vipa

2 hours ago, tutu said:

Ditto!  I’m no help on the city center programming, but I’ll be sure to pay much more attention to Peck’s programming going forward!

I just want to add - has anyone else see the documentary "Ballet Now" about Tyler Peck and the program she put together for a festival? (Sorry if this is old news/rehash). It's not the greatest Doc film IMO but it shows her imagination and programing skills in bringing in particular dancers as well as Bill Irwin and Michelle Dorrance pieces. I think it's on Hulu. I got a trial subscription to watch it. 

10 hours ago, cobweb said:

I've been looking ahead to the spring programming, trying to map out my schedule. There's not a whole lot that I'm really looking forward to. Divertimento No. 15 is at the top of my list. I'm wondering about casting for several pieces, since likely there will be a good number of debuts. For Firebird, I believe the most recent Firebirds were Kowroski, Reichlen, and Bouder. Two of those are now retired. Any official word on whether Bouder is likely to return for spring? Has Sara Mearns done this role? I assume LaFreniere is likely to get Firebird, since she was scheduled to do it years ago before getting injured. Perhaps there will be another debut -- Phelan? Also they may need a new Apollo, with Garcia retired. Joseph Gordon perhaps, or Jovani Furlan. I assume Miriam Miller will do Agon since she has done it before, but there too they might debut at least one more person.

I've said his before but the Bouder situation is a strange mystery. I follow her on social media and there has been radio silence on her relationship with NYCB and ballet in general.

Cobweb I too am look at programing. So much is influenced by rehearsal time and COVID restrictions that I think we won't be able to make a judgement about the artistic direction of the new regime until next year. 

I wish Lovette the best in the position. I've only seen a couple of her pieces and wasn't favorably impressed, but this situation offers her the opportunity to choreograph consistently, and using the same dancers so I'm eager to see what comes of it. I thought he article interesting in the way it mentioned the historic ballet/modern divide, but  didn't mention the Paul Taylor solo in Episodes that Balanchine choreographed, or the fact that in Peter Martins, Barber Violin Concerto, two lead roles were originated by Paul Taylor dancers.

First, thank you Ballet Talk contributors for helping me think through this thing. Woetzel was an unconventional pick. He has star power, fundraising power, and education but, as far as I know, no experience in leading this type of organization. Vale is different. He can call the shots, invite who he wants etc. There seem to have been a lot of negative feedback about him at Juilliard. The most interesting to me are his focus on performance not education, and creating an atmosphere of intimidation and fear. The administrative and communication aspects, I feel, are flaws more easily addressed.

In terms of diversity and direction, surely these things were discussed during the interview process. My question would be, why was this individual hired? What was impressive about him, and where was his leadership expected to go? Is he going off in a direction that was unexpected.

It is unfortunate. Personally, I've been in professional situations in which one is expected to take sides (I'm sure a lot of us have). It's no fun. Lastly, it's interesting that Woetzel went after support from the big names. I suppose that's necessary, but I'd really want to hear what the adjuncts are saying.

Wonderful! So many of us are grateful for this forum and the opportunity to learn and discuss an art form we all love.

I know I commented before, but I just want to add that the Tiler Peck show had truly amazing performances from every single dancer involved, and impressive programing with pieces that ranged from good to unforgettable. If Tiler Peck does something like this again, I will be first in line to buy a ticket. Also personally, it increased my interest in seeing Cassandra Trenary do anything at ABT!

1 hour ago, pherank said:

Vipa, do you know if this performance is to be streamed at any time?

I haven't heard anything about live stream. I'd say if anyone is in NY and can get there on Sunday - go! 

I haven't seen any reports. I saw the Tiler Peck show at City Center last night and had a wonderful time. The dancing was incredible. Peck truly overwhelming with her combination of sharpness, legato and musicality, but everyone looked their best. I forgot how beautifully radiant Loren Lovette is when dancing in her comfort one. Anyone else there?

The underling issue that companies are trying to deal with through outreach, is that ballet is still an elite practice, like say figure skating, but perhaps to a lesser extent. You have to know ballet exists, live relatively close to training, it has to be good training (at some point), the time devoted to training grows every year, pointe shoes are expensive, auditioning for summer intensives is a big factor which means registering, getting there etc. From what I can see, and I admit my knowledge is limited, SFB and Miami have developed pretty good outreach programs. Misty Copeland is a dancer who I've enjoyed in some roles, but believe was woefully miscast in others. I think that of a number of dancers. However I think Copeland has made a huge impact on ballet by bringing in a more diverse audience which will hopefully translate to more kids of color studying ballet. Still, every year, in the US, thousands of kids take their first ballet class. The chances of any one of them getting into a company are small, making it to principal are even smaller. 

32 minutes ago, pherank said:

Rest in peace, Mr. Crisp.

Indeed rest in peace. For better or worse his type of criticism is a thing of the past.

2 hours ago, canbelto said:

I wrote an appreciation for Tess and Gonzalo on my blog:

https://humbledandoverwhelmed.blogspot.com/2022/02/tess-is-more-two-beloved-principals.html

Nicely done appreciation canbelto. I was not a bit Tess fan outside of a couple of roles, but you encapsulated her gifts and flaws perfectly, and her statement to the audience was a needed gift at the time.

