vipa

The whole restoration aspect is an interesting discussion. I've heard Kevin M vehemently defend the choice as an opportunity to see the original intent. I saw 2 performances it's first season and will never go again, I don't care who the cast is. Do first time viewers understand that this is a restoration from more than 100 years ago, and not a typical Sleeping Beauty that would be presented by most ballet companies? 

5 minutes ago, ABT Fan said:

Hopefully. But, she was given what 2 hours notice?!?! I know that happens for when a replacement is needed for an entire ballet, but it’s not as if she’s cast for this ballet and is fully rehearsed already. 

The whole thing seems odd. Putting someone in who isn't even cast in SL this year, is very strange. They could have gone with Boylston. Isn't she short enough for Cornejo? I know she's doing it tomorrow, but it seems to me they had Hee Seo do consecutive at some point, and it isn't the entire ballet. Also, when did this decision get made? So many question!!! Never-the-less, I'm glad Sarah Lane got the opportunity. I hope she has a big success.

26 minutes ago, alexL said:

It was an insider info but now that she's posted it on her Instagram story it became official. Since it's not on her main Insta page I can't really tag it here.

I just saw it on her insta story. I wish I could be there. Is Copeland out for just this show?

25 minutes ago, cobweb said:

While it's clear that Murphy and Abrera have to retire sooner rather than later, it could possibly still be a couple of years. See: Maria Kowroski. 

ETA: Also, vipa, what makes you think Brandt and Trenary would necessarily be promoted at the same time? If there is funding for one but not two, don't you think one would get the promotion rather than wait for funding for two?

Maybe he would promote one, but I don't think so. Their principal role workload is similar except Brandt doesn't do Aurora (correct if I'm wrong). I'm not sure how he'd justify promoting one and leaving other a soloist. Not that he has to justify anything. Personally, if I had to promote one, it would be Brandt. 

14 minutes ago, canbelto said:

I feel like Trenary and Brandt are dancing principal workloads, so it's only fair to give them principal status. I would say the same for Thomas Forster.

I agree with this, but is there money and room for two more women in the principal ranks? I don't think Kevin M. would promote one of these ladies and not the other. IMO much depends Murphy's plans  post child birth, and Stella's plans (if any) re retirement. 

19 minutes ago, pherank said:

😉
Say what you will about her dancing, but MK has the most comprehensive online image diary of any dancer. And the photos are often very entertaining and well composed. It's a wonderful document of the life and interests of a ballet dancer.

Such an interesting comment. Does this mean she is an online media artist as well as a ballet dancer? I look at those things as parallel not additive. I wouldn't buy a ticket to see her dance because of her social media commentary. There is nothing here which would make me think she'd be a wonderful Odette/Odile (which I've seen and found lacking.) One of my favorite NYCB dancers, Sterling Hyltin, barely has a social media footprint.  Perhaps this should be a different discussion unto itself.

I just want to add a few comments from today's matinee. Ask La Cour was a replacement cavalier and did some mighty fine partnering, which allowed Mearns to have the freedom to really shine. Cavalier isn't really a character, so partnering is the job IMO. His short solos were fine. I enjoyed Gina Pazcoguin's Hippolyta  very much. She was strong and secure. A couple of fixes on the fouettes didn't disturb the rhythm or finish. There were some partnering problems in the 2nd act with Farley which have to be ironed out. His to work out.

I liked Kristen Segin's butterfly. She is such a good dancer. I'd like to see her promoted although her body type isn't typical NYCB.

I almost dreaded seeing Bouder in the 2nd act pas. I typically like her in things like Square Dance. I was pleasantly surprised. I usually feel she goes for the moment to moment balance/trick, and find her a one-trick-pony in her phrasing choices.  Today I felt that her amazing technique was used in service of the piece. For me, it is one of the most heavenly pieces of choreography ever created, and I was mesmerized as usual. 

I haven't been posting much but I thought I'd give my thoughts about the Tharp Trio which I saw for the 2nd time this afternoon.  Brahms-Haydn is, for me, an example of what I have always felt has been lacking in Tharp's choreography (I have been watching her since the early days of her first company). She has great craft when it comes to moving people around the stage - groups, duets, trios etc. She does inventive partnering and interesting movements. What is never present is honest, real, emotion. She can do: chic, tongue-in-cheek, cynical, sexy, witty, campy ... but there is no revelation of deep, honest, human emotion.  In her choreography, I've never had the experience of being deeply touched, moved to tears or felt that the movement was so married to the music it seems inevitable.  In Brahms-Haydn, there is no marriage of movement and music at all, IMO. The music is romantic, but the movement ignores any sense of that. i'm not saying there should be a narrative or traditionally romantic choreography, but there should be some connection to the sentiment of the music. I shouldn't be left wondering why she used that music. The ballet could have just as easily been done to Bach or Billy Joel. There were sections in which the dancers had "relationships" but it seemed plastered on. So for me, this piece revealed and confirmed my thoughts of Tharp at her worst.

