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About vipa

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Former ballet dancer, former ballet teacher, fan, ballet lover
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    New York
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  1. I was also at the matinee and agree much of cobweb's review (It was also a great pleasure to see you again cobweb, I hope to see you at the ballet on many more occasions) I admit, I went to see Lauren Lovette with some reservations because she has technical weaknesses that I though might interfere with her ability to give a satisfying performance. I was wrong, She was a natural Aurora, shining with radiance, she related to her suitors, parents and everyone in stage with a natural warmth and lovely characterization. Rose adagio didn't have long balances, and she had to do some adjusting with her attitude leg, but nothing that jarred the overall effect. I agree with cobweb, that Joseph Gordon has grown into one of the most important male dancers in NYCB. It's great to see particularly with DeLuz's recent retirement. I give Miriam Miller's Lilac a firm - eventually. She has the elements, but needs to put them together technically, and bring authority to the role. The fairy variation seemed a hair under the usual tempi to me, which was a welcome change. Kristen Segin was a real stand out. A few comments about the last act. I don't think I've seen this ballet from the fourth ring before, and seeing the garland dance from there was fantastic. Mr. B - I loved it Daniel Ulbricht is a pleasure in whatever he does, both technically and in stage presence (court jesters) I was disappointed in Blue Bird Pas. Lauren King had her usual appealing radiance but has struggles with partnering. Troy Schumacher doesn't have the power and clarity for the variation. I totally agree with cobweb about wishing for another intermission (and I often think NYCB has too many).
  2. I agree. The tempi in this production have always been problematic. It's Peter Martin's ballet so I don't expect it to change. I haven't seen it yet this year, but in the past I admired the dancers for valiant attempts to look gracious and squeezed in a bit of musical phrasing, instead of just trying to keep up. On the other hand I dislike the Ratmansky restoration version. I saw it once, and never again. I hated the old, Gelsey Kirkland, ABT version. Some parts of it were just batty. So as a NYC dance goer, NYCB is my favorite version. If they could take those tempi down a hair it would make it so much better.
  3. Fantastic and well deserved. Congratulations.
  4. I disliked the entire article. I won't go into every point but, I've been a NYCB fan for a long time - starting with the Balanchine years. The company could have crumbled after Balanchine. I was doubtful of Martins' leadership at first, in fact for a number of years, but he kept the company going, IMO he grew into the job and at this point it is filled with incredible dancers that he chose. The depth of talent is amazing. I'm not denying that there have been big mistakes but the company, at this point, the company is amazing. I don't want to re-hash the good and bad of Martins, but the idea that the end of the his Sleeping Beauty has to mean that people should get over Balanchine and move on is absurd to me.
  5. I find LeCrone an interesting dancer. Sometimes I don't know what to make of her and other times I enjoy her, particularly in leotard ballets. I also liked her as the soloist in Tchai Piano Concerto. Frankly I believe that her look works against her. She has a very angular face that doesn't have a lot of softness to it. This has nothing to do with her dancing, but impacts how she reads on stage. She has a lot of technique and I believe if she dances expansively she could pull off Lilac. I don't know if the dancers know who the next director will be, but whether or not they do, I feel that some of them have to feel like they are auditioning to demonstrate their usefulness. Soloists like LeCrone and Pereira fall into that category IMO
  6. Thanks for pointing that out Canbelto. I didn't include spring in my subscription and didn't take a careful look.
  7. Thank goodness he is not a possibility IMO. Lord knows we don't need to see more of his choreography.
  8. I've said this before, but I wish NYCB didn't make us choose between all Balanchine and newer works. I've seen some of Peck, like some but not others, and would like to see more Forsythe but a program of all new works doesn't appeal to me. I've done that in the past and ended up not remembering which piece was which. Does NYCB really see an audience divide between old and new?
  9. I saw the Matinee this today (Sat.). Serenade was first on the program. I've been watching this ballet for many, many years and still it casts its spell. Nice cast. Bouder's Russian Girl, get's better all the time. A softer side has flourished, along with her speed. Lauren Lovette, was radiant and beautiful, but I wish she'd find a way to eliminate some technical weaknesses I see in her every time she performs. (My husband disagrees and says her beauty and radiance over ride all that). She was partnered by Ask LaCour and lifts floated. Emily Gerrity was lovely and secure, her lines exceptionally beautiful. I see principal in her future. Mozartiana was next. Troy Schumacher's Gigue could have had more sharpness and wit, but it was enjoyable. I loved Hyltin and Huxley. I saw her a few years ago and wasn't impressed. This time she made it her own with a sweet yet witty style, and nuanced musicality. Huxley was super impressive in every way - turns, jumps. clarity and speed, musically floating jumps and finishing multiple turn. Tch Piano Concertn 2 - Interesting cast. I didn't know what to expect from Megan LeCrone in the soloist role. I liked her very much. She looked strong, confident and happy, and offered a nice stage presence. I've liked her in leotard ballets so this was nice to see. I also liked Tyler Angle. HIs partner is always fabulous. His jumps were high and strong. Good double cabrioles and overall a very fine performance. Teresa Reichlen in the lead had her moments but overall didn't do it for me. I'm not her biggest fan and find her presentation somewhat bland (except in tall girl Rubies). This choreography clearly challenged her. She met some challenges well, but at other times she was barely getting through the steps. I did notice Kristen Segin as outstanding in her demi soloist role along with Sarah Villwock. There were performance highs and lows, more highs than lows. The company on the whole looks great and seeing these ballets reminded me that beauty, spirituality and order is possible in the world. A nice reminder.
  10. Thank you abatt, that's what I thought but you confirmed it. Dancers' Choice always was a delight. I particularly enjoyed the one Jennifer Ringer lead, with the emphasis on corps members. I believe Dancers' Choice was a benefit for the NYCB Dancers' Emergency Fund, so the company must have paid the costs and given the proceeds to the fund.
  11. Totally agree. They brought up the idea of Lopez not wanting to leave Miami, but didn't mention the possibility of Boal not wanting to leave Seattle. Whelan's lack of experience in running a company wasn't touched upon. I was hoping the article would mention someone we hadn't thought of!!!
  12. I guess I'm in the minority in that I don't find Stanley incredible. I like him in some things but find him a bit light weight in others. The NYCB is still adjusting to the loss of Ramasar and Catazaro, as well the retirement of DeLuz and the technical decline (in solo, white tights works) of the Angles and Veyette. There is also the injury of Adrian D-W. It's a strange time for the male ranks in NYCB. As far as leaving for fulfillment, maybe Stanley will. Some dancers look at the rep of Balanchine, Robbins and new works that NYCB offers and want to eat all of it up. Others find more fulfillment in a constant diet of new works. That's the way it goes. Dancer's leave companies. I loved Ana Sofia Scheller, but San Francisco Ballet seems a better match for her.
  13. I saw Ashley Laracey as Lilac Fairy and liked her very much.
  14. So agree. I will buy my ticket as soon as casting comes out. I'd see a Woodward debut in a second. I'm sure there are Pereira fans out there, but I'd avoid her if she was cast.
  15. It's interesting, in a Conversations on Dance interview, Lourdes Lopez said Gottlieb encouraged her to apply for the Miami City Ballet position, and that's what got that going. It seems to me that the search for a NYCB AD could be a mix of a search firm, and old school people encouraging good candidates to apply. Maybe that's what is happening. AS far as "messy business details" how much of that is directly handled by the AD and how much is handled by a professional administrative staff? I just hope they announce soon.
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