vipa

17 hours ago, canbelto said:

Jared Angle, Sean Suozzi, Georgina Pazcoguin, Andrew Veyette, Ask La Cour are all dancers who either aren't dancing much or at all or have an extremely limited repertoire. And Abi Stafford, but she's Jonathan's sister.

Erica Pereira got a shot at the lead in Coppelia, presumably, thanks to Jon Stafford, but she doesn't dance much at all. 

1 hour ago, gallerina said:

I wasn't around to watch the beginning of Whelan's career, but lots of things I read comment on her work with Christopher Wheeldon opening up a real softness in her dancing, and I don't think that has happened (or that it will) with Lecrone. That might be very off base, but I have wondered about the roles Lecrone has been in and what she'll do going forward. 

I had the pleasure of watching the NYCB career of Wehdy Whelan's start to finish. I remember a point at which she was cast in pretty much everything. but there came a time when I thought she was perhaps on a decline, then Wheeldon came along and there was a burst of creativity in her dancing that never went away. Towards the end, I agreed with the Martins assessment that she no longer looked her best in some roles. I guess what I mean is that careers can be complicated. When it's time for Whelan to take an older dancer out of a role, I'm sure she will do it with compassion but she will have to do it.

30 minutes ago, cobweb said:

Just curious, are you thinking promotions or genuine new hires from outside?

I wasn't thinking of hires from outside, just promotions and the number of new members that can be hired from the school. Another thing I am curious about. It has been a NYCB tradition to do works done for then. Will the new team think about importing say a Justin Peck work that was done on another company, or a William Forsyeth work done on another company. I'm just pondering possible changes. The main thing I hope for is that older Balanchine dancers are brought in to coach.

I've been wondering if there will be any shake up in the company.  Usually new artistic leadership means some changes. I'm not talking about the extremes of Pennsylvania Ballet when a huge percentage of dancers were let go, but something along the lines of MCB or PNB when Boal took over. A few dancers weren't renewed and a few dancers were pushed out a bit sooner they they planned. Martins hired every dancer in NYCB, so it's possible that Stafford and Whelan will see some dancers as not very usable, and will want to free up money for new hires.

It appears to me that they want to have a team type of leadership, rather than one person dictating/deciding everything. I'm a little disappointed that no former dancer who worked with Balanchine was named as part of the team. Let's just hope the some of those people are brought in to coach. Let's also hope that we continue to see a fair share of Balanchine ballets and the emphasis doesn't swing all the way to new works.

1 hour ago, California said:

A nice reminder of the value of stage experience and maturity. Good for Jared to steady her both physically and -- I assume -- mentally.

I agree California. I wasn't there, but my guess is that, not only was she shaky, but the problems with the first promenades took up more time/music than they should have, and Jared Angle made a good call as to how to finish it out.

22 hours ago, cobweb said:

Just in from a final performance of Sleeping Beauty. I saw four performances this run:  Tiler & Tyler, Woodward and Huxley, and Lovette and Gordon... and then Lovette and Gordon again, tonight. They were my favorite pair. I loved both Peck and Woodward, but Lauren's way of acting is more natural and fresh, someone up-thread called her endearing, and I agree. She had a difficult time in the final attitude-turning section of the Rose Adagio, kind of stumbling and falling off-pointe during the third turn and appearing quite unsteady; when the fourth suitor, Jared Angle, took her hand, he made the wise decision not to take her on the turn, and just held her there in place to fill the music. Other than that, she was resplendent and radiant, and spellbinding in the Vision scene. And Joseph Gordon, what can I say, I'm really loving him. 

I am sorry to here that Rose Adagio went so badly for Lovette in her second performance. Having seen her first show, I think she had the potential to be a great Aurora. Cojocaru is my all time favorite. 

I too am looking forward to Liebeslieder although a funky schedule has prevented me from buying a ticket yet. I hope to get there.

7 minutes ago, Balletwannabe said:

Do choreographers have the right to be physically present during performances?

I don't know how it works contractually, but it would be unusual for a choreographer to not be at the opening of his/her work. Changes to the work also have to be cleared with the choreographer. For example, Stafford had to get Martins' approval before taking the slap out of R+J.

I too hope a new AD will be appointed soon. I am sure that whoever it is, there will be a shake up of sorts. Dancers will lose roles, gain roles and be jockeying for position in the eyes of the new AD. Personally I hope it isn't Stafford. A fresh start is warranted and he is part of the current situation. Even if he tries to be fair and "nice," he has preferred dancers and casting is a zero sum game. There are always more unhappy people than happy people. I think a fresh start would be best for all.

