vipa

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.

I too was surprised to see Chun Wai Chan's Insta comment about looking forward to dancing Emeralds with Bouder. Has she done Emeralds before? I remember her in Rubies. If Bouder is truly cast in this, I have to wonder if it's a comeback or a final performance.

If I recall it was a strange situation with Kotchetkova that I never understood. Rather than promote Lane they entered a contract with Kotchetkova, and she was a principal danccer with ABT and SanFrancisco Ballet at the same time. I guess the schedules worked out, but I never saw the point. Maria Kotchetkova was a solid dancer, but the times I saw her she didn't blow me away.

Doesn't look like we'll be seeing much of Cassandra Trenary. I always found her to be one of the more interesting dancers in the company.

On the topic of energizing sales - Whiteside, in a Conversations on Dance interview, said that he wasn't paired with Boylston in the Met season because management thought they were too comfortable as partners, and would grow as artists more by being paired with others. I have no strong opinion about Boylston and Whitside as partners, but if that reflects a management attitude it seems odd to me. If they have a pairing that has any charisma they should nurture an promote it.

Thanks abatt. Just to add advance registration is requested. There might not be great demand, but you can get free tickets in advance. https://www.nypl.org/events/programs/2023/09/07/works-process-presents-paul-kolnik-photographing-new-york-city-ballet

Nadon posted in instagram a bit of her rehearsal for Emeralds! That means she's a possible cast in any of the movements.

Just want to say the Miriam Miller was wonderful at Vail, particularly in Nutcracker pas. I agree she would be great in Diamonds or Emeralds, but I see her more in Diamonds. Interesting Mira Nadon seems to be learning Diamonds, she seemed such a good fit for tall girl Rubies.

That's so true abatt. I admit, I've grown used to playing chicken! I'm fortunate enough to live within walking distance of Lincoln Center and don't mind checking for 3rd ring tickets until the bitter end. I think its a real shame that they don't offer 3rd or 4th ring options for subscribers, but I assume they know what they're doing.

How fun, and what a wonderful memory to have. I wish I could see Divertimento Brillante again (the Balanchine/Glinka piece I saw in Vail) to see if any of it matched up to your description of Glinka pas de trois.

Thank you Cobweb, abatt and FPF for the info on Glinka pas de trois. The piece done at Vail, Divertimento Brillante, could be related in some way. I'm still very curious. One of my biggest takeaways from Vail was an increased admiration for Heather Watts. Her coaching obviously bears fruit, and her search for talent through all types of social media is wonderful. It would be easy to just invite principal dancers from well known companies, but she really looks for talent every which way. One example is Mayfield Myers, a corps dancer in the Philadelphia Ballet. Myers doesn't have a virtuoso technique, but she has a light, joyful, open way of moving that is totally engaging. Another example is Spencer Lenain. Heather found him on TikTok where he has a million followers, and is a dance influencer! His freedom, facility and imagination are a pleasure to watch. He performed a piece with Philip Duclos (Royal Danish Ballet) and KJ Takahashi, choreographed by Larry Keigwin, that showed off the strengths of all three dancers. Their comaradarie was obvious. I'll say again that I've become a big fan of Philip Duclos, an SAB grad who didn't get into NYCB and is in RDB. I'm so glad I got to see his fine technique, beautiful carriage and charming stage presence, and hope I will again. On to the NYCB season! I've been reading all the comments about ticket buying, and have to get on it.

I've been bit surprised at Vail, by how much I'm seeing of Robbie Fairchild (not a complaint). His ballet technique is not as refined as it once was, lines and positions are not as clean, but he is still an excellent dancer, with a natural movement quality, and an ability to bring drama to a piece without being overly dramatic. He even sang once to accompany the ballroom dance couple Drozdruk and Skobina. He and Lauren Lovette did a La Sonnambula excerpt 4 times (Balanchine night, Watching dance with Heather, and two different International evenings of dance). He and Devon Teuscher performed a Justin Peck piece called Furiant twice. It's an older Peck piece originally done on Fairchild and Teresa Reichlin to music by Dvorak. I enjoyed it and was happy to have seen it twice. It's much more straightforwardly romantic than Peck usually is. There is a moment that seems to be a homage to Duo Concertant, when the dancers stop for a moment to watch and listen to the musicians. It's a lilting, joyful, musical pas. Teuscher was radiant. Tiler Peck and Cory Sterns did an excerpt from The Leaves are Fading by Anthony Tudor, that really brought out the softness of Peck's port de bras, and the use of her shoulders and head. Speaking of Cory Sterns - he and Unity Phelan performed the pas de deux and variation from Chaconne. I didn't know he could move that fast and musically, and she danced bigger and bolder than I think I've ever seen. Tiler Peck and Roman Mejia did a piece by Balanchine called Divertimento Brillante, music by Glinka. I had never seen or heard of it before. A fun piece that showed off the dancers. Anyone know when it was choreographed and where it's been? I am randomly jumping from one program to the next as I remember pieces! There is so much dancing packed into each performance. We're heading back to NYC, and won't be able to stay for the NOW performance of all new pieces. A few of those pieces were previewed so I got a bit of it. I'm thinking about all that I've seen here, so I'll probably toss out some final thoughts tomorrow. It's been a great experience.