Deuce Coupe - which I'm old enough to remember from the Joffrey days was an interesting re-visit. I thought the women, in particular, seemed confident and happy in the choreography. 

In the Upper Room, to me, is the best of Tharp. Intense, inventive, dynamic and with the perfect score to go with it. The dancers looked great.

I wish ABT would bring back Push Comes to Shove

6 minutes ago, zerbinetta said:

Martins was a magnificent dancer, wonderful in a wide variety of roles including, much to my surprise, the Rhumba Boy in On the Town. Very amusing.

Nicolaj Hubbe was also wonderful in T&V, after a disastrous first performance. As was Ib Andersen.

Great Danish training?

Martins was truly one of the greatest of his generation, but you don't hear about that much. Unfortunately I never saw Hubbe in T&V. Ib Anderson was wonderful.

12 hours ago, sz said:

I was there too. 

Joseph Gordon handled the very difficult T&V beautifully.  IMO, it’s not really the best role for him.  Gordon shines far more in big movement ballets showing off his gorgeous lines, expansive elegance and technique.  The double tour, pirouette, repeat and repeat part of the men’s solo looks far better on men like DeLuz or Huxley – both very compact and move tightly. 

Gordon is definitely my MVP of the season!  I too can't wait to see his and Huxley’s Oberons next week. 

They both are excelling in the most difficult male roles in the rep at NYCB right now.  I think soon, and excellently, T&V would be a great fit for Roman Mejia
though I will still prefer Gordon’s handsome, princely style.

Interesting to mention T&V, contrasting a more compact style with a handsome princely style. Peter Martins isn't mentioned much as a dancer, but his T&V was an amazing combination of both. He was a tall elegant dancer who did T&V to perfection including the double tour pirouette section (doing double pirouettes as Veyette ad DeLuz sometimes did). I have noticed that some dancers walk around for the start of that music and start the sequence later. That always bothers me!

30 minutes ago, abatt said:

Siebert in his "review"  makes an incorrect assumption that Mearns  or whoever agrees to dance with Ramasar approves of or forgives Ramasar because she is dancing with him.  The only person who was legally entitled to pass judgment was the arbitrator, and the arbitrator's decision is the law of  the case.  It is not up to individual dancers, Stafford or Siebert to decide whether Ramasar should be "let off the hook" because there is only one person who was judge and jury, and he has rendered his decision. Mearns and other ballerinas who dance with Ramasar are doing their jobs, and abiding by the decision of the arbitrator.  Being his partner should not be equated with any implicit or tacit approval of Ramasar's conduct. Given how little space the Times gives to ballet reviews these days (two weeks of Sleeping Beauty shows, zero reviews), it is unfortunate that the paper decided to use the space allotment to pass judgment rather than to review  performances.

I so agree. Insightful reviews and thoughts about the new leadership (without a rehash of the Peter Martins situation) would be so welcome. I will assume that Ramasar and his colleagues are behaving with professionalism in company class and rehearsals, just as they did before his departure.

2 hours ago, cobweb said:

Report on the matinee. Ramasar returned in the 4th movement of Brahms Schoenberg Quartet. It was great to see him back on the stage, and I was heartened by the warm, enthusiastic response he got from the audience. He looked great in that Hungarian outfit, with the white puffy shirt and ribbons flying everywhere, and he and Mearns danced up a storm. Glad he's back. 

Glad to hear he's back and looking good. Thank you for including the audience response. 

4 hours ago, vagansmom said:

I would love to see the Hyltin Titania. 

Hyltin is kind of short for Titania. The casting has traditionally been Tatania (a fairy) being tall and Oberon (an elf) being on the shorter side. NYCB has stuck to that idea. Personally I think they should. IMO that's part of the Balanchine conception. The opening scene is built upon that dynamic. Puck is now cast short, but the original Puck was Arthur Mitchel who wasn't short, so that's changed. 

3 hours ago, pherank said:

A sequence of Theme and Variations (with Berlin Staatsballett) short videos:

https://www.instagram.com/p/BxW__bilxnE/

 

Interesting. I wonder how the ballet as a whole went. I found this little segment lacking in both musicality and clarity. 

Thanks for your report cobweb. What were your impressions of Scotch?

1 hour ago, ivanov said:

I loved today's performance of Diamonds!  I hope Suzanne Farrell is invited back to coach many more ballets.

I was there too, and keep trying to stop myself from overly attributing the Diamond's performance to Suzanne. Ultimately I couldn't help myself. The pas was something special. You felt a risk taking/vulnerability on Kowroski's part that isn't usually there. There was also a palpable awareness, nothing was on automatic, everything seemed in the moment. Tiler Angle is always an awesome partner and did well with his solo parts. He is not a virtuoso dancer, and made some wise choices.

