vipa
-
Posts
2,592 -
Joined
-
Last visited
Content Type
Forums
Events
Blogs
Store
Posts posted by vipa
-
-
8 minutes ago, nanran3 said:
Emma Von Enck has been promoted to principal! So well deserved!
She is outstanding and I can't wait to see her develop in the years to come.
She is so ready! Any other promotions announced?
-
Emma Von Enck should be great as Butterfly. Hippolyta is a terrific opportunity for Corti.
-
1 hour ago, On Pointe said:
It's doubtful that laws against weight discrimination and "body positivity" movements will have any effect on ballet companies.
I doubt that Bouder's employment is in question. The issue for her will be casting. A technically easy role in DAAG is all she's been given this season. She doesn't seem technically able to reclaim her old rep. This means management has to find new rep for her in order to cast her. This can be problematic. I recall an interview with Merrill Ashley in which she said that towards the end of her career, when she was plagued by injuries, she asked for easier rep, and ran into an issue because other dancers had those ballets in their rep. Casting is a zero sum game.
-
1 hour ago, Helene said:
Bouder’s meet-up/discussion with the author was from last Fall. The follow-up was in January: the author describes the phone call as “awkward and stilted” and the quotes are terse. The piece was published today, months later.
The subject wasn’t simply all the wrongs inflicted on Bouder, but a question that many dancers and figure skaters, as well as the occasional actor, have been asked and answered publicly: given all you know about the pain and power differential in your profession, should you encourage or allow your child, especially your female chid, to follow in your footsteps, and, if yes, how do you navigate the training process. And I write “allow” because, especially for girls, training has to start very young for the large majority, and it takes, at minimum, parents giving permission for their minor children to participate, but, almost always, cash. Dance is not your usual summer parks & recreation playground offering.
In this respect, it's unfortunate that Bouder was the only dancer/mother interviewed. She seems to be at a difficult point in her career with a mix of issues and grievances. A number of dancers have young daughters, and there are many professional dancers whose mothers were dancers. It would have been nice to hear from some of them to get a fuller perspective. Of course I don't know the author's intent or how the piece came to be written, but a variety of voices would have made a better piece IMO.
-
13 minutes ago, California said:
For those of you interested in Ashley Bouder, a new article just appeared:
https://www.romper.com/life/ashley-bouder-new-york-city-ballet-body-shaming
The last time I remember seeing her was in Coppelia pre-COVID, partnered by then-soloist Joe Gordon. I was amazed at her sizzling technique, but her smug facial expressions annoyed me. I also remember thinking: Gordon has a great future. Keep your eye on him. But I don't recall seeing her since then. New Yorkers who see her regularly are a better source of information on her current dancing.
After seeing her on stage recently I'd say that her weight gain is obvious, but to my eye her lack of fitness and the decline in her technique is more the issue. Unfortunately, in her statements and in these articles, she doesn't address the current quality of her dancing or seem to see it as a factor in not being cast.
-
7 hours ago, matilda said:
Not sure about R&J, but I think the Martins Swan Lake would be perfectly fine with a full visual makeover. Of course, Martins would have to agree to that. And it would be expensive, but cheaper than creating an entirely new version.
Martins' staging on its own is OK and probably better suited to the NYCB dancers (and to commercial tastes) than Ratmansky's.
(I'm not one of the people who thinks NYCB needs to distance itself as much as possible from Martins.)
I agree @matilda. And I don't see what incentive NYCB has in investing in a new SL. The Martins version seems to sell out, as does his Sleeping Beauty.
-
10 hours ago, Kathleen O'Connell said:
Even though everyone in the cast did a lot of dancing—and there was definitely a lot of dancing—and quite a few dancers got their moment in the spotlight, it's not the kind of ballet that has "big" roles in, say, the Symphony in C sense of a big role. Since I'm a longtime Boisson fan I was watching her closely; she was indeed assured, elegant (as is her wont), and lovely, but it didn't seem like a role that was made on Woodward. I'm not saying just anyone could dance it, but it certainly doesn't require Woodward.
