rkoretzky

Well that was incredibly frustrating. Saw about four minutes. Pherank, thanks for the link. It eventually opened, but only in the Facebook app, not on the web 

Link won't open for me. My daughter just got it and says it's been on for 20 mins. Disaster. 

Nothing happening 

Balm for the soul indeed. I've seen three programs this winter season. Apollo. Mozartiana. Divert. Chaconne. None of which are coming to Saratoga. In these turbulent times we need beauty, solace, soothing. 

We do however get three perfs of the Martins Romeo and Juliet. Out of six total shows for us "regular folks".  The gala, which has the only Robbins in the week, and at that the only Robbins works are Four Seasons and Other Dances , is double pricing, no discounts or season passes accepted.  

Thanks! 👍

In Saturday evening's Chaconne, can anyone identify the ravishingly beautiful tall blonde who was center and bourred forward at the very beginning ?

4 hours ago, AmandaNYC said:

I actually love this production of SB for that very reason.  I'm of a Balanchine pace, and so typically full-lengths are just not my cup-of-tea. I realize it may seem like reading the cliff notes than reading a book to some, but you still get Petipa's (and Balanchine's choreography) and numerous moments for corps in soloist roles to shine.

I think, perhaps, this production of SB is so much better than Martins' other productions because... he interjected less of himself and his tastes in it!

It's also visually quite beautiful. The costuming and sets are just lovely, and the palette is very pleasing. (Unlike, say, Martins' R and J or SL). And I LOVE the absence of fussy wigs. 

I didn't care for Ratmansky's SB at all. I know he was striving for historical accuracy, but the Demi point and low arabesque and attitude just didn't work for me. Like you Amanda, I'm at Balanchine pace. 

Just got email, the season will be announced on Sunday. Can't wait to see what we get for our truncated 7 shows. 

1 hour ago, SCchck said:

I have access to the casting the company puts out to the dancers and Alston is cast as "Friends" in R & J in all casts except 2/16, 2/17E, 2/18 ~ I don't know how to attach it 

Do you have access to the saratoga schedule? Its traditionally out by feb 1 or earlier. Nothing yet.  

On 1/13/2017 at 12:00 AM, jsmu said:

Mr. B had nothing to do with the choice of Martins; that was the Board of Directors, which assumed control and disenfranchised Balanchine when he was in the hospital with his last illness. Such figures as Betty Cage, who was NYCB's general manager for thirty-two years, are quoted on the subject (in Greg Lawrence's biography of Robbins, "Dancing with Demons," among other places) as saying Balanchine named and left no successor. Mr. B was never given the chance to be right in this case.

So this almost year old post is very interesting in light of recent events. Peter Martins has told the story numerous times from the SPAC stage:

NYCB was in Saratoga and Mr. B invited Peter to breakfast at Sperry's. The restaurant is still there, has changed hands several times, and only serves dinner now. I don't remember a time when breakfast was served there. 

The upshot of the meeting was, according to peter, the nomination as Mr. B's successor.

Greg Lawrence's take on Balanchine is well known. 

What is the truth here? Opinions?

On 12/1/2017 at 8:19 AM, Peg said:

This program will also be performed at 3pm on Sunday (December 3) at SUNY Purchase.  It’s very surprising to me that this performance isn’t being more widely noted, especially in the New York press.  When I checked a couple days ago, some seats were still available.

I agree peg. I had plans to go to D.C. next weekend but have changed my plans and will go to Purchase instead. I just learned about this by accident a week ago and luckily was able to cancel hotel and Amtrak. So much closer and easier. 

There is also a talkback after the performance. I wish this had been advertised more widely. Hope to see some of you there! 

(Or actually advertised at all. I stumbled on it while looking for tickets for Ken Cen. 

Do they still have it? If so, is it only for sold out perfs? And if so, is it number limited? 

1 hour ago, Kathleen O'Connell said:

I'd hoped to point to two things:

1) There are a lot of openly gay actors, enough for me to say that there are, indeed, a host of them. 

2) Women find them sexually attractive. One might suspect that the only bar to gay actors portraying male romantic leads is a certain squeamishness on the part of (hmmm ... male?) producers. It's called acting for a reason.

I think Nanushka is right: in the very near future, if not now, tying oneself in knots in an effort to remain closeted will be the scandal. 

And I hope in the very near future, if not now, the actor/dancer/singer's sexuality will be a non issue completely and the focus will be on the quality of the work alone. 

1 hour ago, canbelto said:

 

If you still want to see the opening night cast I think standing room tickets are available.