1 hour ago, nanushka said:

The Times has an article:

https://www.nytimes.com/2022/02/26/arts/dance/new-york-city-ballet-promotes-three-men-to-principal-dancers.html

Congrats to all three. The pandemic disrupted normal development, so they will have to shoulder the responsibility of being principal dancers more suddenly than they otherwise would have. I'm rooting for them. Meanwhile, I'm curious about the future of the Angle brothers, and about Ashley Bouder. 

19 hours ago, griffie said:

Allegra Kent was at Tuesday night's performance of Swan Lake - I heard her giving her name for her tickets as I was picking up my own ticket. I hope she was happy with the current production. She is still beautiful, and as often happens when I see dancers who give the impressions of being long and elegantly tall onstage, she is quite petite in real life! Such a lovely dancer; I was fortunate enough to see her perform, although I was too young at the time to fully appreciate her gifts.

Just want to add that I live in the same apt. building as Allegra. Many years ago, when my husband and I studied at the NY School of Ballet, she sometimes took classes there, and she is nice enough to say she remembers us when we run into her. She is indeed still beautiful and has a very special quality. To tell the truth, I'm still a bit star struck! I know from our elevator conversations she enjoys going to the ballet, and I've never heard her say a negative word about any performance. 

I also was at this afternoon's show. It made me happy. Both cast I saw of 4T's this season were good. In this one I particularly appreciated La Frenier in Sanguinic -  her expansiveness, attack, presentation. I loved Russell Janzen's  Phlegmatic. He shaped the piece beginning to end with the perfect sense of drama

Love this cast of Sonatine, Woodward and Huxley. She's a dancer of imagination and clarity, with a wonderful port de bras. He has a truly fine tuned, polished technique. From the start the piece was almost a conversation between them. A pleasure.

Black Swan with Tiler Peck and Jovani Furlan. She has a deep bag of tricks technically, musically and in terms of characterization. His variation was a bit underpowered. Do they really have to do the double tours with arms in high fifth?

I adored Fairchild in Swan Lake. She was the big surprise to me. How long can this woman just keep getting better and better? Mary Elizabeth Sell replaced Ashley Laracey in pas de Neuf and was excellent, as was Ashley Hod. I think the "big swans" have settled into their roles.

I went home happy.

The women's competition ended horribly in every way. The IOC should be ashamed. No one was a winner in this mess.

6 hours ago, California said:

Tara was right to be concerned. I remember travelling with somebody who was subject to random drug testing at work who was also super-careful to avoid poppy seeds.

https://www.usada.org/spirit-of-sport/education/can-poppyseeds-cause-a-positive-drug-test/

I also heard Tara Lipinski say that when she was a kid, if she had a cold, her mother called the authorities before giving her cold medications to make sure all the ingredients were OK for her to have. It seems young athletes and their families develop a super awareness, as they should.

I was also there this afternoon and agree with Cobweb about 4T's. I just want to add I thought Olivia Boisson was particularly striking in The Theme section, and I enjoyed Megan LeCrone's attack in Choleric. 

For me the rest of the performance was something of a let down. I'm a long time fan of Laracey and she was lovely in Sonatine, but I think the piece needs more imagination and nuance. It was done on Violette who could add real flavor to a piece. IMO Sonatine needs a special kind of dancer to bring it to life.

LaFreniere had a real struggle in Black Swan. Peter Walker partnered her very well, and rescued a lot of turns. Her variation had a lot of staggery moments. A lot of novice mistakes. She's super talented and has an amazing instrument, I'm sure she'll improve and grow in the role. Walker danced well IMO.

I'm in the minority in that I enjoy this version of SL. I don't look at it as Swan Lake in the narrative sense, just the perfume, so to speak. I guess somewhat in the same category as Scotch Symphony. I love the swans entrance. The step Balanchine has them doing makes them seem to fly in, then he does the standard entrance step later. I love the corps waltz, and the formations. In this afternoon's show I found the lead couple frustrating!. I really wanted Reichlin to hold a pique or releve and really register a line. Tyler Angle is a fantastic partner, but - well - I'll just say doesn't fulfill the choreography in his solo work.

I"m seeing the same program Saturday afternoon

4 hours ago, cubanmiamiboy said:

Matinee intermission.

The ballroom act has its ups and downs. Here, again, I give McKenzie the crown, with his unique treatment of VonRothbart and his wonderful dance with the princesses.  Peter Martins gives us the great deleted by Petipa "Dance of the Dwarfs ", for the three kids and the jester.  Ratmansky goes pretty basic here, probably the closest to Petipa we can get. Fandango, Tarantella-( with the boys carrying lutes), Czardas-( all the men sporting beards)- and Mazurka. And then the pdd, with the nice vintage touches we have all seen from the available YouTube videos. 

This is allegedly the 95 Drigo's edition of the score, and so in giving way to authenticity,  we lose quite a bit of Tchaikovsky.  Lots of cuts everywhere, particularly at the "revealing of Odile" climax.

