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I was actually amazed by how well both Merns and Tiler Peck performed those turns. It can be a real trouble spot.

Interesting point volcanohunter. I also remember Kistler saying that being told to be herself, removed the burden of trying to live up to all the great dancers who did the role before her. She found it liberating. Kirkland wanted, perhaps needed, a different type of direction which is one the the reasons she left NYCB. She wanted to do narrative ballets with a narrative approach. Different things works for different dancers.

From what I've read about Balanchine, and what people who worked with him have told me, the thing he hated was phony emoting - flared nostrils, kneaded eyebrows, plastered on grins. Apparently he spent a lot of time in class on epaulement (the angle of the head and shoulders), and minutiae like the shape of the hands - showing all fingers, as well as other details, and he used a lot of imagery in his descriptions. He promoted and choreographed on dancers who understood what he was getting at. They had a naturalness on stage, as well their own distinctive perfumes. I think of Allegra Kent, Violette Verdy, Patricia McBride, Suzanne Farrell and Darci Kistler, as young as she was when Balanchine promoted her late in his life. Other dancers took longer to develop. Merrill Ashely was given technically challenging solo roles early in her corps years but it was 10 year before Balanchine choreographed a ballet for her and promoted her to principal. So I don't think it was a matter of Balanchine not focusing on that kind of artistry. It was more a matter of who understood best what he was getting at. Merrill Ashley said she went from questioning to believing to being a disciple. I think in the end, dancers do have to figure things out for themselves. Perhaps that's true of all performing artists. I'm heard many a teacher say "I can't do it for you." A teacher/coach/director can instruct, explain, correct, describe, use imagery even manipulate your body. The individual dancer fells it on their body, figures out how to repeat it - what message to send from brain to body, incorporate it into their movement in a way that makes it become part of their muscle memory. Most dancers work on things by themselves and experiment, in order to find their way. Some things take time. It's not unusual for a dancer to look back at a correction or guidance given by a teacher and think - now I know what they meant!

Besides the Emeralds trio, I've seen Bradley in the first Agon trio, a Raymonda variation, the soloist role in La Source. I can't remember what else. I agree with that Mary Thomas MacKinnon is interesting to watch. I'll have to look out for Lauren Collett. So much talent in the company!

So agree about Veyette. There is plenty of rep he still looks good in, and his partnering is impeccable. Nutcracker is coming and I"m sure he'll do Cavalier. It will be interesting to see if Bouder is in shape for Sugar Plum or Dewdrop. It will also be interesting to follow what happens within the soloist rank on the women's side. Here's how I see it. I don't see Adams as on the principal track. Hod (according to her instagram) was just back from foot surgery so didn't do any new roles this season. She says she's completely healed and raring to go. Laracey looks good in everything she does, but has been with the company 21 years. LaCrone has been with the company 22 years, and isn't looking great (IMO). MacKinnon is still finding her way. Maxwell will be principal material eventually if she keeps going the way she is. Miriam Miller is terrific, but would be in competition with Kikta for promotion as a tall dancer. Pereira and Pollack rarely dance. Von Enck is ready to be a principal now. When a soloist spot is available on the woman's side, I can see India Bradley moving up.

I agree about Adams. Also, to my way of thinking she is not a distinctive dancer. I much prefer Laracey, who Adams replaced in Unanswered Question. Laracey was out with COVID for a time this season so was scheduled to dance more than she actually did. I've thought for a couple of years she deserved a promotion, but I believe her time has passed. Kikta and Von Enck seem on principal track. When likely depends on the needs of the upcoming rep.

It's true Tiler Peck became used to performing from a early age. I've her instagram videos of performing at the age of three. The stage presence and naturalness is unnerving (not to mention the length of the number she memorized)! In any event, for whatever reasons some dancers have an easier time with facial expressions on stage then others. I'm thinking of Lauren King, who retired as a soloist a few years ago. From the moment she joined the corps my eye was drawn to her because of her radiant smile, and the wonderful way she related to everyone on stage. As @BalanchineFan mentioned, Merrill Ashley worked on her facial expression later in her career, after her husband pointed out that her face looked beautiful when she danced to songs on the radio, and she should try to do that on stage. I don't think there is a lot of coaching in this respect, other than being told to smile. It's something dancers have to figure out, for the most part. Maybe companies with a different tradition, like the Royal Ballet, pay more attention to it. I don't know.