4 hours ago, Helene said:

Now there would be a true reversal: NYCB preserving Tudor when the mothership, ABT, seems to have left it on makeshift life support on a gurney in the hallway.

I saw the Tudor R&J at ABT many years ago. Yes, I'm old! It is one act with music by Delius. It's a great work which distills the emotional content of Romeo and Juliet in an amazing way. I believe the original title was The Tragedy of Romeo and Juliet.  I think it would take a concentrated rehearsal period, with someone who knows the dramatic intent of each moment to put it together. Also, by virtue of the music and style I don't see it replacing a blockbuster in ticket sales. I really dislike the Martins R+J, but Tudors one act won't replace the ticket sales. 

It is a shame it isn't done by ABT. I believe New York Theatre Ballet does it sometimes. That small company has become the repository of Tudor works.

19 minutes ago, cobweb said:

Totally agree. This is a mess. It's been over a year - what is going on internally that no new AD has been named?

We're on the same page cobweb. Personally, I'm starting to doubt everyone judgement, and the messier this gets the less attractive the job gets. 

I was so glad to hear glowing reports if Indian Woodward's Aurora, I wasn't able to go, so I'm grateful for everyone's reports.

55 minutes ago, dirac said:

Also, that's quite the public commitment to Bouder.

It's a commitment he won't be able to keep in this ballet unless Martins agrees to a change in casting privileges for his ballets and/or Stafford becomes the new AD. Now more than ever I believe they need an AD who can come in fresh, with no baggage.

19 minutes ago, aurora said:

The article is clear that certain dancers "own" opening nights of specific ballets. Hyltin gets R+J. And apparently Bouder *was* cast for opening night of SB as per usual until it was changed "last minute."

Seeing that as an affront says virtually nothing about Hyltin's abilities.

Since Bouder was still cast, and therefore it wasn't a reflection on her ability to do the role, the fact she takes it as an intentional slap in the face and retaliation seems totally reasonable to me. I would as well in her shoes.

I don't take it to be a slighting of Hyltin. What she said about her own response to Martins vs Hyltin's is accurate--and I'm sure Hyltin is happy to own that she supported Martins, just as Bouder is happy to own her views.

I can see that this is a topic on which some of us will have to agree to disagree. I'll add that I'm sure Bouder was disappointed. There is not a professional dancer, past or present, who hasn't been hurt or angered at losing a role, not getting a role or losing a performance. My main objection to Bouder is that she sees only one explanation to what happened. Maybe it was retaliation, I can't know that with certainty and neither can she. There is the possibility that Martins knew he wouldn't have a lot more chances to cast it (it isn't performed that frequently) and decided to forgo seniority and give opening night to the dancer he thought best in the role. Some people would find that implausible, but I view it as a possibility. 

I also don't see the great harm to Bouder. She wasn't removed from the role, the number of performances wasn't reduced, she wasn't giving only matinees and the change was made before casting went public.  

The departure of Martins created a rift in the company, articles like this can only deepen the rift by putting company member in the position of having to take sides. 

One thing I think we can all agree on, is that a new director can't be named too soon. Now would  be a good time.

14 minutes ago, canbelto said:

FWIW, Hyltin has indicated on her instagram that she's dropped R+J. 

Yes Hyltin dropped R+J and Mearns dropped Lilac. Both without explanation. About a year or so ago Mearns dropped Dew Drop. 

25 minutes ago, Drew said:

I don’t think Bouder insulted Hyltin...(Hyltin is one of my favorites)....she just wasn’t very tactful about the politics. Better if she left Hyltin out of it of course. I assume emotions are running high. 

The issue seems to be the lateness of the casting change-up by Martins. (I am basing that in Stafford’s comment that he had considered the casting settled.) Even if one prefers Hyltin as Aurora—and some do— change-ups of that kind do raise questions—rightly or wrongly—about ballet politics. The company is in an odd situation right now and, for the ballet world anyway, Bouder IS quite  outspoken.

IMO Bouder's belief that retribution was the only possible explanation for giving opening night of SB to Hyltin, is an affront to Hyltin even if unintended. Thank goodness Hyltin had the good sense not to comment. What was she supposed to say - Ashley's right, I didn't deserve it or Ashley's wrong I deserved it? 

Casting was changed late, but before any public announcement was made. 

