deanofdance

My vote for the sleepwalker in the giant slo-mo video is Ava “Star” Sautter. So @cobweb perhaps you’re not outvoted (yet) and the jury is still out!

Just a few thoughts on last night’s performance — my last for this Winter’s season: 1) Stars and Stripes — I think of these weekend’s Balanchine ballets as — how should I put this — as crowd pleasers — I mean, you know what you are getting — displays of show stopping multiple whatever steps that should induce applause, applause, applause. An audience of all ages and new to ballet can enjoy these 3 ballets — and I’m writing this not to denigrate these ballets in anyway (J’adore Stars and Stripes and Tschai Pas) — just to say that what I look for when watching these ballets is different, in a way, from what I would look for when watching ballets such as, say, “Mozartiana” or “Leibesleider Walter”. I think that foremost in the dancers’ minds is that they have to deliver and sell the goods (the audience came for a show, we’ll give them a show) — that they have to be faster, and to keep going, and commit to the choreography, the incredible tempo of the music, and to the confidence in their own talent. And last night’s performance had this commitment from all the dancers — everyone was tighter and more secure — especially Megan and Joseph — who kept feeding off each other. Both impressed — Joseph who had a real sense of abandonment (yet control — he saved a couple of real off balance turns!) — and Megan who when you see her technique beginning to fray, still manages to deliver an excellent performance — she still has much to draw on — showmanship, bravura, confidence built on years of performance, and best of all, her joy in dancing these demanding roles. 2) Tarantella — I thought Daniel toned down his performance last night — in a gentlemanly gesture to share the spotlight with Emma. Both were a delight to watch — but in one of Emma’s solos — she just stands there for a couple of beats shuffling her feet before continuing on with the choreography. When I first saw this on Friday I thought there was a small mishap, but there it was again last night — a bit odd. 3) Tschai Pas — Debuts! Indiana looks like she has been dancing Tschai Pas for a long time — she appeared very much at home in the choreography — but then one of her dance qualities is her ability to put her personal spin/touch on many ballets. To put on a show and to make it her own — quite a rare trick! Anthony’s dance qualities seem so unsuited to this role — his dancing doesn’t “sell” anything, his dancing doesn’t “put on a show” — it is just there, capable of unique beauty and expansiveness. But it is good to see him test himself in new waters — and it will be interesting to see how he develops in this new repertory.

Just a few thoughts on last night’s performance: 1) Stars and Stripes — Takahashi was the only one to capture this ballet with the zest and elan needed — and unfortunately for Erica, Alston was right behind her, chomping at the bit — everyone knowing how much better Alston would be if she were cast as the lead. And to a lesser degree, same for Ashley — who passed more on showmanship than technique. Ava was dancing right behind her at the end, and I thought — perhaps Ava would be a better fit for this role (but I’m such an Ava fan — she should be cast in so much more). But kudos to Ashley who subbed for Olivia — I don’t know how much time Ashley had to prepare. And an “A” for effort to Megan and Joseph — the season has been long and we are near the very end… they have another chance tonight 2) Tarantella — It looks like Daniel drank from the Fountain of Youth — I don’t think I’ve seen him dance with such ease, with such speed, with such muscularity than he did last night (I know, that is saying a lot!) 3) Tchai Pas — Perhaps Roman has not healed completely from his injury — his dancing here was, for him, subpar and a bit labored. But the night belonged to Unity — she tamed the beast that is the NYCB audience who came expecting to see Tiler dance a signature role (with her current beau, no less). And she did this with all good things — pluck, determination, desire, talent! Did I say she tamed the beast? Actually, she won the beast over. Bravo!

