vipa

14 minutes ago, On Pointe said:

.  If it turns out that Edwards is not sufficiently useful in PNB's current repertoire,  or if he suffers repeated foot and knee injuries because male bodies are not anatomically suited for pointe work,  he'll be eased out.  

This discussion is so interesting to me. The dance world is covering new ground. The above statement would hold true for any dancer that is hired in any company. If a dancer is not sufficiently useful in the rep and/or suffers repeated  injuries and misses a lot of performances, that dancer is not likely to continue being employed. The goal of any dance company is to have dancers who fill the needs of the rep, and who can stay injury free enough to be useful. That is the bottom line in hiring, and re-hiring.  

2 hours ago, California said:

NYCB just announced via email that single tickets will go on sale July 19 for donors over $100 and subscribers for 2021-22, including the four retirement programs. The email doesn't say if they will have seat selection.  Single tickets for the general public go on sale August 1. At least in previous years, seat selection was available at that point. https://www.nycballet.com/season-and-tickets/seasons

I saw this. I don't know why I'm so lethargic about it, but I didn't subscribe and I'm willing to take my chances and buy single tickets when they go on sale Aug. 1. Maybe part of me can't believe we're truly post pandemic.

I think Vienna Waltzes is one of those works that is best viewed live. Video somehow diminishes it. This particular video doesn't hold up well against the earlier version with the original cast for three reasons IMO, Von Aroldingen,  Martins, Farrell. It's interesting to me that Peter Martins extraordinary career as a performer isn't mentioned more often. He and Karin Von Arondingen brought a real sophistication to their section. Reichlin and La Cour looked like they were play acting. Farrell's impact can't be overstated. Kowroski was sweet. 

It's not that I don't think a new crop of dancers can make as big an impact as the original cast, but I think there is a lack of imagination in casting. Height, seems to be a big factor in casting these roles. What if that wasn't a requirement? I was just thinking that Gina P seems to me to be a performer of some drama and depth. 

I know there is a big push for diversity in terms of who is asked to choreograph new works, and people of color being hired. Wouldn't it be interesting if casting for old works didn't get divided up by height, but other factors were deemed more important.

The more I read here, and the more I think about it i agree that there is a lot missing. I wonder how her conversation about the unwanted partner evolved? It's hard to believe she marched in and said - I never want to dance with him, ever again. It would be interesting to know the progression that conversation took. On the other hand, she must have known that she has never been a Kevin M favorite. Making demands at all was risky. Obviously a risk she was willing to take.

I agree with others that Sarah Lane is a rare talent. Yes, streaky in that sometimes her nerves get the better of her, but her port de bras, radiance and loveliness, when combined with technique (on her on shows) are magical.  There are dancers who, deliver the goods no matter what, but who will never take you to another place. 

On 5/28/2021 at 8:27 PM, Fleurfairy said:

Yeah that was a mistake to turn down that principal contract with SFB and I’m sure she regrets it given how her career at ABT turned out. Having to sub as Odile in a Copeland/Cornejo SL (with no SL if her own) couldn’t have improved matters and it seems her partnership with Cornejo broke down right after that. 

I understand she said she turned SFB down because she didn't want to be apart from her husband who was iABT corps at the time. I guess they couldn't make it work, but Maria Kochetkova was a principal in both companies for a time, which means the schedules were at least somewhat compatible. I guess every couple knows what works for them.  Interesting that her husband stopped dancing and went into real estate for a while!

Interesting interview. I always thought Lane was a special talent that was unappreciated at ABT. I saw that Aurora debut, all those years ago. She was a bit too smiley, but had a refreshing presence, touching moments and a technique that was spot on. Not bad for a first timer. I remember leaving the theater and saying to my husband that Sarah Lane had the goods. I truly expected her to sky-rocket from there. Obviously KM thought differently and had other considerations. 

I've been ignoring the idea of renewing my NYCB subscription, for a number of reasons, laziness included. I got an actual mailing today and looked through it. Some things bother me. Correct me if I've made factual errors. 