I agree with what others have said about the dancers in this ballet. Miriam Miller's role was the most noteworthy. I noticed Chun Wei Chan because of a small solo section in the beginning and Emma VE for her precision. Even in Emma Von Enck's case, a section she posted on instagarm, for some reason, looked much more impressive to me out of context on instagram, than it did in the ballet. https://www.instagram.com/p/C6qpkASAbrg/
-
On 5/4/2024 at 8:31 PM, vipa said:
I was at the afternoon show. Anyone else? Rubies with Fairchild, Huxley and Nadon was terrific. Megan Fairchild was playful and assured. She still looks great in this role. Nadon is great in the "big girl" role. As others have said she's very different from Kikta. I enjoy both approaches. Nadon adds a touch of sultry to her power. There was a blooper, that I think was the conductor's error. I believe there is supposed to be a breath before the very last note. It wasn't there so everyone on stage quickly moved to the last pose, a bit late.
Just to clarify, if I can. At the very end of Rubies something seemed off about what would be heard as the last musical cue. Nadon actually looked disconcerted for an instant and there was a ragged feel to it. I don't want to overstate this. It was an instant at the end that felt a bit off to me.
-
I was at the afternoon show. Anyone else? Rubies with Fairchild, Huxley and Nadon was terrific. Megan Fairchild was playful and assured. She still looks great in this role. Nadon is great in the "big girl" role. As others have said she's very different from Kikta. I enjoy both approaches. Nadon adds a touch of sultry to her power. There was a blooper, that I think was the conductor's error. I believe there is supposed to be a breath before the very last note. It wasn't there so everyone on stage quickly moved to the last pose, a bit late.
Dig the Say, is a Justin Peck vehicle for Mejia and Tiler Peck. It's fine as such, but I'd rather see Mejia/Peck in something else! I didn't really get the playing with the ball gimmick in the first part, and I'm really tired of the gimmick of dancers walking one and off like pedestrians. The choreography had the usual Justin Peck trademarks: quick changes of direction, tilted turns with the knee turned in, flicking legs. These steps were interspersed with things like fouettes and a la seconde turns. It was as if Justin Peck told them to pick flashy ballet steps they were good at. Tiler Peck did a fouette combo I've seen her do in Tsai Pas.
My first viewing of Justin Peck's In Creases. Frankly I don't need to see this one again. It seemed like a little of this and a little of that, and a little of something else and repeat. My thought is that with Phillip Glass music you really have to create a strong choreographic structure, or there is nothing really to hang on to. I think Robbins was very successful in Glass Pieces.
Underneath, There Is Light. Choreography by Amy Hall Garner. I wish this had been the opening ballet. It would have been a decent opener, and I wouldn't have come to it worn down by 2 Justin Peck ballets. 4 sections, each a different composer. Very uneven IMO. Some sections or parts of sections were engaging, and some of the dancers were shown to their advantage particularly: Chun Wei Chan, Gil bert, Bolden, MT MacKinnon, Emma Von Enck, and in particular Miriam Miller. On the other hand the piece didn't seem particularly musical. At one point it crossed my mind that any music could be playing. At another points the fact the the music was a fugue was ignored. I'm not saying the dance had to have a fugue structure, but it felt odd hearing a fugue and watching movement that had no relationship to that structure. The other thought that occurred to me was about the pointe work. For the most. part it seemed pointe shoes were not needed. I wonder what Garner's experience with the pointe shoe is. At the same time, sections were pleasant and compelling. I'd give this one another viewing.
The lesson of the day for me was, good choreography is hard and great choreography harder. I would have. been happier if the Garner piece opened and Rubies closed.
-
32 minutes ago, cobweb said:
Are there no reports on last night's gala?
I too look forward to reports on the gala. Alastair Macaulay had an interesting comment on instagram: https://www.instagram.com/p/C6go9P2AB_w/?img_index=1.