I wouldn't assume that Tiler Peck intentionally works on her facial expressions. Perhaps she does, but when you watch her in interviews she changes her expressions as she speaks, frequently smiling very naturally. It could be that she allows her natural facial expressions to carry over to the stage. Ashley Bouder always had a problem with her "stage face" IMO. She often plastered on a kind of smug smile that she didn't have when you watched her in interviews or in rehearsal footage.

Glad to hear you mention Pereira @fondoffouettes. I thought the same thing when I saw her in the role Thursday evening. Her dancing was sweeping, musical and joyful. I believe she's been a soloist for 14 years, and seems to have been stuck in every way for a long time. Her casting is quite limited. She performs so infrequently, I sometimes wondered why she was still in the company. It would be wonderful, if this bigger, fresher dancing continued and grew and she had a blossoming of sorts.

I remember a performance of T&V Lane did with Cornejo when she was a young corps member. If memory serves, it was good and quite refreshing. I also remember the later one with Gorak. It was, as ABT Fan said, shy of a disaster.

Great point California. It is wonderful that the performance has been so widely viewed, and is accessible to so many people.

Agree that 8 used to be the standard, with no walking around to that music. Sean Lavery did the walk around thing to start late when he did T&V, so it isn't totally new, but I'd hate for it to become the new standard. I was very surprised that Joseph Gordon did it. De Luz even did the full sequence in his retirement performance!

I've heard a couple of people mention the Kirkland-Baryshnikov film and want to say that I respectfully disagree that it is hasn't been equalled. I've seen performances that I'd certainly rank higher. To my eye, Baryshnikov seemed oddly restrained in his performance, as if he he felt fenced in. His partnering in the last section seems rushed and awkward (Peter Martins was amazing in the role, in the same era.) Kirkland, to me, seemed, joyless. I've seen performances since then. most notably Tiler Peck/De Luz, that for me are the high bar.

Just got back from tonight's show. I've really enjoyed seeing the house so full this season, and audiences so enthusiastic. Tonight's performance, over all, was not one of the better ones I've seen this season. For me the highlight was Serenade. The three principal women, Pereira, Phelan, Gerrity were all big and sweeping in their movements. Pereira, who I've been pretty negative about, was the biggest surprise, eating up space, phrasing the music to elongate movements, and dancing with joy. Adrian Danching-Waring looks fantastic this season, with his beautifully shaped jumps, natural looking movement quality and ability to hold the stage. He was as wonderful in Serenade as we was in Emeralds and Apollo. What a fine dancer he is. Orpheus was next. As much as I appreciate Adrian D-W, as the piece went on, even he couldn't keep me interested. With it's Noguchi sets and costumes, and mythical story, it shares a look and feeling with Martha Graham works created around the same time. It's interesting to think about what was happening in the dance world in general, when Orpheus was choreographed, and what Balanchine was seeing. I did love the score, but I have to admit that when Orpheus was taking Eurydice out of Hades I felt like saying - go ahead and look at her so we can get on with it. Theme and Variations - I haven't seen such a lackluster performance of this ballet in a long time. Meagan Fairchild (in for Tiler Peck) had no big flubs, but it felt like she was just doing the steps. I fully appreciate that these are very hard steps to get through, but there was no playing with the music or expansive movement. It felt like a - get the job done - performance. Joseph Gordon seemed tight. In his second variation he didn't give his opening steps their full value. He walked around for the first part of the double tour/pirouette music (I think it looks silly). When he started the sequence he threw in a couple of wonky double pirouettes but ended badly. I have fond memories of De Luz and Veyette (in his prime) doing this role wonderfully. I was surprised Gordon didn't come up to that level. Does anyone know if he's done the ballet before this season? No my best time at the ballet, but Serenade was great, and the season has been amazing.

