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vipa

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Everything posted by vipa

  1. Thank you for this report. Hyltin has been amazing all season. She also had some interesting things to day about VIenna Waltzes, speaking to Jared Angle on the city ballet podcast https://podcast.nycballet.com/episode-71-hear-the-dance-vienna-waltzes
  2. Bouder did post on instagram that she is reprising her role in Vienna Waltzes this week. https://www.instagram.com/p/CjjsiNtjyLz/. Guess that doesn't necessarily mean she'll do both Wed. and Sat.
  3. Agree about the need for principal women, soloists too. There are three soloists on the female side who aren't cast much, Paz, Pereira, Pollach. Bringing a woman from the outside is more rare than on the men's side, but it does happen. I think the most recent was Sofiane Sylve. Still the company seems so awash in talent, I wouldn't want to see that happen. I think, for a time, we'll see more soloists proving themselves in principal roles, and corps members proving themselves in soloist, even principal roles. IMO, one reason things got out of whack is COVID. Promotion were put on hold for a couple of years, but at the same time, some dancers moved towards retirement (Reichlin, Krowoski, Hyltin) and other like Bouder got injured shortly after the return. I think we'll see a Nadon promotion soon (IMO she'd be a principal already if COVID hadn't happened). Maybe a Kikta promotion. There are a lot of corps members with soloist potential like Maxwell and Olivia McKinnon. It might take a bit of time to work itself out, but some of the fun in watching NYCB is seeing dancers cast above their rank.
  4. Very satisfying, well danced program this afternoon: Apollo, Cage, Concertino, Symphony in Three. Enthusiastic and boisterous audience, and the third ring was quite full. My husband and I happened to be seated next to two first timers. A couple that knew nothing about ballet. They asked us questions about the difference between NYCB and ABT, since they'd seen ads for both companies. Anyway, they decided to give ballet a try, knew nothing about programs, but Sun. afternoon worked for them, and when they looked for tickets a couple of days ago, they were able to get $38 seats. They really enjoyed the performance, their fav was The Cage and they'll be back. A few thoughts about the performance. Adrian D-W was a very fine Apollo, evolving from awkwardness to a god that owned the world. Tiler Peck brought her wonderful musicality to Terpsichore. I very much enjoyed Indiana Woodward's nuanced performance of Calliope. Emilie Gerrity replaced Ashley Laracey (hope she's ok) as Polyhymnia, and handled that tricky variation well. The Cage was done with a clarity that brought the drama to life (I alway thought it would be fun to do the corps in that), Alexa Maxwell was impressive as the Novice. I'd love to see Maxwell promoted to soloist. Concertino is one of those ballets I wouldn't go out of my way to avoid or try to see. Emilie Gerrity was the female lead and I must admit that sometime I find Gerrity somewhat undistinguished. She has a very solid technique and is attractive to watch, but sometimes seems somewhat generic. I love Symphony in Three, and this performance with Sterling Hyltin & Taylor Stanley doing the pas, reminded me that Hyltin is truly leaving at the height of her powers artistically and technically. Erica Pereira remains something of a mystery to me. She and Daniel Ulbricht were the first couple. Pereira isn't cast much and, to my eye, hasn't changed or grown as a dancer. I wish her well, but I don't see her as an asset to the company.
  5. Interesting comment, Cobweb. You've articulated the feelings that led me to hesitate to see this program. I like Episodes and love the riches contained in VW, but as a program it seemed to me that these two ballets do not enhance/flatter/ build on each other. I might still decide to go last minute, but so many other combos would have gotten me there fast. I'm wondering if the team approach to leadership is working. Probably too soon to tell.
  6. If anyone is interested. NYCB opened up the 3rd ring for tickets sales for Sunday matinee. There are $38 and $80 tickets. It's the all Stravinsky program
  7. Not to get too in the weeds about followers, but yes celebrities use media services to increase their followers/likes, and even purchase followers/likes that are considered "high quality" which usually means someone with an actual insta account that includes a photo vs a bot. I'm going to assume that most followers of ballet dancers are "organically" gained, and therefore truly interested in that person/dancer. If Tiler Peck has 415,000 organically gained followers and that number doesn't increase ticket purchases, I don't think doubling that number is going to do the trick.
  8. I totally agree about ticket prices and the current strategy NYCB has in place to maintain ticket prices and push the audience together. Some kind of rush/day-of tickets or other strategies are needed. The company has to, not only sell tickets, but also build a ballet loving audience that wants to come back again and again, and even bring a friend. If you come with your partner one time and it ends up costing $250 + it's unlikely to become a habit. As far as dancers and social media go, Tiler Peck is a good example IMO. She's a presence on TicTok and Instagram (415K followers on instagram). She is seen with friends from the fashion & pop music worlds on social media fairly frequently. She's been on Ellen' show, done musical theater, etc. Megan Fairchild has 55.8K followers in instagram, and got some mainstream press when her book came out. Sarah Mearns has 86.3K instagram followers. None of the seems to translate to ticket sales to their shows.
