rkoretzky

Just back from a fast trip to NY where I caught back-to back closing performances of NYCB Nut as well as Alvin Ailey. The sprint from Lincoln Center to City Center was my exercise for the day! Taking advantage of the Fourth Ring Society offer for discounted tickets for the final weekend, I chose to see Jenifer Ringer, Maria Kowroski and get my first peek at Robert Tewsley. It was a tough choice because I was drawn to the 1 PM perf and the chance to see Sofiane Sylve, especially after reading reports here. As it turned out, I would never have made that 1 PM curtain yesterday. And truthfully my decision rested on Aesha Ash and the chance to see her Arabian. NO DISAPPOINTMENT! She was marvelous. My only quibble is that I think all the NYCB conductors take that variation too fast. I would love to see those positions drawn out and h-e-l-d. My consolation for missing Sylve is that I will see her Western Symphony on Saturday. Jenifer Ringer (my favorite among the principal women) was a bit of a disappointment. The Sugar Plum Fairy solo variation was lovely. Delicate and precise--just what is expected, and she began the variation with a beautiful half turn/slight backbend that took my breath away. But she seemed very insecure with Tewsley's partnering, although the shoulder jumps were fine and the last balance was stunning, there were little bobbles along the way that just made me think that she didn't completely trust him. As for him, I was not impressed. He was certainly adequate but nothing more. Of course it isn't much of a part either. Maria Kowroski, such a superb technician, was having an off day. Her footwork was sloppy and she had at least one near-fall. It was a poor showing for a dancer who showed so much promise. I have also seen that she becomes a colder and more remote dancer with each season. She is icy. I see that she is cast as the Dark Angel in Serenade on Saturday and I look forward to that performance because: 1. she has the most gorgeous arabesque in the company and 2. it is an icy part. The contrast between her and Jenifer Ringer, so warm, was startling. Carrie Lee Riggins, as has been said here before, is a beautiful Marzipan and who is the corps girl in Spanish who was stage left, upstage. I could barely take my eyes off her. For the rest of the ballet, the children were charming and didn't seem bored at this, the last of a six week season. The corps did, especially in snow. Notable exception being Elizabeth Walker who does that first entrance so beautifully. I can hardly blame the dancers for being tired of Nutcracker, but much of this perfomance LOOKED tired, and that is not excusable in a professional company of this stature. Especially when seen in contrast to the Ailey company, coming off a four week City Center engagement. This company has ENERGY! Dancing to recorded music, also two performances that day, and you would think they had just woken up from a long nap and had never danced these pieces before. It was so fresh! How many times have these dancers performed "Revelations"? It was a revelation to see them!

Yes, Ari. Another role that comes to my mind is second movement Bizet. She was just gorgeous in that role. Of course, in her prime, Merrill Ashley was better on a bad day and in an ill-suited role than many dancers were on a good day! Just my humble 2 cents. I miss her greatly.

There was an email address on the website, so I have sent a message. Hopefully we'll have a positive result. I'll keep you posted. Wish I could see the film in NY with you!

Phooey. That is the one weekend in January that I DON'T plan to be in NY. I am going to Dallas for the National Figure Skating Championships, something I have wanted to do for years! I am thrilled to be going, but I hate to miss this film. Charles Joseph teaches at Skidmore. I was truly fortunate to have the chance to audit his course in Balanchine and Stravinsky, team taught by a dance faculty member. The course was amazing and a highlight was a lecture by Stephanie Jordan who is a brilliant dance historian as well as a great speaker. The film should be wonderful. It seems to me that with our local connection the film should be screened at the National Museum of Dance--yes, right here in Saratoga. I will contact the director to see if it can be done. Any information about the distributor of the film and how to obtain a print would be much appreciated. And thanks.

I did notice that the tempi for almost every variation are noticably slower in the RB production than at NYCB. NYCB certainly has always been noted for speed. Does anyone know anything about the original tempo markings that Tchaikovsky intended?

