fondoffouettes
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Emma V. E. and Huxley were superb in La Source this afternoon. This was my first time getting to see much of Emma, and I love her dancing. She’s small but dances BIG! Very musical and buoyant, with beautiful ports de bras. The final lift was flawless. Huxley was his wonderful self; always a total joy to watch. I think they make a great pairing and I’d love to see more of them together. They’ve sustained the high I was on after Peck/Gordon on Friday night, even in this lesser but still enjoyable ballet.
Unfortunately, it was announced Mearns is out for Namouna — replaced by Gerrity.
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I agree with all the praise for Peck and Gordon in Raymonda Variations on Friday evening. They were sensational. Peck looked like she was breathing the music. And yes, it really looked like she was going to launch herself into the orchestra pit at the end.
Laracey was beautiful in Concerto Barocco, and I completely agree with @MarzipanShepherdess that she's dancing at a principal level. I felt Gerrity under-accented some of the choreography.
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Phelan and Laracey were great in Concerto Barocco on Saturday. The role suits Phelan very well, and Laracey's dancing was as musical and incisive as ever.
I'm not a fan of Kammermusik. I found all of the dancing in unison (or one beat off) to be really tedious. For me, it added little to see the two dancers doing the same steps, as opposed to Concerto Barocco, where the interaction of the two ballerinas is fascinating. I don't care for the music at all. Balanchine had the ability to elevate mediocre music, but I don't feel this is such an example. It was danced very well, though.
LaFreniere left me cold in Raymonda Variations. It's hard for me to point to one particular thing, but I got the impression she isn't completely comfortable in the role (which is understandable, given its demands). Maybe with time, she'll be able to make it her own. Chan was quite exciting. I'd think LaFreniere would need a taller partner, but Chan's partnering was solid.
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On 4/19/2023 at 11:24 AM, abatt said:
Tyler Angle is very out of shape
NYCB posted some "Flash Footage" of Concerto Barocco on its Instagram Stories, and I was kind of shocked by his appearance. (I think he looks good with a shaved head, though.)
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3 hours ago, mille-feuille said:
Exciting!! Lots of great ballets. I'm relieved because I found the past few seasons varying levels of odd in terms of rep choices.
I've felt the same way. A season with Jewels, Symphony in C, Ballo, and T&V -- how bad can that be? I really hope it's the complete Jewels. They've done enough of Rubies on its own recently.
Really glad to hear that Farrell is returning to NYCB. I agree that Tzigane/Errante would be a great vehicle for Mearns.
Thank you to the subscribers who've brought us this early good news about next season!
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23 minutes ago, BalanchineFan said:
I know I've seen Mearns dance it with Reichlen. It was like two blondes, one running hot, one running cold, in the best possible way. Which Concerto Barocco role does the ppd? First Violin or Second? I can't remember who did it then, but my best guess is Reichlen.
The first violin role dances the PDD. Mearns has danced the second violin role opposite both Reichlen and Kowroski as the first violin; and she'll now be debuting the first violin. There's a nice clip of Mearns and Reichlen here -- wish I could see the entire recording!
It's too bad Laracey isn't getting another shot at first violin -- she was so beautiful in her one and only performance of the role a few seasons back. But I have no doubt she'll be great as the second violin.
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For the 2019 revival of Ratmansky's Sleeping Beauty, he revised the Act II and III pas de deux based on newly discovered sketches by Pavel Gerdt (the original Prince Désiré).
I believe he replaced the fish dives for all casts that year. And the new move was different from what Cornejo and Lane had done in previous years. However, the pas de deux still ended with a fish dive, though not one where the ballerina is knocked off her leg while turning beforehand. I'm curious whether that final fish dive was in the Gerdt sketches or if it was a concession to modern tastes.
I recall the Vision pas de deux looked especially lovely in 2019, though it was difficult for me to identify exactly what Ratmansky had changed.
I long to see the Ratmansky reconstruction again; it was one of the richest pieces of choreography I'd ever experienced. I felt he added so much more to the tapestry of that full-length than he took away (like the fish dives). I didn't get the impression that it sold less well with the general public than ABT's previous Sleeping Beauty.