I'll go ahead and say that the article bothered me. Who knows who at the NYTimes, such that while the art of ballet gets little coverage, we get an article about "unfair" casting of Sleeping Beauty, that brings up yet again accusations against Martins, Ramasar etc. Choreographers get to cast their ballets. IMO that's the way is should be. Martins changed casting before it was announced. He didn't take Bouder out of the ballet or reduce the number of performances she had, he merely decided she wouldn't be first cast. In the article she trashed a colleague indirectly be saying that the only possible reason for the change was because of her own outspokenness. Stirling Hyltin is an established principal who has been doing the ballet for a while, and many think is a more natural Aurora than Bouder. In the past I've preferred Hyltin, but I saw neither of them this season, so can't speak to their most recent performances of the role. However, isn't it possible that Martins figured he wouldn't have many more chances to cast the thing, and went with his preference rather than seniority? 

Hyltin, in some ways, flies under the radar in that she doesn't seem to have a big social media presence. I think she was wise to not comment for this article. Bouder put her in a terrible position. 

I was also at the matinee and agree much of cobweb's review (It was also a great pleasure to see you again cobweb, I hope to see you at the ballet on many more occasions) 

I admit, I went to see Lauren Lovette with some reservations because she has technical weaknesses that I though might interfere with her ability to give a satisfying performance. I was wrong, She was a natural Aurora, shining with radiance, she related to her suitors, parents and everyone in stage with a natural warmth and lovely characterization. Rose adagio didn't have long balances, and she had to do some adjusting with her attitude leg, but nothing that jarred the overall effect. I agree with cobweb, that Joseph Gordon has grown into one of the most important male dancers in NYCB. It's great to see particularly with DeLuz's recent retirement.

I give Miriam Miller's Lilac a firm - eventually. She has the elements, but needs to put them together technically, and bring authority to the role. 

The fairy variation seemed a hair under the usual tempi to me, which was a welcome change. Kristen Segin was a real stand out.

A few comments about the last act. I don't think I've seen this ballet from the fourth ring before, and seeing the garland dance from there was fantastic. Mr. B - I loved it

Daniel Ulbricht is a pleasure in whatever he does, both technically and in stage presence (court jesters)

I was disappointed in Blue Bird Pas. Lauren King had her usual appealing radiance but has struggles with partnering. Troy Schumacher doesn't have the power and clarity for the variation.

I totally agree with cobweb about wishing for another intermission (and I often think NYCB has too many). 

1 hour ago, nysusan said:

The tempo was probably not entirely at the discretion of the conductor. I recall that when this production was new it was described as being done "our way" (NYCB's way) and found this on their website:

"...Martins' version is streamlined into Two Acts, that combine the drama and beauty of the original choreography with the speed and energy for which New York City Ballet is known."

The music has always been played at breakneck speed, especially the fairy variations. For me this is always the low point of the production because it robs the variations of their meaning and often makes the dancers look ridiculous. Its just impossible to keep up with those tempos and the fact that NYCB always ignores the port de bras is just insult packed upon injury. 

Over all though, I like this production. I like the projections, I like the costumes, I like the use of children and, of course, I love the Garland Dance!

I recall seeing Means the Lilac fairy role several times and she was always amazing & expansive. Also Bouder dispatching the Rose Adagio like it was the easiest thing on earth.

I'm going to my first performance tomorrow night & very much looking forward to it. 

I agree. The tempi in this production have always been problematic. It's Peter Martin's ballet so I don't expect it to change. I haven't seen it yet this year, but in the past I admired the dancers for valiant attempts to look gracious and squeezed in a bit of musical phrasing, instead of just trying to keep up.

On the other hand I dislike the Ratmansky restoration version. I saw it once, and never again. I hated the old, Gelsey Kirkland, ABT version. Some parts of it were just batty. So as a NYC dance goer, NYCB is my favorite version. If they could take those tempi down a hair it would make it so much better.

5 hours ago, canbelto said:

For Bachtrack:

https://bachtrack.com/review-to-create-a-world-gallim-dance-joyce-theater-new-york-city-february-2019

Fantastic and well deserved. Congratulations.

I disliked the entire article. I won't go into every point but, I've been a NYCB fan for a long time - starting with the Balanchine years. The company could have crumbled after Balanchine. I was doubtful of Martins' leadership at first, in fact for a number of years, but he kept the company going, IMO he grew into the job and at this point it is filled with incredible dancers that he chose. The depth of talent is amazing.  I'm not denying that there have been big mistakes but the company, at this point, the company is amazing.

I don't want to re-hash the good and bad of Martins, but the idea that the end of the his Sleeping Beauty has to mean that people should get over Balanchine and move on is absurd to me.

5 hours ago, cobweb said:

So true, but thank god she's not doing Aurora! I had my worries. 