I'm so sorry Tiler Peck won't dance tonight, but of course it's understandable. I was hoping they had someone else learn the role, perhaps Woodward or E. Van Enck, but it seems Fairchild rehearsed with Gordon.

So agree, cubanmiamiboy. I feel privileged to have seen both Mearns and Peck in Tschai Piano #2. Peck was amazong today technically, musically, artistically. She absolutely swept me away with her dancing. Joseph Gordon, who is always technically wonderful, partnered Peck with a lovely feeling of grace and elegance. The 2nd ballerina role was well done by Olivia McKinnon. It is a challenging role. and she conquered it, I just wish she looked more relaxed. Never-the-less, this was the first time I started to understand why she was promoted to soloist. I enjoyed Apollo with Chen Wei Chan. To my eye, Adrian D-W gave a more complete, thought-out performance, with every phrase and step shaped and musical. Chen Wei Chan, had beautiful moments, but it didn't hand together as a whole concept. Because of those wonderful moments, and the beauty of his look and dancing, I can't wait to see where he takes it with more experience. Nadon is a wonderful Terpsichore. She amazes me in the way she can bring both drama and spontaneity to every role she takes on. Funny, she looked small standing next to Kikta and LaFreniere. I very much enjoyed LaFrienere's Caliope. Her variation had a freshness that was delightful. Kikta (one of my favorite dancers) had a struggle with the pique turn into arabesque step in her variation, but she didn't let it effect the rest of her performance. I did not stay for La Sonnambula. I saw Allegra Kent in the theatre this afternoon and the other night.

I'm going to the matinee today (Sun) and just got an email from NYCB that Tchai Piano Concerto #2 will be first on the program instead of last. Wonder why? Strange programing

Thanks volcanohunter. On this brief viewing I'd say that adding vocals didn't add anything to the experience of watching the piece. It feels like an unnecessary, even a distracting element. The costumes are awful. I hope they don't plan on using them going forward. Please tell me it was a one time thing.

I'm so excited to see be seeing this cast, tomorrow. How did Maxwell fair in La Sonnambula?

Maxwell mentioned being in the studio with Allegra, on her instagram, so even if she wasn’t coached directly she was there.

Saw tonight's show. So happy to see Apollo again. Adrian Danchig-Waring was terrific. I love the scale and clarity of his dancing. He showed us a young god coming into his own, with a well thought out portrayal. I enjoyed Unity Phelan's Terpsichore, it was nuanced, musical and playful. The cast, which included, Sara Adams as Calliope and Emilie Gerrity's as Polyhymnia really brought the piece to life, although I still find Gerrity on the bland side. I hadn't seen La Sonnambula in many years, and can wait a few years before seening it again. That said the Divertissements have interesting moments. Jacqeuline Bologna and Davide Riccardo did the Pas de Deux. She is looking good this season, and he is definitely soloist material. Not sure why Unity Phelan is cast as the Sleepwalker, other than she's cast in everything. She doesn't bring anything special to the role, but I'm not sure how much can actually be brought to it. I wouldn't mind if the ballet was dropped from the rep for a while. Tchai Piano was a joy. It made me smile. Emily Kikta was wonderful in the 2nd ballerina role. Assured, radiant and bold, she whipped through the difficult choreography like a ballerina. She is dancing like a principal. Mearns and Angle were the principal couple. When I saw Angle in Emeralds recently, I thought his solo work substandard. That wasn't the case here. Clean beats, nice jumps, crisp turns, and the partnering is always sublime. Sara Mearns knows how to hold the stage. I found her opening section with the pivot turns in tendu (an unusual step) riveting. Towards the end of the ballet the spead and clairity of her footwork seemed to diminish, but overall her performance was full, beautiful and engaging. She has the imagination, as an artist, to bring a lot to any role. As stated by others Lars Nelson fell during La Sonnambula, and seemed unable to complete steps when he got up. I hpe he's not badly injured.