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22 minutes ago, bingham said:
In total agreement to above suggestions. The current programming was probably done before Susan Jaffe took over?
The Royal Opera lists it as a co-production with ABT, so ABT must have had this project in the pipeline for several years. I assume their co-production agreement specifies a certain number of performances at ABT. I assume they'd have to eat some costs if they don't perform all 12 performances, though I'm not sure. I'm guessing it could be a logistical nightmare to adjust their Met season at this point. They'd have to depend on the Met box office to adjust affected subscriptions, though I guess the Met already does that sort of thing for them...
Edited to add: If ABT were to cancel performances of Like Water for Chocolate, it would show a lack of confidence in the artistic product. It's not a great look for a company. I feel like companies will paper the house before they cancel a performance. But, if sales are abysmal, who knows...
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The only analogous situation I can think of is in 2017, when ABT programmed 12 performances of Whipped Cream. If I recall correctly, it sold extremely well; I remember attending performances where the Met was nearly sold-out. However, the performances were split into two runs, with four performances in the second week and eight in the seventh week, which allowed buzz to build from word of mouth and press. Also, ABT also put more significant marketing efforts into Whipped Cream than is typical for the company. Ratmansky and the score were draws for balletomanes, while Mark Ryden's designs were draws for fans of his art. And it was family-friendly.
I don't see things coming together in a similarly successful fashion for Like Water for Chocolate. I have little interest in seeing the work based on the source material, choreographer, and composer.
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I listened to the portion of Whiteside's podcast where Copeland discusses her future plans, and she also mentions retirement. She says a second documentary about her life is in the works and that the idea is for it to culminate with her retirement from ABT. She says it's possible 2023-2024 may be the season she retires, but she's basically playing it by ear. The way she mentions Giselle and Romeo and Juliet in spring 2024 makes it sound like they are programmed, but it's not entirely clear. I fear all we're going to see are warhorses in the Met season from now on...
I'd be surprised if Murphy continues beyond the 2024, or even the 2023, season. ABT's typical late-career vehicles -- Macmillan and Giselle -- have never been her calling card. I wish I could see her in Sylvia one last time, but I realize that's not realistic to hope for, for a variety of reasons.
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His final performance will be in Firebird. He is joining the Royal Danish Ballet as ballet master.
https://www.balletherald.com/jared-angle-bows-for-final-time-in-firebird/
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3 hours ago, abatt said:
Is Justin Peck also an Artist in Residence?
added- I just found a recent playbill and Peck is listed as "Resident Choreographer and Artistic Advisor"
So do Peck and Ratmansky have equal status as resident choreographers?
This Playbill article mentions that Wheeldon started as NYCB's artist in residence for a season and then became resident choreographer the following year. Based on Martins' comments, I'm wondering whether "resident choreographer" was conceived as a longer-term post than "artist in residence."
https://playbill.com/article/choreographer-christopher-wheeldon-to-leave-new-york-city-ballet
I'm not sure whether the roles are functionally different. I wonder if Peck's contract requires him to contribute more new works than Ratmansky's. Does Peck average more like two works a year?
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22 hours ago, Fernie M said:
For those of you interested, Davide Riccardo posted on IG some really nice footage of he and Mira Nadon dancing Cavalier/SPF this afternoon at family Saturday.
Nadon's backbend! 😮
I agree with others -- I'd love to see Kikta be promoted. She's been fantastic in everything I've seen her in.
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I think NYCB, like most performing arts organizations, is still very much in COVID rebound mode and defaulting to conservative choices in programming (and perhaps, in this instance, casting, as well). It may be a matter of capacity. I wonder if perhaps they've had to devote coaching resources elsewhere.
I've been disappointed in the company's rep choices since the pandemic -- it feels like there is less variety, and they've been repeating the same pieces frequently. Some of the pre-pandemic seasons felt like an embarrassment of riches by comparison. But I'll take what I can get while they are in recovery mode!
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1 minute ago, JuliaJ said:
Hurlin actually debuted O/O last Met season (a Wednesday matinee) and it was a big success with a glowing NYT review. So it does seem fitting she'd get a primetime spot along with other big debuts now.