  9. Interesting. One can only hope that music by Solange Knowles will bring a new audience in, and a fraction of that audience will become interested in ballet and return to view and explore. I remember the house being packed for Oceans Kingdom. with a score by Paul McCartney. A lot of excitement surrounded that production. The trick is to bring a new audience to an art form.
  10. I saw the matinee today. The company looked amazing in all three ballets: Stravinsky Violin Concerto, Concerto DSCH & Everywhere We Go. It was my first viewing of Everywhere We Go. I was entertained and intrigued for the first few sections, but after a while it just seemed like steps, steps and more steps. Throwing everything in, including the kitchen sink, can have diminishing returns. I felt as if there was more than one ballet in there, and Justin Peck, as choreographer, would have been better served if he'd saved some steps, ideas, formations etc. for another ballet! The piece left me feeling unsatisfied, unlike the other two pieces on the program. I would have programed it as an opener not a closer to the program. Concerto DSCH is one of my favorite Ratmansky ballets filled with warmth, humor, wonderful imagery. Indiana Woodward was effervescent in the role created for Ashley Bouder. She brings a different tone to the choreography, less coy and more openly joyful. The trio was rounded out with fine dancing by Joseph Gordon and KJ Takahashi (I can't believe he's still in the corps).Sarah Mearns and Tyler Angle did the central pas de deux. The partnering looked effortless, and Mearns danced with freedom and her signature sense of drama (I mean that in the best way). Angle looked in better shape, in his solo dancing, than I've seen in a while. Seeing Violin Concerto again is gift. I get more from it with every viewing The two arias, so different from each other in tone and relationships, were danced by (Aria l) Claire Kretzschmar & Aaron Sanz, (Aria II) Sterling Hyltin and Peter Walker. At the end of the ballet Kretzchmar and Hyltin were applauded by the corps members on stage, presumably because both dancers are leaving the company. Kretzschmar is striking dancer who I picked out years ago when she was in the corps. Hyltin is a true ballerina. I will miss the naturalness and true loveliness she brings to the stage. The company really looked great.
  11. Aww - I am a big Federer fan too. Closest thing we'll ever see to ballet on the tennis court!
  12. I was at this afternoon's performance. It was great seeing cobweb at intermission! The blazing highlight of the day was Tiler Peck/Joseph Gordon Tchaikovsky pas. Peck's musical imagination is unmatched. I've seen the pas many, many times, yet she played with the musical phrasing in ways I'd never seen before, but always with taste and without distortion. Joseph Gordon's partnering was stellar and allowed Peck total freedom. His variation and coda were beautiful and thrilling. Raymonda Variations was led by Isabella La Freniere and Chun Wei Chan (replacing Peter Walker). Chan had some difficulties in his variations here and there, so IMO didn't fully pull off the virtuoso aspects of the piece. That said he has great stage presence and his dancing has a joyful buoyancy. It could be that the slight mishaps were due to being a replacement. For all I know he could have just learned the piece. La Freniere is a principal in the making. She has technique, presence and musicality. I look forward to seeing her develop. The variations were all good, I'll comment on two. Mira Nadon is exceptional in every way. I feel that way whenever she sets foot on the stage. Olivia MacKinnon did the first variation, which ends with hops on pointe that cross the stage. She got stuck in place, instead of traveling, but she didn't come off pointe. I hope next time she's able to cover space, which is fun to see! My first viewing of Piano Pieces. I am probably in the minority here, but I don't care for it. It seemed disjoined. There's ballet with a folk dance flavor, "funny" folk dance-sections, ballet duets and solos, some of which add a folk dance gesture. The order of the sections seemed random. Anthony Huxley is a fine dancer with exceptional technique, line, clarity of movement. He is not served well by this cutesy, choreography. All in all, the company looks great. The next generation is coming and will be ready!
  13. Wow a lot going on. Thank you for the update. I'm sorry to hear of anyone's illness or injury (hope another round of COVID hasn't hit the company), but I admit I look forward to seeing Chan in Raymonda on Sat. Sorry for Hyltin. She's retiring in a few months, and it's sad to see her miss shows.
  14. I agree that at this point in his career Ulbricht's rep is unlikely to expand. As far as I know he never did Allegro Brillante. I think he would have been great in Donizetti Variations. As far as partnering goes, it can be worked on and improved. Mejia didn't walk into NYCB a great partner, and over at ABT Simkin took a while to become a decent partner. In comparing Ulbricht's height to others, sometimes with shorter men, it isn't a matter of exact height, it's a matter of proportions. My best guess is that Ulbricht's overall look and proportions were deemed wrong for certain roles, by TPTB. I've always been a Ulbricht fan, I think we've all been cheated!
  15. I have thought this about Ulbricht for a number years now. When he was finally given Oberon, after a century as Puck, he was spectacular in the role. I fear it is too late in his career for him to be cast better than he is, but I look forward to seeing him in the Oct. Tharp show at City Center.
  16. vipa

