vipa

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.

I was there too. It seems likely to me that Garcia didn't correct because it was a public class, and also he wanted to move things along since he only had an hour. I enjoyed the class very much. It was fun that so many principal dancers were there. It was interesting to see M. Fairchild work. She was falling out of turns early in the center work, and you could actually see her stop, think, and the put it all together. I also loved watching Woodward's footwork at the barre. Mearns and Woodward started the barre with their hair down, then magically got it up in buns without me seeing!! I saw the afternoon performance and then the 5:00 showing of Balanchine excerpts. I'll report on that later.

Tomorrow is the onstage company class, taught by Gonzolo Garcia. I'm looking forward to that. It's from noon until 1:00, then they'll probably clear the theater quickly for the matinee, which I'm also attending. Then another free presentation from 5 to 6! I see from Emma Von Enck's instagram that she'll be doing some of Rubies. Should be an interesting day.

Cobweb you have me kicking myself for not attending that performance. I should have had more faith. Interestingly I remember Claire Von Enck getting a shot at Tarantella when she was new to the corps, maybe 8 or 9 years ago. She didn't live up to expectations. Funny how careers go. I sometimes wonder if Claire will get more opportunities, or if her time has passed.

In my opinion Ulbricht has been unfortunately limited in casting. It took management many years to allow him to do Oberon in Midsummer, and he was incredible when given a chance.

I so agree with this. I would love to see Jewels in its entirety again in the spring, but if I can't have that, I'm delighted that I'll have a chance to see Rubies again given the casts.

I was at the afternoon performance today, and had a wonderful time. It's a pleasure to see the theater so full (open 4th ring) and the audience so enthusiastic. A few impressions: Emeralds - I loved Indiana Woodward. She brought a quiet joy and spontaneity to the first solo that was very different from Mira Nadon's more mysterious flavor, that I saw on Thursday. We're lucky to be able to see such different, yet wonderful, approaches. Tyler Angle's partnering of Woodward was beyond beautiful. The lifts floated as if they had no preparation. Unfortunately his solo was of a much, much lower caliber. His jumps were heavy and positions in the air sloppy. He never did more that a double pirouette (and barely). I hate to say it, because his value as a partner is obvious, but it might be time to step aside. The rest of the cast was lovely. Gerrity and Adrian D-W in the walking Pas. Adams, Villarini-Velez, Pollack in the trio. It was nice to see Pollack back on stage. I hope she gets cast more frequently. Rubies - Kikta was great in the tall girl role, dancing big with tremendous attack, and an almost towering confidence. Peck and Mejia blew me away. There seems no end to Peck's growth as an artist, The technique goes with out saying. Her musicality and ability to find more , and more in the choreography is a gift to watch. Mejia's dancing was thrilling in his jumps and fun in his characterization, and the connection between the two was an entertaining mix of competitive/flirtatious/playful. Diamonds - Joseph Gordon is a joy. His jumps and turns in his solos were both dazzling and pure, and his is partnering beautiful. Beyond that, every moment on stage is elegant, and feels right, from the way he enters for a solo to the way he leads his partner off stage. Unity Phelan was a surprise. I've found her a bit bland at times, and heard that complaint about her performance of Diamonds earlier this week. I didn't feel that way this afternoon. The signature port de bras (one hand behind the head, and the other extended) was especially striking, because she used her back to create the line, not just her arms and head. She filled the music, even in moments of stillness, and created stirring moments. I have to add one note: My husband also enjoyed the performance, but thinks Phelan should spot more when she turns, to make her turns more impressive, more consistent and easier to partner. I don't disagree! (He needed to have that said). Last observation about Tiler Peck. It looked to me as if her arabesque is moving back to what it was before her terrible injury. I wonder if that's so. It as a delightful afternoon at the ballet. What a great company!

Agree with Cobweb and Abatt that Emma Von Enck was sensational in Rubies in every way - sassy, playful, technically secure, musical. I am very hungry to see more of her. Also agree that Clark needs improvement, but given her typically languid movement quality, she did better than I expected and has something to build upon. Also agree that Nadon was wonderful in Emeralds. She is musically and stylistically sensitive. Her versatility is amazing, and she is at the start of her career with a lot of years ahead of her. Diamonds, with LaFreniere and Chan has me still thinking about it. Chan was terrific. When he joined NYCB I loved his movement quality and stage presence, but thought he fell a bit short in the pure "white tights" roles, his tours were not quite clean, beats not quite crisp, turns not quite polished. Things have really come together now, and it's all there. I very much enjoyed all aspects of his performance. LaFreniere is something of a mystery to me, and I'm not sure I can adequately explain why. The pas started out well, then got better as she related to her partner, but at times her smile froze and I got the feeling she was holding back, just when I wanted her to do more. The performance felt cautious. Her solos sections had no mishaps, but I somehow felt she was getting through steps by the skin of her teeth. As I said, I don't know what to make of her. She seems very much a work in progress. Just wanted to add, it was great to see the house so full. The fourth ring was even open.

I appreciate all the reports and am intrigued and grateful for all the photos and video on social media. Does anyone know if Suzi Pilarre was there, or either of the Neary sisters?

One thing about promotions about ABT is that Jaffe has to look at the rep dancers will do. If full lengths are the bulk of the rep going forward, the company can only have so many Giselles, Swan Queens and Kitris.

Thanks for the head up, pirouette. Just got tickets for Jewels and also some other tickets with the discount code BOM24. 30% off select shows. The code is good until Sept. 24

I saw Mearns at the Vall Dance Festival in August. She looked very fit and was wonderful in Symphony in C pas, Diamonds pas, and the opening section of Mozartiana. All done in the same performance, in the Vail high altitude. She was also striking in new choreography later that week. Barring any new issues, Mearns is on her game. Tiler Peck is a different situation than most dancers IMO. Her musicality, technique and artistry are so overwhelming that a slightly low arabesque isn't a big deal in most roles. Bouder's calling card has always been her speed and technique. IMO she was just beginning to develop in terms of artistic choices and musicality when she was out for her serious injury. It seems unlikely that she'll go back to her usual rep, which means developing in other areas. I don't envy management in casting her. It's a zero sum game. I heard Merrill Ashley, in an interview, say she asked for certain technically easier roles towards the end of her career, but was told other dancers had that rep already.