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About fondoffouettes

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  1. fondoffouettes

    New York City Ballet Fall Season

    I agree with many of JuliaJ's impressions. I'd never seen Reichlein in Concerto Barocco and it's an ideal vehicle for her. Her calm, remote quality really suits itself to this ballet. And Janzen was a great partner, and suitably tall for Reichlen. I enjoyed Stafford here much more than in Emeralds. I wish her dancing had been a bit more incisive, especially in the first movement, and it's clear she's having some issues with flexibility, but I still enjoyed her in the role. Tchaikovsky Pas de Deux was the shot of a adrenaline it should be. I actually thought Ball looked somewhat tense from the beginning, which isn't surprising given his long absence from the stage, but he was technically very strong. Bouder was very exciting, and her fish dives were everything you'd hope for -- she truly launches herself into them. Her variation was impeccable. I know she has been criticized for her facial expressions, but she seems to have toned them down. I agree about the high points of Symphony in C. Sebastian V-V was astounding. Woodward radiates star quality, but her elevation was a bit disappointing in comparison to her partner. It's a shame about the developpé balance, because otherwise Kowroski's performance was beautiful and stronger than her 2017 outing in the role. You could tell things were amiss when, as she did the developpé, the arm held by Angle began to shake quite a bit. When Angle let go of her arm, she began to tilt backward, almost exactly like the dicey moment when Reichlen tips backward in the recent Paris video of the ballet. Then there was a moment of adjustment when she looked like she might lose her balance, before going into the penchée, but she remarkably regained her composure and didn't fall off pointe. She was great for the rest of the ballet, and had no issues whatsoever with the turns in the fourth movement, which had apparently been an issue in her 2017 performances. Tiler Peck was her fantastic, musical self in the first movement, and it was a joy to see Joseph Gordon bounding through the role with ease. Yes, he looked terrific. I'm glad to see him dancing so well after having to pull out of several high-profile assignments last season. I loved Mearns and Hyltin in Stravinsky Violin Concerto. I really didn't mind La Cour in this piece or earlier this week in Emeralds, since the roles are very much partnering-heavy, and he seems to be a fine partner. Random question: is it standard for the first PDD ballerina to wear her hair in a French twist, whereas everyone else onstage, including the second PDD ballerina, has their hair in buns? This is nitpicking, but I think a sleeker, less poofy French twist would have been more appropriate for this ballet, if that's the traditional way the first PDD ballerina does her hair. But her fearless, exciting dancing is what I'll remember.
  2. fondoffouettes

    New York City Ballet Fall Season

    That's how I read it, as well, especially given this quote that she includes: “Patience is the calm acceptance that things can happen in a different order than the one you have in your mind.” David G. Allen
  3. fondoffouettes

    New York City Ballet Fall Season

    And he is still an excellent partner, so the second movement of Symphony in C should be fine. And his dancing will be less exposed in the fourth movement, with so many others onstage.
  4. fondoffouettes

    New York City Ballet Fall Season

    Thank you for this! I was just trying to find music from Balanchine ballets on Spotify. It's too bad the NYCB orchestra never produced another Balanchine Album volume, even if the music is available elsewhere.
  5. fondoffouettes

    New York City Ballet Fall Season

    Yes, I think it could have something to do with the costume being more high-waisted than usual, and the dangly openwork triangles revealing more white tight than we'd normally see. But it was really his dancing that was the issue last night. As cobweb said: "no elevation, and very sluggish."
  6. fondoffouettes

    New York City Ballet Fall Season

    I really like Angle, too, and these qualities have been creeping into his dancing in recent years. However, it really crossed a line tonight, and for his own sake, I think he should have been pulled if that’s how he looked in rehearsals. Not to mention that it did a real disservice to the choreography. I’ve often thought that he just doesn’t have ideal line from the waist down — thick, kind of bulky legs — but not that he necessarily has a weight issue. But tonight he did appear as if he has put on some weight. It’s sad, but it may be time for him to hang up the white tight roles. I agree about Sanz. He really stood out and looked fantastic in the finale. I didn’t even sit that close, but I’ve never noticed how much color variation there is in the corps girls’ costumes, presumably because they’ve been built and refurbished in different eras. They range from white, to ivory to an unpleasant yellow. A couple even had odd peachy tones. I’m sure they cost a fortune to make, but it lent a ragged air to the group to have the costumes all so differently colored. The variations aren’t intentional, I’m assuming? What color ARE the costumes supposed to be? An ivory bodice with a lighter tutu, like the principal?
  7. fondoffouettes