4 minutes ago, mimsyb said:

I also felt the Bolshoi missed the mark on Rubies.  So forced and "in your face" and not in a good way.  They lacked musical punch.  A pretty tepid showing.  And those costumes!  OMG!  They looked like old curtain material from a long ago circus show.   No one here is going to make me forget the great Tess Reichlen any time soon.   But oh, the wonderment of Sara Mearns and Tyler Angle in Diamonds!  Can anything come closer to heaven than these two?  I've seen Sara dance this before, but never with such  luster and inner sole.  It was as if she spoke a whole other language, but was gracious enough to share with us her translation.   She seemed from a whole other world.  And please.  If there is ANY doubt out there about the sheer inventiveness, the imagination and the musicality of this great choreographer, it can be totally put to rest.  Every choreographer working today needs to study and study hard about how it all works.  Free of the clutter.  Empty of all false artifice.  No kitchen sinks in sight!   Pure dance, revealed in the most musical and magical of fashion.  I bow down to Mr. B. and humbly so.

Yes absolutely. This is a work of genius. It's a master class in how to program a ballet performance. Certain Contemporary  ADs unmentioned now have no idea how to structure a program. Tasteful appetizer, hearty main course, delicious dessert. There it is. 

An entire ballet based on a simple walking step. 

Thank you canbelto for the suggestion for the matinee. Unfortunately I have a prior commitment or I wouldn't miss this chance. My daughter is going for SR and has promised a full report. 

When this festival was announced I had the impression that we would see the three companies in the sections that highlight the unique features of their style. Even though many companies do all three movements (and well!) there's no doubt in my mind that Mr. B was aiming to display three diverse styles that were integral to his own development and the concept of three companies doing their "own" movement was intriguing. 

Bought tickets for Friday night before casting and program were announced. I've gone back to early press releases and verified that the flip on rubies and diamonds was always part of the plan. I missed the memo on that, otherwise I would have chosen a different performance. So disappointed to miss the Bolshoi take on diamonds. Mearns, Angle et al were superb, but I wanted that chance to see the Russian movement done by the Russian company. 

As as I said above, rubies was just dreadful. 

Dorothee Gilbert's first solo was breathtaking. A highlight. 

I will run far away from any additional opportunity to see the Bolshoi attempt Rubies. I can't think of a single positive comment. 

Extra ticket seeking a new owner. Fourth ring, row D, seat 14. Seated next to me. It's a Society NYCB ticket. (Formerly fourth ring Society). $26!!!!!! PM me. 

I'd like to see Trusnovec revive the section of Episodes that Balanchine choreographed for Paul Taylor. (Variations Op. 30).

Hear, hear!

Oh, I agree totally! Not sure Taylor has it in him at this stage of his choreographic career to do a whole new work, but as to Michael guesting with NYCB, wow! That would be incredible! How does one put a bee in Peter Martin's bonnet about this? Or, conceivably, this could be something Damian Woetzel could put on at his Festival. Crossovers are common there.

Brilliant! In the open air at Vail. Now, how to make it happen?

Do you mean a new work? I didn't even think of that. My fantasy would be to have him guest with nycb. Not bloody likely I know.....but I can dream, can't I? (Thank you Company B).

My wish: to see Michael Trusnovec dance Apollo.

I hope and expect that some more information is coming very soon. It's nice to hear about all the new projects but what Balanchine will we be seeing?

Oh yes, I see her there too, and in the neighborhood too.

I never walk into the state theater or opera house (even for opera), without thinking of Carley. Missing her so much.

All the more reason then to enjoy her performance in Theme and Variations at every opportunity! I was afraid of that, abatt. If height is the issue why such criticisms as lack of grandeur and queenliness are levied against her, then no she's never going to grow any taller.

How tall was Wendy Whelan? Before she was injured I saw her cast in Diamonds. And if she was so good in the second movement of Symphony in C, and if Hyltin is also now doing it ...? I don't want to be misunderstood: I find all the tall ballerinas being given these roles simply magnificent, but I'm just wondering.

Is Ballo della Regina usually performed by shorter dancers?

The casting for the upcoming Tschaikovsky Piano Concerto No. 2 is fascinating! Mearns, Reichlen, and Tiler Peck all doing the same part??? So, then, in that ballet height is never an issue.

It is clear that Ms. Peck has a talent for comedy and is being cast in soubrettish roles frequently. On the other hand, we shouldn't underestimate her abilities to portray serious depth and emotion. We just saw her, for example, in Liebeslieder Walzer. Then there's her work in Romeo + Juliet, La Sylphide, her supreme rendition of Columbine's haunting solo in the second Act of (oddly enough) "Harlequinade"....Someone please explain to me why, given her extraordinary gracefulness, she would not --with the proper training and coaching-- have made a remarkable Giselle over at ABT.

Thanks to the MTA I was unable to catch Saturday afternoon's performance, but I would be more than totally shocked if your description, abatt, of Tiler Peck's debut in Ballo was in any way misleading or inaccurate. It's not that we are biased. It's that we see with our own eyes how really good she is!

Well, Ballo was made on Merrill Ashley, certainly not a short dancer.