It seems they re doing Symphony in C on opening night and not again. Am I correct? Why rehearse for one show? Slaughter is on two different programs. I don't mind seeing it, occasionally but don't want to see it several times a year. There is a strong focus on new choreography. I know this is a particular love of Wendy Whelan's. I don't want NYCB to be a museum, however I do want it to remain unique. They do the Balanchine rep like no other company. Do I really need to see NYCB do so many works that other companies could do as well or better?

Maybe I'm just an old fogey but I want more Balanchine rep, and more careful programing of the works.

Needless to say I'm not convinced a subscription is a good idea this go-round.

I loved the video. I totally accept that watching filmed dance is a different experience that watching a live performance, no matter how it's filmed, because the film maker is directing you eye. Sofia Coppola made convincing and often moving choices. I enjoyed watching several times, however, I will always prefer watching dance live and can't wait to get back to it. It is a different animal. Of course a choreographer directs your eye by structure and content, but as a viewer you have more freedom. You can say, for example, I've seen this ballet a dozen times but never focused on the corps, I think I'll pull out my opera glasses and do that. Or - who's that radiant dancer off to the side, I think I'll watch her.  Film will always have the director's vision, as an added element, and is enjoyable on those terms.

The Gala video had its ups and downs in my opinion. I'm looking forward to going to the theater and seeing live dance. 

Love this game/discussion. For my money Roja would be quite a catch. Directorial experience in a big company. background in the classics, promoter of new works and female choreographers.A fantasy that won't happen. I wonder how much say Ratmansky will have in the pick. One problem for me is that former principal dancers have name recognition but don't necessarily have directorship skills. 

To put my two cents in, it is complicated. Levine made the Met orchestra what it is today. He coached singers to be their greatest. His genius as a conductor/coach/teacher is widely acknowledged. I do not have to go on. His "issues" were known for many years and many people looked the other way. Back in the day, there were many misunderstandings about homosexuality. It was often equated with pedophilia. Who is an adult and who isn't has also changed over time. 

I am not trying to excuse or explain away  his behavior. I know a lot because my husband worked at the Met for many years. I'm just saying it is complicated. I for one am sad to see the passing of a great artist. I am sad for those he hurt. I hope that in the future there will be fewer enablers who indulge the whims of talent, whatever they are - I don't have much hope for that.

Thank you for the reminder Helene.

16 minutes ago, canbelto said:

Stravinsky Violin Concerto was wonderful!

Agree. Excellent performance and a reminder of what a masterpiece the work is. The two arias are endlessly fastening. 

Seeing T&V made me even more eager to be able to get back to the theater. Peck's musicality is amazing. There were moments that lifted me up and made me gasp with delight! Veyette's partnering is also a joy. He gives the ballerina such freedom with just a small touch, or the use of one hand. The look is so elegant. I also enjoyed that, in the double tours/pirouette solo, Veyette could alternate single & double pirouettes, and then held a count at the top of a turn, so he could land the final tours on the last count of the music. Many men use a hand flourish to end the phrase. DeLuz could also do the single/double pirouettes. Before that I remember seeing Peter Martins do it back in the day. Martins was great in this ballet.

I may be in the minority, but I never loved the Kirkland/Baryshnikov video. She seemed a bit joyless. As much as I loved Baryshnikov's dancing in general, to me he seemed boxed in, even stiff doing this choreography.  

Just watched the Prodigal Son discussion/coaching session. Confession, I'm not the biggest fan of "story" ballets, and I've seen Prodigal so many times over so many years, that I've been avoiding it for quite a while. Seeing this renewed my interest. I can't wait to see the stream of the ballet, but more than that I can't wait to see it live again. My appreciation for the work has been renewed

Lovely thank you for posting.

37 minutes ago, Jacqueline said:

Canbelto, I agree. The second episode had me crying, too.  Not sure why -- the beautiful way Dena Abergel handled the casting, being a former Nutcracker parent myself (not at SAB but at a school in California run by one of Balanchine's early ballerinas -- Yvonne Mounsey), the camaraderie among the students... all of it.  I have now watched it through twice. 

I agree. It had me crying too. I loved the entire series. There is no hiding the fact that it is heartbreaking for the kids who aren't cast, but the adults around them handle couldn't handle it better. I also found it poignant that some of the kids knew it was their last Nutcracker year, because they'd be too tall next year. This is particularly sad in this pandemic year in which so many kids lost there chance.

