vipa

I think short dancers are generally cast as Aurora but in the old, old ABT version in the 1970's, Martine Van Hamel and Cynthia Gregory were tall dancers who did the role. Cynthia was broadcast on TV, here's her very impressive Rose Adagio .

I don't know if this is true or if it really makes sense, but years ago and old Russian teacher ballet teacher told me the finger thrust in different directions represented fate thrusting you this way and that. The fairy gives you courage to stay strong no matter what. That teacher might have made it up, but I guess it's as good an explanation as any!

The pacing/length of NYCB Sleeping Beauty is an interesting question. Running time is about 2.5 hrs with one intermission. Both the Royal Ballet & ABT's Ratmansky versions are about 3 hrs with 2 intermissions. Personally, I'd rather have just 1 intermission, but it does mean plowing ahead through prologue, 16th birthday, hunting party into vision scene, all in one gulp. Still, I would take the tempos down, just a little bit, for the prologue fairies and I'd also keep the act 3 "jewels." I'm not a bit fan of full length narrative ballets in general, but one of the reasons I like SB so much is because I get to see so many different people dance. So, clearly I have no answer for any pacing or running time issues!

I just got home from the Woodward/Huxley Sleeping Beauty and found the entire performance something of a mixed bag. Woodward's warmth and joy, make her a natural Aurora and she had lovely moments in her portrayal, the way she related to others on stage, and in her dancing. At the same time her nerves seemed to get the better of her. There were unexpected technical mishaps and she didn't savor/linger on any moments of choreography. Rose adagio had lovely moments, but not much musical nuance. On the last set of balances, the first was very solid and then she struggled to let go of her partner's hand. Fortunately the conductor was paying close attention and stretched out the music to give her plenty of time. In the wedding pas, Huxley really saved the day a few times, particularly in the turns into the fish. Then his variation was not the pristine dancing I've come to expect from him. Overall for Woodward, I'd say she has the right ingredients for the role but isn't comfortable enough to play with the music and use her technique to the fullest. Definitely a work in progress. Other notes: I enjoyed Megan LeCrone as Carabosse. Suitably evil, she took control of the space. Emily Gerrity as Lilac, grew in graciousness as the ballet went on. I think she has the makings of a fine Lilac Fairy. My opinion on the prologue fairy variations is that they are too fast. I don't want the music to drag, just take it down hair to allow some graciousness to show through. The dancers always seem to be coping. Amazingly, Alexa Maxwell, found a way to do some musical phrasing in Courage. Sara Adams sparkled in Blue Bird pas. Roman Meiia seemed oddly grandiose in his presentation. A bit mannered for my taste. Jewels Pas de Quatre - Majorie Lundgren replaced India Bradley as Ruby. Harrison Coll had a struggle as Gold. Turns that started badly went downhill. Emma Von Enck was crisp, clear and elegant as Emerald and Ashley Hod as Diamond was impressive. As someone else mentioned, in the final section of the ballet I get a kick out of watching Little Red Ridding Hood zip along with all the grown-ups! I enjoyed the evening. Not the greatest performance of Sleeping Beauty I've ever seen, but much to enjoy and many hints of good things to come as these dancers grow.

Another thank you Pirouette! I also wonder what's happening withTroy Schumacher. He's listed as a soloist but doesn't perform much, if at all, unless I'm missing something. I believe he's married to Ashley Laracey and been the director of a company called BalletCollective for a number of years. Is he actively performing?

Agree about Tiler Peck. She is an artist of rare imagination and musicality, and has many, many technical strengths. If her back continues to lose flexibility and her arabesque is further diminished, perhaps her rep will evolve. She had a lot to bring to any role.

If I was interviewing a choreographer for a commission at NYCB my main questions would be - Why do you want to work with these dancers? What's special about them? What do you think you could achieve with these dancers that you couldn't achieve elsewhere.

This may be wishful thinking on my part, but I'm hoping there will be few of these commissions now that Ratmansky is on board. I always thought he did some of his best work at NYCB.

Agree about Kikta, LeCrone and Phelan last night in Episodes. All musical, and technically fine performances. Miller didn't quite there in the Musical Offering section. In recent history I've loved Mearns in this role. I very much enjoyed Rondo, with Nadon and LaFrineiere. It's not the kind of work that blows me away, but watching the full, clear, musical dancing of those two dancers was a delight, as was the manner in which they interacted with each other. On a side note: As I've watched shows this season I find myself awed by the amazing, young talent rising up at the NYCB. Many of these dancers are having a lot of roles tossed at them, in a relatively short amount of time and have been rising to the occasion. I may quibble with this or that performance, or view the rendering of a role as a work in progress, but the level of dancing, commitment, and developing artistry is thrilling. Back to the show! I hadn't seen Fancy Free in quite a while, and it was a reminder of what a theatrical genius Robbins was. Ulbricht, Gordon and Furlan were terrific, although Gordon may have gotten a bit too balletic here and there. Lauren Collett did the "red purse" woman quite well. I'd love to hear other opinions on this. A light tone was maintained, although the section always feels like it can cross a line.