mom2 you are correct on both counts. Adji and Lil Buch danced Swan and will repeat it tonight. Last night Teuscher/Sterns did a piece by Tiler Peck called Silent Woods to music by Dvorak. Teuscher’s upper body and arms were beautifully fluid and expressive. She started alone onstage introspective perhaps yearning before Sterns swept her into a romantic pas. He leaves and she’s alone again. I thought the opening section the strongest. After that it seemed over-choreographed as if Peck had too many ideas. Of course that’s better than no ideas! R Fairchild/Lovette repeated the excerpt from LaSonnambula they did earlier in the week. It was stunning in this setting, after dark, outdoors. Lovette racing in out of the darkness, holding the lit candle and dressed in white was striking. She and Fairchild brought the drama to life. Lovette fell, at one point, but it didn’t break the spell and it seemed some audience members thought it was part of the choreography! And there was more! Each of there International Dance performances has 13 or 14 pieces. Two shows tonight

Just got back from a very full performance. Things that stick out in my mind. Boylston/Whiteside Spring Waters. They danced this Soviet style pas with joy and ease. The final 1 hand lift was splendid. Phelan/Calvin Royal Agon pas. They delivered a heightened and edgy sense of tension/contest that can sometimes get lost. Olivia Bell/Duclos/Mayfield Myers’s in La Ventana pas de trio Bournonville. I felt like I was seeing Bell for the first time. Beautiful, sustained lines, joyful presentation, clean quick feet. I look forward to following her in NYCB. I’ve become a big fan of Philip Duclos. An excerpt from a Cunningham piece CRWDSPCR. was interesting and witty with dancers connecting and separating in various ways. Stellar cast India Bradley/Patricia Delgado/Jobani Furlan/Miriam Miller/Whiteside. Adji Cissoko (LINES Ballet) & Ben Rudisin . White Swan pas, Ioved this. Cissoko is very tall and strong. As white swan she was very unmannered. She presented as a strong Swan Queen who, by the end of the pas, was ready to give herself to the prince. I often find this pas over-coached. This was refreshing. KJ Takahashi and Lil Buck had a fun street style dance off in sneakers! The program ended with Mejia & Hurlin doing Don Q pas. He did some spectacular jumps and she did some nice fouetté tricks (unfortunately they didn’t end too great.) I’m not familiar with Hurlin’s dancing but tonight she was more attitude than substance with short balances and missed turns. Maybe an off night. There are a few more things I want to share, so to be continued!

Have to write about a great event that took place in a Vail HS auditorium- Watching Dance with Heather. She introduced each dancer and spoke of how she found then. She found several on TicTok or Instagram. Savannah Green of Ballet X is her niece. Philip Duclos (Royal Danish Ballet) was the son of her veterinarian when he was a student at SAB! She sought out Ben Rudisin(National Ballet of Canada) because they needed a tall male dancer at the last minute. Others on the program were a NYCB connection- Miriam Miller, India Bradley, R Fairchild, Lauren Lovette,Olivia Bell, Gilbert Bolden III. Heather gave a short barre and then coached excerpts: Miller/Rudisin Nutcracker pas, Lovette/Fairchild Nut pas coda & Sonnambula, Bell/Duclos/Mayfield Myers(Philadelphia Ballet) in a Bournonville trio, Bradley/Duclos opening of 4 T’s, Green and Myers in Dewdrop, Gilbert Bolden in Stars & Stripes coda. Then Heather spoke of Bolden’s interest in working on pointe and she coached him in White Swan variation on pointe. We saw film footage of Damian Woetzel in Stars & Stripes, Heather and Damian in Nut pas, and Heather and Peter Martins in a work by Richard Tanner. Lovette and Fairchild then did that piece. I could have watched all day! India Bradley looks very ready to be a soloist, and, l’m happy to say, Lovette is as radiant as ever. Ben Rudisin partnered Miller beautifully, and he partnered Mearns beautifully the other night. I wonder if NYCB is watching.