I forgot about that! Makes perfect sense.
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9 minutes ago, abatt said:
After all of the rehearsal time and funds that were put into Of Love and Rage, I'm a bit surprised it's not on the roster.
12 performances of Like Water for Chocolate? That's too much. It's not Swan Lake.
I can't believe they are banking on Like Water for Chocolate to sell 12 performances. After seeing The Winter's Tale, I feel no need to see a Wheeldon full-length ever again.
It's kind of sad that Gillian's O/O has been relegated to the Wednesday matinee, with Hurlin's debut that evening (normally you'd expect it the other way around). I don't disagree with this decision, but it's kind of sad nonetheless.
5 minutes ago, Becki Lee said:Has Devin done Giselle before??
Only Myrtha as far as I'm aware.
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I was in awe of Cornejo today; he exceeded my expectations, even with images of his youthful Puck still in my mind.
The production of The Dream was so much more visually compelling when all the fairies (soloists, corps, Titania) weren't all in nearly identical Oberon-green costumes. The whole production looks so murky and un-magical now. Plus, is it too much to ask for Bottom's eyes to actually open? The donkey head didn't function properly the last time they staged The Dream, and it still doesn't.
A reminder of how this production once shimmered:
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Breanne Granlund was sensational last night, and she and Simkin looked beautiful together. Great partnering from Simkin, especially considering they probably had very limited rehearsal time. Granlund's debut would have been an unqualified triumph if it weren't for the fouettés at the end of her variation. She fell out of the first one and there wasn't really time to restart them, as I believe there are only three or four in the choreography. She wisely brushed it right off and proceeded to climb onto the snow yak. But her musicality, ability to project, and security in all other elements of the choreography made for a very impressive debut. I'm eager to see her more roles, and would love to see her paired again with Simkin if he returns to ABT.
Teuscher is quite good as Princess Tea Flower, though my one quibble is with those supported turns where her free leg is quite low. Something was off with the speed of the rotations (too slow) or her leg/arm positions; the turns didn't achieve the effect they can sometimes have. It was nice to see Stearns projecting some personality.
Simkin is just as good as I remembered him as the Boy, though I felt he dialed down the pyrotechnics a bit, which is only understandable given the last-minute substitution. According to his Instagram, it looks like he was dancing Giselle in Berlin only a few days ago, so it's truly incredible he was able to turn in such a perfect performance of a role he hasn't danced in three years.
Zhong-Jing Fang was delightful as Marianne Chartreuse and danced beautifully.
I felt the company, as a whole, looked a bit under-rehearsed. The choreography is frenetic and quirky (in a way that, I believe, suits the music), but it can look sloppy when not danced crisply.
The scenery and costumes look fantastic at the Koch Theater. The scale of the production is perfect for that theater. Have they always used a projection of an eye above the hospital bed? I found it's blinking and movements distracting. Perhaps in the cavernous Met it wasn't as noticeable to me.
Regarding the piece itself, I find there's much to enjoy in the first half, though the second act is clearly stronger (and elicits a much greater response from the audience). The biggest disappointment for me in Act I is the whipped cream waltz. I do love the slide, but the choreography is a bit of a let-down for me. Why does so little of it evoke swirling, whirling whipped cream? That shouldn't be too difficult with a waltz, I'd think? I've always wanted it to be a real show-stopper, like Ratmansky's Waltz of the Snowflakes, but it falls short for me.
My hope for the spring season: Simkin and Granlund dancing together in anything!
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Wow! He's delightful in this role. I haven't been following the casting very closely -- who does he replace?
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16 hours ago, canbelto said:
I'm always struck by the difference between SAB's rather cozy, personalized IG account that's filled with pictures of students, classes, teachers, and what not, and NYCB's extremely corporate IG. The two institutions are so interconnected, but SAB's IG account seems run by someone who truly loves SAB, and NYCB's IG account seems like it's run by someone whose job it is to run a company social media account.