-
On 5/1/2024 at 8:48 AM, SaraBW said:
Hello! I'm a huge ballet fan and have been reading these boards for years. Finally decided to register since my sister and I are going to NYC in July to see Isabella Boylston in R&J. Can't wait!
Adding my welcome @SaraBW. I look forward to reading your future posts. This is a great forum with a lot of very thoughtful people.
-
3 minutes ago, abatt said:
Her outbursts on social media based on hearsay really need to stop.
It's sad IMO. This query to the "dance community" is designed to stir up trouble, and push people to take sides. Airing grievances on social media is rarely a path to solving problems. On another note, when I saw her dance recently she was far from at the level of a NYCB principal. She seems to not realize that.
-
23 minutes ago, bellawood said:
Ashley Bouder is making some big accusations on her instagram stories! https://www.instagram.com/stories/ashleybouder/3359421783440503779?utm_source=ig_story_item_share&igsh=MTl3ZTFmMjR4djJmOQ==
This is an unfortunate statement IMO. She seems to have a big need to go public with personal grievances.
-
I see that Megan LeCrone is cast in Symphony in 3. She said on social media that she is fully recovered from an injury. That explains her absence from the stage.
-
On 4/28/2024 at 8:18 AM, Kathleen O'Connell said:
Arlene Croce observed that she'd like DAAG to be 15 minutes shorter, but not the same 15 minutes every time.
I so agree with @BalanchineFan that this is a wonderful quote. I've read that Robbins had trouble deciding on the order of the sections. So much so, that on opening night the order was posted in several places backstage for the dancers.
In keeping with the Croce idea, leaving out different sections at every show would add a Cunningham-like aleatory aspect to things!!
2 hours ago, Fernie M said:That sounds wonderful as well!
Ballet Herald and Sara Mearns announced she would be guesting with the National Ballet of Canada for 3 nights at the end of June. Performing in each of the three segments of Jewels. She did post an IG story the other day, watching Emily Kikta rehearse. “tall girl” with the caption preparing my homework or something like that. Love to see that.
How interesting for Mearns, and what lucky audience. Last summer at the Vail Dance Festival she danced with National Ballet of Canada principal, Ben Rudisin. They looked wonderful together. I wonder if they'll do Diamonds.
-
2 hours ago, cobweb said:
I see Bouder and Veyette joined in 2000, Ulbricht in 2001, Laracey in 2003. Along with Fairchild and LeCrone, they are the company’s longest term veterans. Most of them continue to dance extremely well.It is truly remarkable how well Ulbricht's technique has held up. I've always complained that the rep he was given was too limited. Looking at it a different way, although his rep is difficult, the relative infrequency of his casting might have saved wear and tear on his body!
If Laracey and LeCrone are to be cast, I imagine Midsummer would be a good bet. The've both done roles in the ballet before.
-
This is a random question. In looking at the roster of NYCB I wondered if Megan LeCrone was being cast at all. It's interesting to note that LeCrone and Megan Fairchild both joined the company in 2002.
-
2 hours ago, its the mom said:
Re: artistry - this is a problem in the ballet world across the board, imho. YAGP has not helped in this regard. Bigger, better, more seems to be what is valued.
Artistry and musicality has to be a priority in a student's life, for those aspects of dance to develop. When I watch competition performances I get board, because everyone is so heavily coached. These competitions lead to scholarships and opportunities. ABT's Studio company, for example, has a number of competition winners. At the same time, Susan Jaffe seems to be moving the company towards contemporary narrative works that require acting and maturity. This seems to be something of a mismatch unless dancers in the studio company are pushed to develop artistry, musicality and imagination in their post competition days.
-
Just back from tonight's show. Had a wonderful time. I enjoyed Bouree Fantasque more on this, my second viewing, than I did last season on my first. It has something of a 1940's musical sensibility in terms of the costumes, color scheme and overall look. This time as I watched I was taken with the formations and the way large groups of people were moved around. I wouldn't go out of my way to see it a third time, but I wouldn't avoid it if it was on a strong program.
