vipa

2 hours ago, ABT Fan said:

This afternoon was a mixed bag.

Children’s Dances by Jessica Lang was ok - I’ve never warmed to her choreography much; she seems to try different ways of doing certain steps or arm positions that don’t really work, it just looks different for the sake of doing something different. The point of this piece was to demonstrate the transition from childhood to adulthood while maintaining a sense of play but I didn’t really pick up on that. But it allowed me to see certain dancers like Robare, who is bursting with natural talent and high energy, he just needs a bit more refinement. Keep an eye on him. Also, Magbitang- who is a future star. Can’t wait to see him as Puck tonight. New soloist Park looked beautiful.

The new piece Lifted was also just ok. I believe all of the mirrors were to convey POC’s desire to see themselves represented in all areas of life. It’s something that I wish was already happening, but this motif was a bit too obvious to have an impact for me. I didn’t like the score at all, it just didn’t work for most of it. It was wonderful to see a black conductor walk out. Royal had some gorgeous moments, and it was nice to see Lall featured. Lawovi is a relatively new corps dancer; he has talent but was straining far too much.

The highlight was Sinfonietta - an embarrassment of riches seeing so many principals at once dancing such gorgeous choreography to a blazing score. And, my first time seeing musicians (trumpets) on each corner of the stage under the boxes. Forster was perfectly cast, having the most beautiful grand jete out of everyone. Shevchenko and Trenary fit this piece like a glove. Bell also in wonderful form. I was surprised but thrilled to see Cornejo as well. But, the ongoing revelation this year was seeing Klein, who more than held his own on stage with so many principals. I’m gonna beat a dead horse and again ask why this man hasn’t been promoted yet?? This ballet ended far too soon.

Agree with ABT Fan. Just want to add - I'm in the minority on this board in that I like Jessica Lang's Zig Zag, but I found Children's Songs Dance just OK and way too long. In the opening section the patterning and walking motif were promising, but didn't develop into anything. I did not pick up at all on the childhood to adulthood thing that ABT Fan mentioned. And, although I generally enjoy Chick Corea music, in this case it felt like background music to me.

Lifted had some stunning moments with the set. lights and reflection pool. At two points during the piece, the audience thought it was over and started applauding enthusiastically. I would have been fine with it ending at either of those points! 

Agree that Sinfonietta was the highlight. I hadn't seen it in many years, and it really holds up. Love the quiet of the ending. Cassandra Trenary was a stand out for me with her lush, yet precise movement. I look forward to reports of her performance in The Dream.

It will be interesting to see what direction the search committee goes in their selection process.

Just to add - after seeing the wonderful Tharp show on Thursday, I got to thinking about Tharp her various interpretations of Sinatra recordings. One of my favorite interpretations of One for My Baby: 

2 hours ago, FPF said:

I believe that Sinatra Suite is excerpts from Nine Sinatra Songs.

Yes, I believe Sinatra Suite came a year after Nine Sinatra Songs, and it's done by one couple. Originally Baryshnikov and Elaine Kudo. 

1 hour ago, cobweb said:

I attended last night and thought it was a thoroughly wonderful performance. The dancers are an assorted group, with different body types and from different dance backgrounds, and you can see that, but they work together in the most beautiful way. Many of the dancers are familiar to me from our NYC companies, but I especially enjoyed the too-rarely seen Kaitlyn Gilliland, the ferocious Jeanette Delgado (incredible in Nine Sinatra Songs), and the beautiful Julian MacKay and Benjamin Freemantle, neither of whom I've seen before and who are obviously beautiful classical dancers.  This program is a total crowd-pleaser, appealing to the newbie and dance aficionado alike... and I couldn't help but think about my mother and wish she were still alive so I could take her to see this, I know she would love it! I may be back tonight. 

Seconding absolutely everything cobweb said! Twyla Tharp put together an astonishing group of dancers. I encourage anyone in the vicinity, to do their best to get to a show. Just wanted to add that I found particular pleasure in seeing Daniel Ulbricht in this rep with his wonderful clarity of movement and captivating presence. 

9 hours ago, nanushka said:

Why not just give Ulbricht the role, I wonder. Seems a little strange, as if there was some reason they wanted Ball to be onstage for the final section.

I does seem odd. Is there a height difference between Woodard/Ulbricht that would make waltzing together seem somehow odd? I'm just trying to think of possible reasons.

16 minutes ago, Jacqueline said:

Per an Instagram post by Wendy Whelan, apprentices Sarah Harmon, Shelby Mann, Anna Snelgrove, and Dominika Afanasenkov have been promoted to the corps.  Congratulations to them all!

https://www.instagram.com/p/CjtUVIrJjAx/?utm_source=ig_web_copy_link

 

Congrats. Particularly sweet for Shelby Mann. I'm assuming it's the same Shelby Mann that's the daughter of Charlotte D'Amboise (grandaughter of Jacques).

18 minutes ago, cobweb said:

Thanks for these very kind and sensible comments, @BalanchineFan. I hope they can find the right rep to show Bouder to her advantage at this stage of her career. 

I too wish to see Bouder treated respectfully, and think she will be. An issue with Bouder is that she is known for speed, jumps and the overall technical aspect of her dancing, and had only begun (IMO) to explore a different aspect of artistry, when the pandemic hit. Then came an injury that she described as potentially career ending. So it seems that a lot of her regular rep is out of her range right now, and perhaps permanently, and she hasn't transitioned to or proven herself in different rep. Not an enviable position for her or TPTB that do casting. Whether Bouder chooses to retire soon, or press on, it's a tricky situation. I wish everyone involved the best, and I do believe that a good faith effort will be made to show Bouder respect while seeing to the needs of the other dancers, company and ballets. Not an easy balancing act.