I've felt like NYCB's IG account really misses the point of Instagram. It's like a brochure in social media format, with some occasionally interesting tidbits thrown in. Their commitment to posting in threes to maintain their perfect grid (https://www.instagram.com/nycballet/) seems like a misguided, outdated practice. As a result, you sometimes end up with oddly cropped photos in your feed, like this gem: https://www.instagram.com/p/CidT1flO15w/.
It's also so glossy and over-produced. On social media, people look for some sense of spontaneity (even if posts are planned well in advance) as well as behind-the-scenes glimpses. And some personality! The captions read like program notes and are really long. I get no sense of a unique voice. I feel like some head of marketing is determined to make NYCB's IG feed just a rehash of all of the company's marketing materials.
On other hand, I love NYCB's video content. That's a place where I really appreciate the glossiness and high production values. It's been great to see their "post-pandemic" videos where they are able to shoot in-studio and onstage once again.
Regarding ticket sales, I don't disagree with what others have pointed out. But the performing arts as a whole are seeing a huge post-pandemic slump in ticket sales. It's pretty dismal, and it's unclear if/when sales may recover. And these are fields in which ticket sales, pre-pandemic, already accounted for less than 50% of overall revenue. Support from individuals and foundations is going to be more of a lifeline than ever before.
I used to like to sit in the rings but found that the ushers always let tons of latecomers in -- not to sit in their seats but to mill around in the back and make noise. It was hugely distracting. Has that changed at all?
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50 minutes ago, FauxPas said:
Ashley B bounced back quickly from her pregnancy, losing all the weight and really pushing herself in class. I wonder what is going on now.
She's probably just working on it. There's a video of her on Steps' Instagram from August (https://www.instagram.com/p/ChaWtbQFI2x/?hl=en). It's clear she's done a lot of work since then to get back into shape for this season. She probably just needs more time. Since we don't know the nature of her injury, it's possible she hasn't been able to take class, etc., for all that long.
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23 hours ago, cobweb said:
Agree. I would love to see Nadon and/or Laracey. I'm not sure this role is the best fit for Ashley Bouder's talents and style.
I didn't care at all for Bouder when I saw her in Scotch Symphony before the pandemic, and her shoes squeaked like crazy throughout (hopefully that's no longer an issue). But I agree that perhaps the ballet is a way for her to get back onstage.
In her Instagram post, I thought she was indicating that she'd be dancing the first movement of Symphony in C at the fall gala. But I see on the casting sheet that they're only doing the fourth movement of the ballet, so her role will be much more limited. What a truly odd thing to program for the start of a gala; I can't imagine what it would be like to watch that movement in isolation, without proper buildup to that big finale. Oh well...
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If it's a ballet about the Black experience, or in any way related to it (as this ballet seams to be), I feel it can be powerful and important to have an all-Black creative team and cast, if the creators so wish. In ballet and opera, for centuries, White people have been telling the stories of Black people and at times, unfortunately, impersonating them onstage. I'm glad the creator of this new work at ABT was given the agency to pick out the creative team and cast he wanted. Could this work be put on without a Black conductor? I'm sure it could be. But for this particular work, I can only imagine that having a Black conductor will influence the creative process in many ways that I can't begin to imagine as someone who isn't Black.
I think it can be helpful to think of a work like this as not being exclusionary, but as creating space for voices that have been seldom heard at ABT. And that space is a scant three performances.
The next Black choreographer to be engaged by ABT may not at all be interested in assembling an all-Black cast and creative team. But I think it's commendable that ABT is supporting Rudd's artistic vision.
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4 minutes ago, MarzipanShepherdess said:
That explains a lot, thanks for this context! I recalled posters here admiring Paulina and was surprised at feeling underwhelmed when I saw her in solos this season. But oof, doing a full Boston Ballet season and then a full ABT season in the corps would exhaust anyone. I look forward to seeing her when she's recharged.
Same. Thank you so much for the context.
Per Carlos Gonzalez's Instagram stories, corps member Javier Rivet is leaving ABT. I suppose we may here of more departures, as there are always a few at the end of every Met season.
ABT Met Season 2023
in American Ballet Theatre
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I'm very curious, so I'm pasting the pics here for anyone who may not be on Instagram. They don't look familiar to me.