Sylvia, I loved this production! I am the first to admit that I am almost completely NYCB/Balanchine oriented in terms of Nut. Every production that I have seen in recent memory has either been NYCB or has borrowed heavily from Balanchine's choreography. So it took me a little while to get over the initial "this looks all wrong". I tuned in a bit late and so missed most of the party scene, which is fine with me. It was nice to see a truly Russian variation, not to take anything away from Tom Gold and the young hoops. I was somewhat disconcerted by men in Flowers though. I will run, not walk, to the Met Opera House to see Alina Cojocaru. She is exquisite. I was captivated by the Grand Pas de Deux--that was Miyako Yochida and Jonathan Cope--do I have that right? I have become so obsessed with those magnificent dancers that I am trying to figure out how to go to London to see the Royal. I have seen the Royal Ballet at Covent Garden once, actually. It was Coppelia and it left me lukewarm. But in looking at their website there are some magnificent programs in the late winter and spring. I just may show up. Perhaps this belongs on the Royal Ballet thread--are you aware of the possibility that Darcy Bussell is considering retirement next year? If so, that seals the deal. London here I come. And Happy Boxing Day.

"I'd like for City Ballet to go back to a month in Saratoga." Thank you Manhattnik! From your keyboard straight to Herb Chesbrough's ears! Sadly, I am not optimistic, in fact I am downright pessimistic. Rumors abound here on a regular basis--the rumors never indicate that there will be more NYCB in Saratoga, but less. There was some rather serious discussion in the rumor mill a few months back and I am petrified that something drastic will happen in the next year. I am not being coy. Read between my lines. There isn't too much that I can say and nothing is confirmed. But money talks and right now NYCB at SPAC isn't making any. I've talked about this before--the fact that we have a 5200 seat theater here, twice the size of the State Theater. There is no way that it can be filled for 21 performances, and yet that appears to be the expectation. Several years ago I was part of a grassroots organization to try to build support for NYCB--sort of an NYCB Guild North, if you will. Unfortunately the group lost focus and is all but disbanded now. It is time to resurrect. We had 25 inches of snow yesterday. I shiver through our endless winters because I love our glorious summers. If NYCB and SPAC end their relationship, I don't want to live here anymore. After all, I adore Miami City Ballet! If anyone would like to discuss this issue further, feel free to send me a PM. If anyone is interested in helping to resurrect our support group, that would be so very welcome. If you have ever visited here, or plan to visit here, you have a vested interest. If your child ever attended or plans to attend NYSSSA, you have a vested interest. If you know anyone who has a business in Saratoga that depends on summer tourists (and they all do!) you have a vested interest. Contact me.

Hi Ari, Yup, I think you are correct. I had also heard that Special Event (or whatever the exact title is) would be the cateogry, but there are some issues with that as well, namely that I believe the actors/singers would be excluded from nominations and that only the production could be nomnated. Also the issue of WHO could be nominated has been raised since there are three rotating casts, and TONY tradition dictated that only the opening cast can be nominated. All of this may seem quite trivial, but I find it most interesting.

The next interesting question is where this production will be placed with regard to the Tonys. Best new musical? I don't think so, if it is indeed faithful to the score and libretto. Best revival? Never played on Broadway. What to do??? My daughter's teacher is really enjoying playing in the orchestra. She has also played at the Met.

My only familiarity with Baz Luhrman is the film "Moulin Rouge", which I disliked--in a big way. One of the tag lines for this production is "if you liked Moulin Rouge, you'll LOVE....". So what if you didn't like Moulin Rouge? My daughter's teacher plays in the orchestra for La Boehme, and she suggested seeing it, firmly. My main problem with the film was sensory overload. Does this production have a similar feeling? Opinions, anyone?

You are a gentleman, and I thank you, but not even necessary. I admit I was feeling prickly yesterday, my bad. Today will be a better day, I hope! In turn I want to reiterate the value (and enjoyment) of reading reviews. Now I have a suggestion for those of us in the arctic Northeast, with snow predicted and single digit temps here. Let's just go to California and watch SF Ballet for ourselves!--are they back yet?