    Sarah Lane

    I agree that Lane made a very un-savvy remark about being a small, light dancer who was therefore paired with small men. Shorter men who are virtuoso dancers tend to focus on their own variations and "tricks" and not so much on partnering in a company like ABT that does lot of full lengths. I saw many shows in which Lane was not served well by Simkin or Cornejo, but they both became better partners as time went on. On the other hand she was sometimes given opportunities because a short dancer like Simkin or Cornejo needed a small partner. Unfortunately there were times when, IMO, she didn't seize the moment.
  17. Megan Fairchild did an interesting interview with Lajeromeny Brown that left me with the feeling that ballet was not Brown's main focus or field, so I'm not surprised. Great interview!
  18. On instagram, Bouder posted a picture of herself in Scotch from years ago, with a statement about her past year https://www.instagram.com/p/CidkhdEPQfB/ Bouder's rep tends to be very technical, so maybe she's doing what she can handle as she returns. That said, I'd love to see Laracey get a chance. Nadon too, but she does have a lot of time.
  19. Funny you should mention it cobweb. I was just making similar observations about the website. I've found it easiest to click on "view full calendar" and then the date I'm interested in. A list of the ballets being performed pops up. Awkward, at best. The overall look and layout of the site makes we wonder who it is aimed at.
  20. I enjoyed the New Yorker excerpt very much. I'd read much of the information before from other sources, but some details were new to me and Homans pulled things together nicely. Quite a stark reminder of the state of the Cold War at the time. The end of the piece was disappointing to me. It seemed like a lot of speculation and psyche diving on the part of Homans. There is no way to know what she states as fact. "...a mirror broke in his mind. He could no long hold a nostalgic reflection of himself....." I don't care how many people she spoke to, these are conclusions that she can't be certain of. To me it comes off as pretentious.
  21. I agree. This campaign is a miss, IMO, and I usually like the NYCB advertising.
  22. I'll miss her. Even in the corps she was always a stand out. She's been the co-host of City Ballet the podcast and done some interesting work there. I wonder if she'll continue in that capacity. She also put on a small scale, fun production of Nutcracker during the pandemic. Whatever direction she chooses to go in, I wish her well.
  23. vipa

    Sarah Lane

    Lane is a dancer with special qualities. When she's on and it all comes together she's transcendent. I wish her well in these performances.
  24. I've found Cassandra Trenary to be very versatile stylistically. Not only great in Tharp, but wonderful in Jessica Lang's Zig Zag (a piece many on this board hate!), and fabulous in the Michelle Dorrance piece done for Tyler Peck's show in City Center.
  25. I never saw Part as Aurora, but I really liked Cynthia Gregory in the role. I thought there was a real sweetness to it. Plus, there was a delicacy to her appearance as opposed to Martine Van Hamel (a contemporary of Gregory's), who was maybe an inch taller but had a much sturdier look (IMO). Aurora is usually on the short side but I don't think height should be the single element that rules people in or out of the role.
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