Steadfast Tin Soldier was done by Pereira and Huxley. IMO it doesn't matter much who does it. There's not much to it.
Errante is a great vehicle for Mira Nadon. She knows how to hold the stage and create an atmosphere. Aaron Sanz was fine, but lacked the weight and substance in his movements that Peter Martins brought to the role. If you've ever seen the video, Martins was a match for Farrell. Sanz was no where near a match for Nadon. I think this piece is worth keeping in the rep, now that it's been brought back.
Symphony in C is pure joy. Mearns and Angle were wonderful in the second movement, and Tyler Angle's solo dancing was the best I've seen from him in a while. Fairchild and Gordon were crisp and joyful in the first movement and Emma Von Enck and Mejia sailed through the third. In the fourth movement Alston Macgill looked like she was having the time of her life. Great dancing all around.
If I had to guess I'd say Macgill was a strong candidate for promotion to soloist and Emma VE for principal
What a great company!
-
3 hours ago, volcanohunter said:
The company has posted a lot of Dances at a Gathering rehearsal footage in its Facebook and Instagram stories.
I've seen that footage too, and it's great. However I will rely on everyone's reports on the performances of that ballet. I know I'm in the minority but I find Dances at a Gathering way too long. I love the opening, it's filled with wonder and promise but after about 20 minuts or so, I've had it. I enjoy excerpts way more that I enjoy the ballet. I look forward to all your reviews on individual performances
-
6 hours ago, cobweb said:
Oh my goodness, thanks @volcanohunter! I look forward to this program. They never seem to do Sylvia pdd, do they? I wonder why not!
I don't have an answer as to why NYCB hasn't been doing Sylvia pdd, but it was in the ABT rep for a while. Patrick Bissell and Martine Van Hamel on youtube.
-
3 hours ago, cobweb said:
Taking a look at the overall upcoming year, while I have some complaints there is also a lot to be happy about. The Fall season is perhaps the least interesting of the three seasons, but at least it starts off with a Balanchine bang with Mozartiana, and Coppelia should be interesting as well. The Winter season has some all-Balanchine and all-Stravinsky programs, and I love the idea of the Tallchief Centennial! It will be an honor to be cast in those roles (Scotch Symphony, Firebird, Sylvia pdd). And Divertimento No. 15, fab, fab fab!!! I will probably be skipping out on Carnival of the Animals again, which is annoying. Then for Spring, another great-looking all-Balanchine program with both Ballo della Regina and Chaconne! Followed by another all-Balanchine program of Divertimento and Vienna Waltzes... wow!! Hope I can hold out till then, that's over a year away. Concluding with another run of A Midsummer Night's Dream, I can never get enough of this. So some blah in there, but also a lot to look forward to.
I very much agree cobweb. To my way of thinking the coming year, overall, is the best programing done by the current leadership. Add to that the announcement that all evening shows will start at 7:30, and whenever possible intermissions will be kept to just one, I'm a happy camper!
-
3 hours ago, Josette said:
Gillian Murphy was a great improvement over Teuscher. Hee Seo was also very moving and had a beautiful expressive range throughout. Loved Shevchenko and Forster’s intensity in the Orlando section. I have never been a Boylston fan, but her exit in The Waves after Woolf kisses her forehead (Boylston as Woolf’s sister) moved me to tears.
Would love to hear more opinions about the ballet and choreography.
-
4 hours ago, BalanchineFan said:
Thank you for the link!
It’s an interesting read. The note at end sent a shiver up my spine, though.
“Peter Martins ran NYCB for 35 years, the same tenure as Balanchine.”
A silly statement, IMO. One can't compare the importance of the two men. Sounds like press release.
2023-2024 Season
in New York City Ballet
Posted
I agree, and although Fairchild still looks great, she has already retired at least one role, and there will probably be more to come. The needs of the company and rep play a big part in promotions.