trouble with Tudor) and that is IT? Come on!