vipa

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.

It's funny. I've been reading for years and years that audiences for certain types of performances skew older, so it has to be that as older folks die off, new old folks replace them!

I just got a ticket for Copeland. I'll be seeing the 2nd cast. Unless I'm missing something Daniel Ulbricht is not in either cast (correct me if I'm wrong). This surprises me because Rodeo was done with Ulbricht in a pretty big role

Lucky Danish Ballet, he is a font of knowledge.

Some weeks ago Phelan posted a bit from her Walpurgistnacht rehearsal, so I assumed she'd be second cast.

I was thinking about Emma von Enck and Sara Adams as possibilities. Are there usually 5 casts? If Von Enck and Adams don't get Aurora, my bet is they'll both get cast in blue bird pas

Thanks so much for sharing this. After listening to the podcast, I'm much more excited about seeing the ballet. It sounds like it could work as a concept, and perhaps as importantly, there are about 34 dancers in the cast, and there are two casts. If nothing else it will be a great opportunity to see a lot of company member shine.

I agree volcanohunter, I wonder what audience they have in mind? I much more enjoyed the one they used pre-pandemic that I pasted below.

Thanks for posting the trailer BalanchineFan. Maybe this would appeal to me if I was young and hip, but I wish they'd just show us some of the (hopefully) exciting dancing we can expect to see on stage.

In looking at ABT's Met season offerings I sincerely hope that Like Water for Chocolate has a lot of dancing for a lot of people, particularly the men in the corps. The other ballets: Giselle, Swan Lake, and R&J are pretty skimpy when it comes to dancing for the men, outside of principal and soloist roles, and there are no rep shows.

Thank you for your thoughtful remarks Buddy. The idea of "the next Balanchine" has been with us since his death. It's always seemed to me that critics and writers are eager to find/coronate someone for that role. Ratmansky could turn out to be one of the greatest choreographers of this century, creating lasting works that touch us deeply, interest us and bring us joy. Being the next Balanchine is another matter! Balanchine changed the look of ballet, started a school that has the legacy of his training. He hired his dancers, ran his company and of course created new works. He is known to have said that one day he'd be known more for his teaching than for his choreography. Of course that remains to be seen! In any event, I agree that Gia Kourlas is hoping for the next Balanchine, I just wish that idea would go away! I hope that, at NYCB, Ratmansky finds what he needs right now to produce great works that have staying power. That would be a gift for all of us.

In general I would say that NYCB has more of a tradition of encouraging individuality and imagination in their dancers than ABT. At ABT sometimes I feel the coaching of some roles (Odette for example), seems to get very specific, particularly with musical phrasing.

I've often wondered about coaching at ABT. It seems Kolpakova is the main coach for the principals in the classical full lengths. Susan Jones seems to still be there for the corps. John Gardner, Amanda McKerrow, Nancy Raffa and Carlo Lopez are each listed as a Director of Repertoire. What exactly does that mean at ABT? Do they each have a slice of the rep to teach and coach?