I'm sure you're right cobweb, I forgot about Christina Clark, which is terrible of me because I just saw her in Haieff! It does seem that a lot of tall ladies are in the running for a promotion.

I saw Emily Kikta tonight in Episodes, and she was wonderful. I'll give more of a review tomorrow when I have more time. I think she would be wonderful as Lilac, but in general height might be limiting her casting (just a guess). I believe she's the tallest woman in the company at 5 ft. 10. Being on pointe adds inches. I agree with Abatt that some people may be on their way out. LeCrone was very good in the first section of Episodes tonight but in general isn't cast much. Pazcoguin isn't seen much at all. I'm fiercely rooting for Alexa Maxwell to be promoted to soloist.

Tiler Peck posted on IG her Auroras - 2/16, 2/19 at 1 and 2/24. I wonder who is opening, and if all casts get 3

OK I'm often behind the curve in some things. Would someone explain this to me. When I look at the 21st century choreographer's program it seems that Feb. 9 only has 4th ring tickets available, but for the other dates of that program they haven't even opened the 3rd ring. Of course I could be wrong, but that's what I think I'm seeing.

I was at this afternoon's performance of Copeland Dance Episodes. I'm with abatt. For me, once is probably enough. The sign outside the the seating area said 76 minutes. It felt a lot longer to me. The dancers are wonderful. Miriam Miller's arabesque sings (she did the Mira Nadon role). Alexa Maxwell in the the role originated by Tiler Peck, was radiant. I could single out many, many dancers. There were stunning moments here and there, with the mix of great lighting, soaring music and fine dancing. But, overall I found the movement very repetitious, filled with Justin Peck's typical tilted turns, jutting legs, circular-swinging port de bras. During one woman's variation, it occurred to me that the solo would fit right into his Pulchinella Variations. The choreography is often so dense, there is little time to breath, and the musical attack/accents vary very little. There's a bit of walking around and standing casually, and a bit of men partnering men, and women partnering women, but for the most part it all mostly blends together. That is both a shame and incredible since the dancers are so good. The lead couple, in this case Miller and Russell Janzen, are in a relationship that ends badly (hope that's not a spoiler). I really didn't care. I had zero emotional connection to what their relationship was or what was happening to it. I can't help but contrast this with the feelings I get watching the 2 couples in Stravinsky Violin, a supposedly much more "abstract work." The house was well sold, even some rows in the 4th ring were occupied. The response was enthusiastic. I did have to smile. A girl, maybe 10 years old, was seated behind me. She was quiet and well behaved, but said to her mother at least 3 times - "I want to go home." I'd say this isn't the best choice for a child! I think it will stay in the rep for a year or so, but after a time stop selling very well. I don't think it will be a big ticket seller like Midsummer or Sleeping Beauty.

Whatever draws a crowd of first timers, the question is what percentage of those people will be intrigued enough to come back to explore the art form.

I do think we're in for a big promotion announcement soon. The question is how many and who. Nadon is a sure thing in my mind. Mejia too. Maxwell to soloist likely. Everyone else is a possible also Hod.

Everyone's interpretations are so interesting. I never saw potential violence in the ending when done by Mazzo & Martins (I just took another look on youtube and still don't!). Through-out the pas there is a tension and a fragility to their relationship. As choreography it touches me in ways I can't put into words, but that's the point, in a sense. And one reason I go to see these works again and again is because I can feel and see something more, or different every time.

Interesting topic, Bellawood. I haven't read Arthur's review, but for me a tremendous source of enjoyment in watching some of Balanchine's great works is that an atmosphere is created and a story/relationship perhaps implied, but as an audience member I am free to make of it what I will. What I see and feel when watching a particular ballet can change over time, or with different casts. From what I've read, and been told by people who danced for Balanchine, he didn't explain what his ballets "meant." That was a gift to them and to us.