11 hours ago, abatt said:

Hyltin was glorious.  She looked like she was recalling all of her past performances in a reverie during her VW solo.  And Robbie Fairchild was stellar as her partner. I miss him.

The performance made me recall when Robbie & Sterling were cast together in the debut of R&J in 2007.  They have come full circle together.   It almost made me weep recalling all their years at NYCB and all of their performances.

Maria K. was in the house.

A little too tired to write more.

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

49 minutes ago, abatt said:

I'm also curious as to whether Bouder will be dancing in Vienna Waltzes on Wednesday, so if anyone sees a change in the lobby casting board please post.  thanks.

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. 

2 hours ago, cobweb said:

I am really struck that the company is going to need some new female principals, soon. With Hyltin retiring and Bouder in questionable form, that leaves five women to carry the principal load: Fairchild, Peck, Mearns, Woodward, and Phelan. By contrast, there are 13 principal men, granted some of them are also in questionable form. Really several principal women are needed. The new batch of soloists are doing great, but they were promoted less than a year ago. I wonder, will they bump some of them up quickly?  Laracey and LeCrone have been stalwarts, but would they promote them at this late point in their careers? Do Sara Adams and Emilie Gerrity have a chance? (I'm assuming, given the lack of new roles for Pereira and Pazcoguin, that they are not in the running for promotion, and I don't know what's up with the missing Brittany Pollack.) Or, would they bring someone in from outside, the way they did with Furlan and Chan? Any which way, it should happen soon, and the need to keep developing new talent is constant. I agree with @vipa that Alexa Maxwell is a prime candidate for promotion to soloist. 

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.

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 hours ago, cobweb said:

I was really looking forward to the Episodes/Vienna Waltzes program, but in actuality it fell a little flat for me. I felt like there wasn't enough dancing, or enough ballet. Episodes largely consists of contained, precise movements. It never lets loose, either the choreography or the music. The grand sweep of the opening "In the Vienna Woods" was like a relief after Webern, but I wanted something more than waltzing, walking, and polka. The only all-out ballet of the night was "Voices of Spring" with Huxley and Fairchild, and it was very welcome. This program seems like a great idea, but the reality is kind of flat. 

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.

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

22 minutes ago, On Pointe said:

That's because those numbers are paltry.  They should aim for millions of followers.  Most celebrities hire professionals  to run their social media accounts.  It's a legitimate business expense,  and it frees them from the effort.

Ballet tickets are expensive,  but so are Nascar tickets,  and yet they manage to sell out huge stadiums,  and nobody whines about the prices.

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. 

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 hours ago, Peg said:

 

I loved seeing a packed house and such a diverse audience. I was in the orchestra, sat next to a very young man who had driven in from Toronto to see the performance, to hear Solange Knowles’s new music.  He had never been to the ballet before, soaked it all in, engaged me in conversation (he said he noticed my body language during Sym in C), asked tons of questions and was bowled over by the quality of the dancers and the diversity of the choreography.  NYCB is smart to do new work that will engage new audiences. 

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. 

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. 

24 minutes ago, bellawood said:

I was thinking about just this dynamic  Mejia is a bit like Rafael Nadal -- often amazing to watch but you can see the sweat with the joy, and Joseph Gordon is a bit like Roger Federer -- naturally beautiful positions, performance at the highest level, and the flowing hair besides! We are lucky to get both. (Also, I am very sad that Roger retired, I think you can tell!)

Aww - I am a big Federer fan too. Closest thing we'll ever see to ballet on the tennis court!

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!

1 hour ago, cobweb said:

Casting updates from the lobby, sheet dated today. 
tonight - Phelan replaces Hyltin in Sonnambula. 
Saturday mat - Chan replaces Walker in Raymonda, Gordon replaces Mejia in   tschai pas. 
Saturday eve - villarini Velez replaces Mejia in Piano Pieces

sunday - Furlan replaces Walker in Divertimento. 
No changes announced for next week. 
 

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.

30 minutes ago, bellawood said:

He does do Symphony in 3. I've always wondered if his partnering is an issue? You know, always Puck or the faun in 4 seasons or the second role in Mozartiana (or La Porte et Le Soupir). Or is he really that much shorter than Joaquin or Anthony Huxley that it matters? Did he ever do Allegro Brillante? 

 

edited to add: and of course Prodigal, which has crazy partnering but is really different than other ballets?

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 minutes ago, abatt said:

The fact that  Ulbricht is still doing a minor role like Jester after this many years as a principal is heartbreaking.  Give this guy the respect he deserves and has earned.  

Thanks for the reports!

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.

19 hours ago, volcanohunter said:

I have clear memories of a performance during which Daniil Simkin's Lensky knocked Sarah Lane's Olga off pointe once and then nearly did it a second time because he was struggling mightily with the partnering. (And in that case the problems were with promenades and turns, not lifts.) I'm sure these kinds of experiences were awfully frustrating for her, especially if she ended up looking badly through someone else's flub.

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.

10 hours ago, cobweb said:

LaJeromeny Brown made a charming, memorable impression in Western Symphony at the SAB Workshop a few years back. Sorry to see him leave NYCB, but I wish him well. 

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!