Fouetteometer alert: Again, 25 singles on Jennifer Lauren.

Can't thank you enough for these reports!

I was a Fri. night's show. I had eagerly awaited Tiler Peck's Mozartiana. It was a good, but uneven performance IMO. Some of the variations were an absolute joy of clarity, musicality ad phrasing. There were also beautiful moments in Preghiera. I think the issues I had with the performance, are a result of the lingering effects of her terrible injury. She can't really bend back, or drop her head back. There is a moment in Preghiera with a deep backbend. Peck leaned back and looked upwards. It doesn't have the same effect. Also, and I believe injury related, she seems to be struggling with her arabesque. Tiler Peck is an amazing dancer and artist, and I'm glad I saw her in this ballet, despite what I view as her limitations.

I enjoyed Harrison Ball as the male lead, and he had me rooting for him. He did a lot of excellent dancing. The video with Ib Anderson holds up as the gold standard. I didn't really care for Troy Schumacher in Gigue. 

Loved Rubies. Sterling Hyltin - what a delight - playful, spontaneous, spirited, not a false move on stage. Mira Nadon blew me away in the tall girl role. She is fearless, eats up space, and can move with great speed. In that naked, difficult exit when she does the penche arabesque sequence moving backwards. The first one had a shaky moment. She fixed it. No problem with the rest, in fact huge, beautiful movement. Impressive in a young dancer, to not get spooked by a mistake and go bigger and bigger! She is going to be a big star.

Didn't stay for La Valse. Saw it twice in the fall and it was never a favorite!

OK - let me just say. I, for one, am sorry intermissions are back.

8 hours ago, cobweb said:

I was there last night and found the evening overall kind of blah without knowing exactly why. Were the performances lacking in energy, or was my mood just off? Still not sure. 

The comments about LaFreniere's smile made me wonder - how much is facial expression specifically addressed in training, if at all? Different ballets call for a whole variety of facial expressions, from poised regal grandeur to cheerleader-type grins to seductive slyness, and everything in between. Whether a dancer has a facial expression suitable to the role, or not, makes a tremendous difference in the performance. Is this directly taught or coached, or are dancers on their own with figuring out what their facial expression should be and how to achieve it?

I don't know about anyone else, but I've never experienced or heard of real coaching about facial expressions. Sometimes something broad like - smile more. Sometimes an overall mood like - look saucy here. For better or worse, I think it's assumed the the over-all right physicality will lead to a suitable facial expression.

20 minutes ago, nanushka said:

I agree about those particular qualities but for me the role calls for more.

I find his conversation interesting. I saw Hyltin in the role pre-pandemic. She had become, by that time, a dancer I much admired and sought out. After seeing her in Mozartiana back then, I actively avoided her in the role this time. That isn't because she was awful, she was in fact lovely in many ways, but I seek a particular depth in that ballet. Perhaps we find that depth in different dancers and it isn't something that's debatable. We find it or we don't.

Love all the reports. I'm really looking forward to seeing T. Peck in Mozartiana next weekend. I don't listen to the City Ballet podcast often but Silas Farley hosted a "hear the dance" on Mozartiana that is fun. He interviewed one of the 4 original minuet women, and 1 of the original children. https://podcast.nycballet.com/episode-51-hear-the-dance-mozartiana/ 

On another topic, does anyone know the status of Ashley Bouder? I follow her on instagram. Other than one statement many weeks ago, that she'd started serious exercise, there has been nothing about dance.

57 minutes ago, GB1216 said:

Isn’t Shelby Mann the daughter of charlotte d’amboise and Terrence Mann? Quite the ballet lineage there!!! 

I believe she is. Terry Mann has a daughter named Shelby who would be around 18 or 19 now.

6 hours ago, abatt said:

I think the oldest person to be promoted from soloist to principal was Krohn. 

As a practical matter, if the company is investing time, money and effort to teach leading roles to new principals in rep that is revived every few years, they must prefer to have confidence that the person will be around for a period of time to perform the roles.  When you are talking about dancers in their mid or late 30s taking on new lead roles, the likelihood that those dancers will continue to perform those roles over the course of several revivals over the years is diminished.  That's why I think after a certain age the likelihood of promotion to principal diminishes.  While Whelan stayed for a really long time, she was  a  star dancer for several decades and  had the ability to write her own story, to an extent, regarding when and how she would retire.  Ditto Maria K. 

I think the time may have passed for Laracey.  They are putting her in oddity roles in ballets that are infrequently revived, like the Unanswered Question and Summerspace.    .

 

Thant may be so in some cases but many soloists learn principal roles as possible 4th 5th casts, and never perform them. New principals are not necessarily learning their roles for the first time. I know a past soloist who "learned" a principal role for 3 years and never got to do it. 

7 hours ago, Paisley said:

I couldn't agree more in regard to Megan Fairchild. I think after having her first child she has become a more interesting dancer to watch. Ditto x3 on Laracey she has been ready for awhile now. 

I agree that Fairchild improved with her age. I actually think her real breakthrough came when she returned from doing a Broadway show. Perhaps practicing a different kind of theatricality informed her performances. She kept growing after that.