All in all I found the series a refreshing antidote to the ridiculous portals of ballet that are out there. Reality is dramatic enough IMO.

a

3 hours ago, canbelto said:

Ballet Collective's streaming right now:

 

Interesting production born of these difficult times. Amazing and totally committed performers. It's being streamed on demand 12/23 through 12/26, in case you missed it https://www.nutcrackeratwethersfield.com. I believe the concept has legs for post pandemic. Bravo to everyone on the creative, performing, productive, money raising teams for delivering this Nutcracker in such a beautiful yet challenging setting.

4 hours ago, Rock said:

It's so tiresome isn't it? The same story over and over - they starve themselves, they're treated horribly, they're all miserable - all of which isn't true at all. 

Tiresome is the right word. Unfortunately most of the people who watch will be people who've never seen a ballet company.

I'm glad ABT is pushing on as best they can. I too agree that ABT should try to show us some classical pas with couples they can put together. How much these dancers have been able to stay in classical pas shape is a question, although Skylar Brandt (from her instagram posts) seems ready for anything. ABT's big ticket sellers have been the big classical ballets. That's the audience they've cultivated and programmed for, the exceptions being new works by Ratmansky and other new choreographers here and there. IMO audiences go to ABT to see big, theatrical, classical ballet productions. It may be harder for them, than for some other companies, to appeal to their usual ticket buyers. IMO one way would be to present as much classical ballet as possible, be it by pas de deus or excerpts. 

1 hour ago, cobweb said:

I also find the redesign unattractive and unengaging. The home page is all silhouetted sculptural bodies. No movement, no ballet. Nothing to draw the dance lover in. 

I agree about the design, and as julaij said it isn't particularly user friendly. I wonder who their target audience is? I have to say, I'm not impressed with the planned programing, but perhaps it's too soon to make a judgement about the direction the new leadership is taking.

6 minutes ago, cassieallison said:

Anyone else watch her interview with Lauren Lovette? Based on her comments I wouldn't be shocked if Lovette does not return to dancing.

There's a good discussion on the Fairchild/Lovette interview under: NYCB cancels Fall 2020 and Nutcracker seasons

12 hours ago, cobweb said:

Just judging from this one interview, a simple fix for Megan Fairchild might be to clarify in her own mind what kind of dialogue is this meant to be. Is it a conversation between old colleagues about how both of them have been doing during the pandemic? Or is it an interview of Lauren Lovette and her reflections on her past, present, and future? Megan seemed to be taking it as a convo to which they would both share experiences, while Lauren seemed to be taking it as an interview of herself. I would prefer the latter, but I could enjoy the former as well, if they are both on the same page. 

In all the interviews I've heard Fairchild give, this was the most frustrating in that I wanted to hear more from Lovette. In some other interviews it seemed more natural for Fairchild to interject her own experiences. IN any event, I'm glad Megan Fairchild is putting them out there, it must be quite a learning curve for her.

Wasn't sure where to put this, or if it's been posted already, but a fascinating discussion Megan Fairchild had with Lauren Lovette.

4 hours ago, vagansmom said:

I well remember that period too. But in late 1996 and early 1997, Alexandra Ansanelli burst on the scene with her glorious musicality. I was smitten. A few years later, the very large crop of well-trained dancers who were now graduating from prestigious ballet schools began showing up on the NYCB stage. Ashley Bouder was the first, followed by so many of NYCB's current principal dancers. I think we owe it all to a combination of the yuppie years when many people were making making money hand-over-fist and could afford to send their children to the best ballet schools and to all the new schools popping up that were/are run by former Balanchine dancers. Ballet schools had their highest attendance during those years before soccer started to replace ballet as a childhood activity. So there were plenty of very well-trained dancers to choose from. 

I so agree with this. There were years when things were really dismal at NYCB. A certain blandness set in, in the performances. I started to go to see ABT more! Then something happened. I too remember Ansanelli bursting out, followed by a stream of dancers who had technique, musicality and imagination. For whatever set of reasons, NYCB became thrilling again and has stayed that way. Now we're in a situation in which the dancers are losing more than a year of performing, and new leadership is trying to settle in. I hope for the best. We'll see.