I find LeCrone an interesting dancer. Sometimes I don't know what to make of her and other times I enjoy her, particularly in leotard ballets. I also liked her as the soloist in Tchai Piano Concerto. Frankly I believe that her look works against her. She has a very angular face that doesn't have a lot of softness to it. This has nothing to do with her dancing, but impacts how she reads on stage. She has a lot of technique and I believe if she dances expansively she could pull off Lilac. 

I don't know if the dancers know who the next director will be, but whether or not they do, I feel that some of them have to feel like they are auditioning to demonstrate their usefulness. Soloists like LeCrone and Pereira fall into that category IMO

On 2/4/2019 at 10:40 AM, canbelto said:

In the spring there are several mixed programs:

Slaughter on Tenth Ave/Barber Violin Concerto/Diamonds

Valse Fantasie/Suite of Dances/New Peck/New Portner/Western Symphony

Judah/DAAG/Stars and Stripes

Principia/Symphony in Three Movements/The Times Are Racing

Stars and Stripes/Slaughter on 10th Ave/Tarantella/Times Are Racing

Thanks for pointing that out Canbelto. I didn't include spring in my subscription and didn't take a careful look. 

4 hours ago, FPF said:

There was a recent interview with Millepied who said he was a candidate but isn't interested.

Millepied, known to the general public for choreographing dances in the movie "Black Swan" where he met his wife, confirms that he was among the candidates to take over the NYCB. This company is itself shaken by the retirement of its director over 30 years Peter Martins, accused of sexual harassment before being cleared. But scalded by the experience in Paris, he is not interested: "It's the same thing: stay locked in a theater the majority of the year".

https://culturebox.francetvinfo.fr/danse/benjamin-millepied-de-retour-a-paris-j-avais-besoin-de-creer-284930

Thank goodness he is not a possibility IMO. Lord knows we don't need to see more of his choreography.

2 hours ago, canbelto said:

My thoughts on the new combinations program, including Justin Peck's Principia and Kyle Abraham's The Runaway:

https://humbledandoverwhelmed.blogspot.com/2019/02/nycb-winter-diaries-justin-pecks.html

I've said this before, but I wish NYCB didn't make us choose between all Balanchine and newer works. I've seen some of Peck, like some but not others, and would like to see more Forsythe but a program of all new works doesn't appeal to me. I've done that in the past and ended up not remembering which piece was which. Does NYCB really see an audience divide between old and new? 

I saw the Matinee this today (Sat.). Serenade was first on the program. I've been watching this ballet for many, many years and still it casts its spell. Nice cast. Bouder's Russian Girl, get's better all the time. A softer side has flourished, along with her speed. Lauren Lovette, was radiant and beautiful, but I wish she'd find a way to eliminate some technical weaknesses I see in her every time she performs. (My husband disagrees and says her beauty and radiance over ride all that). She was partnered by Ask LaCour and lifts floated. Emily Gerrity was lovely and secure, her lines exceptionally beautiful. I see principal in her future.

Mozartiana was next. Troy Schumacher's Gigue could have had more sharpness and wit, but it was enjoyable. I loved Hyltin and Huxley. I saw her a few years ago and wasn't impressed. This time she made it her own with a sweet yet witty style, and nuanced musicality. Huxley was super impressive in every way - turns, jumps. clarity and speed, musically floating jumps and finishing multiple turn. 

Tch Piano Concertn 2 - Interesting cast. I didn't know what to expect from Megan LeCrone in the soloist role. I liked her very much. She looked strong, confident and happy, and offered a nice stage presence. I've liked her in leotard ballets so this was nice to see. I also liked Tyler Angle. HIs partner is always fabulous. His jumps were high and strong. Good double cabrioles and overall a very fine performance. Teresa Reichlen in the lead had her moments but overall didn't do it for me. I'm not her biggest fan and find her presentation somewhat bland (except in tall girl Rubies). This choreography clearly challenged her. She met some challenges well, but at other times she was barely getting through the steps. 

I did notice Kristen Segin as outstanding in her demi soloist role along with Sarah Villwock.

There were performance highs and lows, more highs than lows. The company on the whole looks great and seeing these ballets reminded me that beauty, spirituality and order is possible in the world. A nice reminder.

32 minutes ago, abatt said:

They discontinued the Dancers Choice because although the dancers were donating their time for free, the orchestra and other staff (stage hands, lighting and so on) were being paid.  It became an expense they no longer wanted to undertake.

Thank you abatt, that's what I thought but you confirmed it. Dancers' Choice always was a delight. I particularly enjoyed the one Jennifer Ringer lead, with the emphasis on corps members. I believe Dancers' Choice was a benefit for the NYCB Dancers' Emergency Fund, so the company must have paid the costs and given the proceeds to the fund.