Leigh, I don't think that's what I said. At least it wasn't what I intended to say. I DO read reviews because: 1. I am interested in what the critic has to say and 2. Because I am looking for aspects of a work that I might discover on a re-viewing. I don't consider it a contest to decide who is "right" and I don't usually change my opinion, although I do sometimes modify it and I frequently find some tidbit that hadn't occured to me. I am opening to learning, always. I do feel, though, that I can learn from a fellow audience member, too. I think there is more going on in the minds of many ballet-goers than the colors of the costumes or how many pirouettes can be turned. I don't think that one has to study criticism in college (although I wish I had) or have a byline in a newspaper to speak intelligently about art. Please give the public a little more credit! Most of us at Ballet Alert are not dance professionals and yet there is so much intelligent discussion happening here. "Why discuss the performance at all?" Isn't that what we do here, all the time?

What, exactly, does determine whether something is good? No tongue in cheek here, no disrepect or sarcasm--just an honest question. Who and how is that determination made? I think Prism is a very good ballet. Yes, it is derivative of Balanchine. Lots of stuff is, because Balanchine isn't making any more ballets, and most of what he made is masterful. If I were to attempt choreography (heaven forbid), I would look at Balanchine's work for inspiration. Even if I didn't consciously attempt to create in that spirit, I think that someone such as Helgi who danced for Balanchine for years would be so influenced that it would be well-nigh impossible to avoid some derivation. And in my opinion that is a good thing, because if I can't see new Balanchine works, I'll take what someone is trying to do in the same spirit, as long as the effort is honest. I think the audiences went nuts for Prism because it is good. Audiences are still flocking to hear Beethoven symphonies too, because they are good--some better than others, but all worth a listen. My point is that I think the audience CAN tell when quality is present. I don't think we need Anna Kisselgoff or even you, Alexandra, to tell us what is good. I enjoy reading reviews, I enjoy reading what you write Alexandra, I have learned a great deal from you. But I don't think that the critics are the ultimate determinors of what is good, and I think that what is popular often (by no means always, we all know that) is what is good. I am still trying to figure out what went wrong the last time I saw Prism, in last winter season. Oh, and I don't remember spangles. I've seen it at least 4 times and I honestly don't. Regarding Chi-Lin, I wasn't bored at all. I do agree that some program notes of explanation would have been really helpful. But my interest level remained high and I was captivated by Yuan Yuan Tan. I remember hearing a lecture by Jaime Laredo about judging a violin competition. Laredo's comment was that the bottom line is: was this person someone you want to hear (read see) again? That's it for me. I want to see her again. And I cannot comprehend that Yuan Yuan Tan and Muriel Maffre would ever share a role! They are totally different, in every way: style, appearance, technique.

Hi Ari: I found your comments re Prism so interesting. I saw Prism by NYCB at the State Theater when it first premiered--I believe I saw the second performance. A friend of mine who plays in the orchestra said that the audience had gone wild for the ballet at the first show. It happened again--the audience (myself included) did go absolutely nuts. I thought it was absolutely brilliant. loved the casting and the lighting, thought Helgi absolutely caught the spirit of each movement and thought it was beautifully played as well. (side note: Balanchine purposely avoided Beethoven? can we talk about that too?). NYCB brought Prism to SPAC that summer. I thought they made a huge mistake in programming it for a matinee--a ballet that is so dependent on lighting perfomed in daylight at an outdoor theater? Nevertheless, the audience went beserk again. My mom was at that performance and she couldn't get over how beautiful the piece was. Last season, we scheduled one of our trips to NY to see Prism again, and we were extremely disappointed. Flat as a pancake. The only liveliness came from Ben Millepied in the 3rd movement, where it is almost impossible to not be at least lively. MY daughter and I tried to figure out what had gone wrong, and we theorized that without Helgi to coach and impart his ideas, the cast (half new and half original) just couldn't get the spirit of the piece. As an aside, Lindy Madrijieff, formerly of SF Ballet, was cast in the piece, and I thought she was not good at all, which surprised me since she had been one of Helgi's dancers. Daughter and I decided that we would make it a goal to see SF Ballet do Prism. We saw SF Ballet at City Center in October. I was not terribly pleased by the programming, and was so envious of you Washingtonians who got Serenade, Dances, and Prism. Was even tempted to make a quick trip to DC. We did see Chi-Lin and both enjoyed, but did not love it. I DID love Yuan Yuan Tan, thought she had the most exquisite delicate technique and would love to see her again. So...what is going on with Prism? How was it received by the rest of the audience?