I don't think it was a major intrusion. For one thing, it was a one time thing. I was there, and to my eye the dancers weren't showing off or playing to the audience. Individual dancers were doing what they needed. Some left early, others did center exercises many times, others few times. Some put themselves front and center, others stayed in the back. Some company members weren't there at all. Company class isn't required. I seriously doubt the dancers were thrown by having an audience. Taking class with a choreographer watching, to cast a ballet, would be more stressful. As a former dancer, I love watching class, but I believe an astute observer of ballet would also find class interesting. Many companies, including NYCB, offer open rehearsals for members who pay/donate. The dancers do what they have to do. The Met Opera does the same.

The Post has a habit of taking a sensationalistic approach, as we know. Just the language used: "he quietly collected..." is loaded IMO. It is a lot of money but it was spread over 4 years. Peter Martins resigned, so I have to assume some deal was negotiated with the BOD. The company performed the Martins Sleeping Beauty last spring, and pretty much sold out the house. Big ballets sell, and it was his big ballet so he was paid. I see no reason for this piece other than to stir up talk.

5 to 6 this evening was a free, but ticketed, event. Seating was orchestra and first ring. My husband and I & found lovely seats in the first row of the first ring. Dancers were doing works that meant something to them personally, and before each piece, a dancer who was about to perform spoke about what the ballet meant to them. So many of theses introductions moved me. Taylor Stanley spoke about how Agon pas was done on a white woman and black man in the era of the civil rights movement. Stanley's father was active in that movement. Megan Fairchild spoke about performing Stars & Strips in Cuba, and being overwhelmed by the reaction. Ashley Hod spoke about doing every kid's role in Nutcracker as she was growing up, and how important it was to her to speak to every angel now, whenever she did sugar plum. I could go on! Here's the line up, all done to piano accompaniment. Symph in C (3rd movemt) - Baily Jones/Sebastian Villariai-Velez. Agon (solo from the 1st trio) - Taylor Stanley. Nutcracker Pas - Hod/Veyette. Apollo (1st solo) - Chun Wai Chan. Stars and Stripes pas - Fairchild/Mejia. Jewels (Rubies excerpt) - Emma Von Ench/Furlan. Western Symphony (excerpt) - Phelan/Veyette. I can't say what were highlights for me, they all were. The entire event was a joy. Walking home, my husband and I saw Chun Wei Chan. We paused to say we enjoyed his Apollo solo and looked forward to seeing him do the whole ballet. He said he was excited to be able to do it.

The afternoon performance was interesting, and not what I expected. I'd never seen Bouree Fantasque before. Choreographed in 1949 to Chabrier, it is of it's time. It has the sensibility of an early, movie musical. Three sections: Bourree Fantasque, Prelude, Fete Polanaise. Each section has a lead couple, and is different in tone. The leads have to be distinctive characters, without acting out a plot. Nadon with Takahashi, was suitably mysterious and coy in the first. Maxwell with David Gabriel was exuberantly joyful in the third. Unfortunately Gerrity with Gilbert Bolden, in the second, was kind of bland, in a piece that doesn't work without distinctive performers. I'm glad they revised it for the anniversary. I don't think it deserves a place in the rep. Agon is a ballet I love. It's inventiveness, structure, musicality made it a ballet I never get enough of. The first trio Jovani Furlan, Ashely Hod and Meaghan Dutton-O'Hara was well done. Furlan's beautiful movement quality and clarity made his solo a joy. Hod was a stand out in the Guilliard for the way she etched each movement. but both women were excellent. LaFreniere, Jules Mabie and Davide Riccardo were the second trio. I wish i liked LaFreniere more. In Bransle Simple she was beautiful and secure. She has a gorgeous, sinewy body and strong technique.But, as with Diamonds, I felt she was playing is safe, and I found myself wanting more. I believe she could go bigger in so many ways and has the potential to be amazing. Miller and Walker did the pas. She used her length, flexibility, line and arabesque to wonderful effect. Miller dances like a principal Slaughter - I considered skipping this ballet. I've been avoiding it for a while, always being annoyed that they kept it in the rep. Mearns and Veyette were the leads. In the end I told my husband I was almost embarrassed by how much I enjoyed it. Mearns and Veyette played it to the hilt. I laughed at all the jokes, appauded on cue and marveled at the construction of the piece. I also attended the 5 to 6 free showing. I'll give a report on that separately.