The rest of the program was very enjoyable. Somehow, after seeing Slaughter over and over, I still get a kick out it. Mearns was great and danced with abandon. Peter Walker, who I haven't liked in some other things, was great fun as the hooker.

A piece I've seen over and over but have grown tired of, is Barber's Violin Concerto. However, it was fun seeing Emma Von Enck in a lead role (the "modern" dancer). She was great, and had a straightforward, direct attack. Ashley Bouder mugs and smiles through the role (if memory serves) which lends a different tone. I don't know which is the choreographer's intent, but Von Enck carried it off well.

It was my great pleasure to see Cobweb at the ballet and exchange notes! 

6 hours ago, abatt said:

There are no criminal charges against  Finlay.  Ms Waterbury has never gone to the police with her allegations.   The claims against him are for non-criminal conduct  which had nothing to do with work, just like Ramasar and Catazaro.  

I think if he was going to be fired, perhaps he could have been over the hotel room trashing incident. He was booked there as a member of the NYCB. Also if he had ever shown up for work unfit to perform or rehearse there might also have been grounds for firing.  In the end, it's all in how the contract is written.

10 hours ago, cobweb said:

Vipa, How was Unity Phelan in Concerto Barocco? I hoped to get to the performance at MoMA but I was moving that weekend. 

I liked Phelan in the excerpt they did. It was to live piano, and a bit more up tempo than usual. Both Phelan and Laracey moved quickly and cleanly, on the edge of rushed. It was a very lecture/demo kind of setting which always presents challenges in terms of space and audience moving in and out, but most dancers have done a ton of things like this. 

4 hours ago, BalanchineFan said:

This was a lovely event. I had no idea Silas Farley had done so much choreography. Here are a few promotional articles about the work.

https://www.metmuseum.org/events/programs/met-live-arts/songs-from-the-spirit-1

https://www.nytimes.com/2019/03/07/arts/dance/silas-farley-metarts-live-metropolitan-museum.html

 

Farley seems to have a promising future beyond performing. I saw the NYCB dancers at MOMA, earlier this month, as part of the Lincoln Kirstein exhibit. He introduce the pieces and offered insights and historic context. He is very comfortable in that kind of educator/leader position. By the way Laracey looked amazing!!

Quite interesting to import someone. My guess is that there are some corps member who are not happy about it, but that's ballet company life.

In a Conversations On Dance interview the NYCB Director of Physical Therapy, Marika Molnar says she sometimes applies tape across the backs of knees of dancers with hyper extensions, so that when the are standing around in class, they have a gentle reminder to no push their legs back into their hyper extension.

It's painful to watch and she seems somewhat paralyzed. Based on a couple of short videos, I don't want to comment on the training itself. The proof will be in the pudding. If she has an amazing Met season, we'll know it works for her. I am dubious, of course.

8 hours ago, sunshine67 said:

Well said.  And yes, I believe Whelan will be quite gracious transitioning LeCrone and other dancers.  Martins was slow to do this to his favorites (and LeCrone was one of his favorites) - as much as I love Darci, there were too many times she was 'mismatched' with a younger man and it was off-setting.

I wouldn't make assumptions about LeCrone or anyone one else under the new regime. Martins always liked LeCrone and seemed to be supportive through-out her numerous difficulties (collapsed lung and 3 ankle surgeries). There is something in her dancing that he admired from her days in the school, so I guess she could be called a favorite of his. However, I don't think "favorite" should carry a pejorative connotation. After all, we all have our favorites, Whelan and Stafford will have their's too. It really is a matter of taste. I don't expect to be 100% aligned with their casting or promotion decisions, as time goes on.

3 hours ago, Kathleen O'Connell said:

You betcha! 

I suspect that there would be a more enthusiastic audience for Liebeslieder if NYCB could somehow contrive to perform it in a more intimate venue. 

I agree with this. I have to admit that the first couple of times I saw LB I was in nosebleed territory and it did nothing for me. Then I saw it close up and was totally blown away. 

4 hours ago, Kathleen O'Connell said:

I don't have time for a more comprehensive wrap-up, but I thought I'd pass along a brief take on the 2/10/19 Herman Shmerman / Principia / The Runaway triple bill.

My husband was only going to be able to take in one NYCB performance during the winter season. I asked him if he'd like to see either the Balanchine / Stravinsky program or the Balanchine / Tchaikovsky program since these ballets have been among his favorites. "No!" he said, "I want to see something new!" So, off to Forsythe / Peck / Abraham we went.

His thoughts, in no particular order:

1) He thought Herman Schmerman was the most well-crafted ballet of the three and thought that in the end it would prove to have the longest legs of any of them.

 

Thank you for this report. Staying power is the key IMO. I've seen a lot of new ballets at NYCB over the years. Most of them were there for one season only. The big exceptions being pieces by Peck, Wheeldon and Ratmansky. NYCB has a huge and impressive rep of Balanchine and Robbins, so deciding that there is room for new works to enter that rep on a permanent basis must be a challenge.