Thank you to Letterman, the top five things about NYCB's opening night gala:(in no particular order) 1.Great intermission! We had the chance to chat (too briefly) with FarrellFan and meet some friends of his, and then meet Cargill for the first time. That was great, and FF and Cargill--I look forward to many more opportunities to meet and talk about (please) better performances. 2. Bernadette Peters. After the curtain came down (for the first time) and I thought nothing could save that evening or make it memorable, at least in a positive way, she saved it. Thanks Bernadette. And now to the dancing.... 3. Everlasting thanks to Michael for advising me to take a notice of Faye Arthurs during the summer. This girl is a stunner. She is definitely going places, and for me, she was the best thing about the LaFosse and the one I couldn't take my eyes off. 4. The chance, albeit too briefly, to see Pascale van Kipnis and Rachel Rutherford, finally being cast and both looking exquisite. 5. The chemistry between Jenifer Ringer and James Fayette and the electricity that lights up the stage, and my life, every time I see them dance together. What a wonderful couple, onstage and off. and thanks to them for being gracious to the Saratoga contigent afterwards. So those are the positives. At $24 for my pair of fourth ring tickets, $4.80 per positive aspect. Not too bad I guess. On the other hand, there were people outside trying to buy tickets. I could have sold mine and dashed across the plaza to hear Alicica Delarocca or down to Carnegie Hall to hear HIllary Hahn play her debut recital--both of which were magnificent performances. The NYCB gala was not. it was, in fact, the worst night of ballet I have ever seen in my life, and I am including kiddie perfs of Nutcracker and all that type of stuff. All I will say about the LaFosse is: what was Peter Martins thinking to let his company open their season with such a horrible mess? Megan Fairchild is a lovely dancer, I am pretty sure that the fall was NOT a part of the choreography, the forward fishdives yes were breaktaking and a total rip-off of Raymonda Variations, and what a thing to have in your resume as your first big role. Ugh. Chris Wheeldon is the nicest guy and he always makes a point of greetimg me in Saratoga, so it pains me to say that Carousel was far better choreographed on Broadway--by whom? I'll have to look that up because I don't think it was deMille. I don't really see the point of doing it again. I thought the bit with the poles was really, really hokey, but the choreography was pretty at least,a nd it was well danced. FF and I agreed at intermission that we were (gasp) really looking forward to Martins' piece. As my daughter said, she was hoping that Peter would save the night. Sadly not so. Boring! Repetitive! The one thing I will say is that some of the dancers mentioned to me that they enjoyed performing it. So that's something I guess. I didn't enjoy watching it! How's this for a novel idea? If NYCB wanted to pay tribute to Richard Rogers, how about a performance of Slaughter? I know it's in the winter season, but so what? it's fun, it's good and they do it really really well. And it would be nice to have Balanchine represented at opening night. I was on vacation for ABT's fall season, but my daughter saw "Smile with my Heart". She really liked it, so much better than anything on the NYCB program and I am asking her to post about it, now that she is on Thanksgiving break.

Have any of you who have joined for this season received your membership info? I have not. I have gotten confirmation (email and snail mail) of my application, my credit card has been charged, I have even bought tickets at the box office, but I have received no membership card (or my coupon for my nifty little gift) as of yet. Anyone else? I did try to email NYCB box office with no result. I also asked the clerk at the box office, but he didn't have any information.