    New York City Ballet Fall Season

    Diamonds was overall very good. I wish the corps had been more in sync in the first movement and a couple other places. Kowroski was stunning in the pas de deux — those expressive arms, those exquisite arabesques, those legs — and Angle’s partnering was impeccable. I’ve mostly seen Mearns in this role, just by chance, and I appreciated a less dramatic, yet still soulful, take on the pas de deux. Kowroski was fine in the next two movements, but she lacked the speed and attack I’ve admired in Mearns here. However, there were no issues that I saw with regard to her turns, which I know others have said have been problematic in the past couple season. Angle isn’t really exciting in the bravura passages but he acquitted himself adequately. The finale was as exciting and moving as always. Rubies is my least favorite iog the triptych, but I found it to be the most compelling performance of the evening, with the Diamonds PDD being the other main highlight.
  8. fondoffouettes

    New York City Ballet Fall Season

    Nice applause (of support, seemingly) when the announcer said “welcome to NYCB” before the start of Emeralds this evening. Laracey was lovely and perfectly evoked quiet reverie. Stafford was fine but a bit underwhelming. The rapture she attempted to depict seemed like it was just a varnish over her less than exciting dancing. She seemed to have some issues with bourees and a couple arabesques, particularly the penche one that all the women do together. Jared Angle was a fine partner but I think any sensible AD would have pulled him from the role; it doesn’t put him in a good light. His short solo filled with jumps and turns was leaden and he looked bulky and slow. Woodward — wow — i would happily see her as either of the leading ladies, though I think she might be better suited to the Verdy role — such dynamism and spritely energy in her dancing. Rubies was fantastic. I don’t think I’ve ever enjoyed Bouder so much in this, and she really varied her facial expressions — it wasn’t all showboaty ta-da looks on her face. Maybe it was the coaching they received; she and De Luz were truly superb, dancing as if they were on the edge of a volcano. Kikta makes a good tall girl; she doesn’t approach Reichlen at her very best, but she certainly has much of what it takes for the role. The corps was particularly great. It felt like the risky work it should be. Kudos to Villella and McBride for bringing out the best in these dancers.
  9. Usually around 40. Given the demographic of ballet, and especially opera, audiences, I've seen a lot of young people's groups that extend to age 40, some even older, I believe.
  10. If you scan through, a few of the text communications do include times of the day, whereas others just include the date.
  11. I just noticed the new complaint now gives timeframes, not just dates, for when texts were sent. So as not to be completely unproductive at work, I haven't checked those dates/times against NYCB's performance schedule to see if they line up to what would probably have been normal working hours. But I wonder if that's why her lawyer has now included times for the text messages sent.
  12. Luckily (for NYCB's sake), it's just opening night, not gala night, which is September 27. Though I'm sure this cloud will still be hanging over the company in a week. The optics of rich people partying when all this is going on ... not sure what to make of that. Obviously, I want to see NYCB thrive, but also be held accountable, so I don't want those donations from gala folk to go away.
  13. It's because Catazaro, Ramasar and SAB have been added as defendants. I'm not sure why now, and if this is common.
  14. One of the most interesting new items (I think it's new) is that the complaint claims there were no established rules or code of conduct for how NYCB dancers should be interacting with SAB students. That seems like a big mistake on NYCB/SAB's part, if that's true.
  15. Wow. I don't have the original complaint to compare, but I feel like some of the previously unattributed quotes are now attributed to Catazaro. There also seem to be some completely new quotes attributed to him, if my memory serves. Also, SAB has been added as a defendant. They weren't on it before, were they?