Don't know if this has been mentioned, but Ashley Bouder made a positive sounding post on IG about being injured again, and hoping to be back. https://www.instagram.com/p/Cn2LqTSDtUE/

From what I've seen Emma Von Enck is a natural Aurora. If it's not to be this season, I hope it comes soon, and in the meantime I hope she gets many other roles. So who do we think the Auroras are - Fairchild, Tiler Peck, Woodward, Phelan, LaFreniere and someone else? Am I missing something? Lilacs are probably: Laracey, Gerrity, Nadon, Kikta, Hod or Miller? Alexa Maxwell posted a video rehearsing finger variation (Fate or something like that). She should be a soloist

I was at tonight's show. Fairchild & T. Angle doing Allegro, and frankly I went with low expectations for Angle. I was pleasantly surprised. Yes, he is a big guy with thick thighs and a thick butt, in a white tights ballet. I know that's a deal killer for some people. The dancing, however, was good. He's not a virtuoso like Mejia and never was, but his entrance had a nice attack, his jumps were big with soft landings, beats clean, pirouettes musically connected, finishing with nice triples. The partnering, as always, was beautiful, and his presentation was open and warm. Not dazzling dancing but I enjoyed it. Meagan Fairchild was lovely, but I felt her performance was a bit subdued. Perhaps I'm just used to Tiler Peck's more dramatic approach. My first time seeing Liturgy, and I admit my mind wandered here and there. Sara Adams and Jovani Furlan looks sculpturally nice. I don't need to see this one again. Walpurgisnacht put me in the Emma Von Enck camp! I hadn't seen much of her dancing before, and she was a true highlight in the second ballerina role (I think of this as the Nicole Hlinka role, a name rarely mentioned on this board). Von Enck was pure delight. her technique sparkled with buoyant jumps, secure tuns and lovely foot work. I'm very eager to see more of her. Unity Phelan had movements of pure loveliness, but overall I'd say, for her, this ballerina role is a work in progress. The first variation was noticeable faster than usual. It might take some time for Phelan to make the role hers the way Mearns and before her, Kyra Nichols have. Firebird - I hadn't seen this for at least a dozen years. Not my favorite. I enjoyed this performance but don't need to see the ballet again any time soon. I don't really know how to assess Hod's performance - she had impressive jumps, smooth bourrees, good port de bras - I can't imagine anyone blowing me away in this role. Overall, this season, I've been super impressed by the talent and energy coming from the corps in every ballet. India Bradley was a stand out in the demi soloist role in Walpurgisnacht.

I totally agree about not needing an intermission after Allegro Brillante, unless there's a reason such as having to put in a set. To add, in case it hasn't been mentioned, the City Ballet Podcast has an enjoyable episode with Jared Angle interviewing Tiler Peck about Allegro Brillante. https://podcast.nycballet.com/ Also agree with other's about the stinginess in marking Balanchine's birthday. I used to love the special programing they used to do, and the toast! I was pleased that a number of dancers marked the day in social media.

I was also at the matinee today, and had a wonderful time. The company looks great and the corps, both male and female, is bursting with talent and energy Donizetti is a great ballet for Woodward and Gordon. His technique is thrilling in its ease and naturalness. The way Woodward covered space, traveling sideways, in her variation really made me smile. As good as Woodward already is, I feel she'll continue to grow in this and other roles, in terms of musical phrasing and presentation. I'm glad Haieff Divert continues to be in the rep. It's a short ballet, but it establishes an atmosphere. and implies a story, so I find it fascinating. Christina Clark has amazing long limbs, as other have noted. The woman's variation is not flashy, but it is very difficult. Clark handled it well. Peter Walker is a dancer I didn't take to when I first saw him a few years ago. I like him more and more. He's in better command of his technique and has a fuller, more solid stage presence. I hadn't seen Valse Fantaisie in a while. As I remembered, it's short, sweet, beautifully constructed and full of steps! Pereira, never a favorite of mine, looked better than I've ever seen her. No technical glitches, nice phrasing, and she seemed to enjoy herself. Daniel Ulbricht is always a winning stage presence, with a beautiful movement quality. His jump has lost some height and zip, but he's a musical and smart dancer so he knows how to use what he has, to his advantage (and his jump is still very big). I do wonder what will happen to these two dancers. Pereira has been a soloist for over 13 years, and has never been cast much. Ulbricht has been a principal for 15 years and as been, (unfortunately IMO), limited in the rep he's been given. From what I can see neither is in the new Peck work, which has a very large cast. Not a good sign. Violin Concerto is always a treat. Phelan, Stanley, Gerrity, Jansen were the principals. What struck me about all of them (particularly the two women) was the degree of musical sensitivity, attention to detail and overall refinement. What a pleasure.

I'm fairly sure that Mearns retired Lilac from her rep. At least I think I remember her saying that. I wonder if LeCrone will be given the role even though she's done it. Laracey was wonderful as Lilac, so I would think she and Miller are definites. Maybe Kikta or even Hod. What about Caraboose? They often go for glam/evil in that role and it takes authority and stage craft. Not that the powers that be listen to us, but I'd love to see Davidsbundlertanze too. I saw it back when it was first done, and I'm sure I didn't wrap my head around it the way I would now.

I jut wanted to add that in the same post, Mearns generously wished her colleagues well and encouraged everyone to go and see performances, naming the new Peck ballet in particular.