But I would put the first two in reverse order: Those listed on the first ballet are among the dancers that Chris Wheeldon seems to use frequently. The second ballet features lots of male principals, I think I have seen LaFosse do this before. He is also in the ballet: does he generally choreograph for himself? A week from tomorrow and we will know:)

Thanks, I didn't even think of that! I've been too long without NYCB and I'm in withdrawl! I did play a little game on my own, trying to guess the choreographer of each piece, based on my knowledge of the dancers that each of them likes to use. I think I did pretty well.

OK. Who has tickets to which performances? It has been years since I've ventured into the city to see Nutcracker, but this year with my daughter in college in NY, always good for an excuse to go in....we just might take in a performance. But I'd like to be a bit picky about casting and see who I want to see. I like the looks of Saturday night November 30, but that is one performance that just won't work, so I'll just wait and see what develops after the first week. It is strange to see an entire week sans Whelan, is it not? Don't know when I have ever seen such a thing. I thought she might be injured, but I see that she will be up in Albany doing several performances with a local ballet school on December 6 and 7. Might have to get a ticket for that.

I did not mean to imply, btw, that I only like big cast ballets. In fact, many of my NYCB favorites have small corps, or no corps--I am thinking of Apollo, Barocco, Dances at a Gathering. I more meant that, after four months of no NYCB for me, and even longer for anyone who couldn't get to Saratoga, there are lots of dancers that I want to see--RIGHT NOW. That's all.

Well, I have tickets to opening night. All praise to the fourth ring society! The $12 price tag was too good to pass up. But now I am wondering about the "substance" of this program. There is no "big" work that I can see, no chance to see a large corps. I hope that we won't be seeing three little ditties for our trouble! Who else will be there?

I can't possibly pick a favorite ballet, but high among them would certainly be Serenade, and the moment that always stuns me is so famous that I almost feel that I am being trite: During the elegy (Tchaikovsky's third movement, but Balanchine's fourth), when the Dark Angel has that magnificent arabesque, turns completely and so slowly, at the very end extends the arabesque a few degrees higher, the music is a downward scale in the low strings, and that that chord just as she is raising her leg ever so higher.....the waltz girl has realized it isn't going to happen, she is clinging to the guy, etc etc. To me this is the perfect marriage of music and choreography and there has not been such a moment of perfection anywhere else, although.... A close second would be the Michelangelo moment in Apollo.

At least I THINK that's what the kids say when they mess up. We came to Saratoga at the END of summer 1978 (such terrible timing on our parts!) which was indeed the last 4 week season. By the summer of 1979 the season was only 3 weeks and I was working at SPAC as a volunteer--it took me over 20 years to get a paying job! LOL.

Stamp for Mr. B! On the NYCB website, there is an announcement of a campaign to commission a postage stamp in honor of the centenary. I had forgotten about it, but my daughter informed me that there is a letter writing campaign afoot (ha!) in the Barnard dance department. I like the idea of the George Balanchine Theater quite a lot. Once again, whose attention do we have to grab?

Hi Farrell Fan, nice to see your post! I got the letter too. I used to worry endlessly about the attendance figures at SPAC. Rumors would fly around: we won't have NYCB any more, we're getting cut back to two weeks, this is IT....these rumors were rampant for a few years after SPAC did lose NYC Opera. (Regarding your other post, NYCO didn't really find a large audience base here, but there was a small and extremely loyal one). Were you coming to SPAC in the glory days of four weeks? The last such season was 1977 I believe--we moved to Saratoga in 1978 so we just missed it. There haven't been too many rumors lately. I've been going to the ballet in the city more often for the last few years and I see lots of empty seats:mad: at the State Theater too. I'd like nothing better than to see a body in every seat at every performance. But you know our SPAC theater is over 5,000 seats. It is twice the size of the State Theater. And you know the view from those partial vision seats is nothing to write home about. So on most nights and all matinees when the entire center is full I think we're doing all right. I'd like to be doing better, but it is OK.