Just a few thoughts on tonight’s perfromance — well, both Tuesdays and tonight’s performance — I saw both nights: 1) Opus 19/Dreamer — never been much of a fan of Robbins work for NYCB — seeing his ballets this season, I’ve realized that they are becoming increasingly dated and lacking in musicality. The more times I see his pieces, the more my eyes glaze over. The one piece I do (relatively) like is “Fancy Free” — as that is more of a “Broadway” piece, where his talent lies. But this piece comes across as over reaching and a very pale copy of Balanchine. 2) Solitude — I don’t think I’ve heard such beautiful music for a ballet — it’s haunting and emotional. That being said, I spent the bulk of the time watching this ballet thinking that I wished the young boy wasn’t in the piece — and could this ballet work without that literal image of a young boy lying dead on the stage? The music was so beautiful, the choreography was wonderful (a back to form Ratmansky — I mean, I saw “Whipped Cream” — not great…) — but couldn’t help thinking that “Solitude” would be better without the boy. Even with the boy, it’s a strong piece — but who wants to feel manipulated into liking a piece —or deterred from saying they don’t like a piece — because of the sentimental atmosphere of a father losing a young son to war/invasion? Especially when both father and son dancers come out to take a bow together at the end. 3] Symphony in Three Movements — Who else but Balanchine could have put this magic of a ballet together? The more I see these black and white ballets (well, with shades of pink), the more I love them (the enchanted realms of Balanchine). Last season it was Agon, this season it’s 4 T’s and Symphony in 3 Movements — it’s like seeing magic on stage — who else could have dreamt this choreography into being?

My 2 cents for the London casting — they should cast Mira in Duo Concertant with Gilbert. Or Preston. Or Davide. I do like to think that Duo Concertant has a hidden grandeur built in it — that the smaller framed ballerinas can’t quite attain. And to see her face spotlit at the end — Drama!

Yes, @BalanchineFan — I do exchange subscription tickets — or else I would be seeing Midsummer Nights Dream five times! And I count myself very fortunate to go to NYCB so often — so never a complaint from me — just my way of saying that this program was disappointing at first (and second) viewing. But thank you for the tip — appreciate it.

A few thoughts on last night’s performance: Due to how my subscriptions worked out — I was seeing this program for the 3rd time — and I hadn’t really enjoyed the first 2 times — but there are worse things in life then sitting through a so-so NYCB performance. Of course, I was hoping that the third time would be the charm… 1) Concerto for 2 Pianos — And charm it was! What a difference a new cast makes — this was a different ballet — for me, Gilbert and Miriam are the most exciting pair in the company right now — there’s an electric current running between them — dancing together they’re turbo charged, crackling with energy. Crackling along with them is David Gabriel — there was a sweet connection between David and Gilbert — are the 3 of them a throuple? (Kidding!) — but how this trio can light up the ballet stage! I only noticed David recently, but each time I see a new dance quality to admire — he just keeps on getting better. This time it was his musicality — musical and technical — could he be the male version of a Tiler Peck? And seeing Olivia Bell and Emma dance together just made me smile with glee!

Spartak (SVV came in), Melnikov, Olivia MacKinnon (Emily substituted). I can’t recall the fourth

Just a few thoughts on last night’s performance: 1) Copland — Last year when this piece premiered — I saw both the first cast (heavy with principals) and the second cast. The first cast left me unimpressed and slightly disappointed (sort of like Peggy Lee, “Is That All There Is?”). But the second cast left me speechless with surprise and delight — to me it was a totally different ballet — the ballet bloomed with esprit de corps — and the bloom became many blooms — and I wondered if Peck had secretly told the second cast the meaning of Copland while keeping it secret from the first cast — as it seemed that way. Then I realized that this was a true ensemble piece — related and connected to every dancer on stage — incredibly organic in its dependence on the dancers feeding off each other’s energies and emotions — if it’s there, it’s there… And I had thought that Peck had reached a new pinnacle of artistic achievement — as his Copland seemed to me to be a dance that everyone interested in dance and performance and art should see and experience. I had seen the 3 earlier performances of the Copland this season, but waited till the fourth and last performance before jotting down my thoughts. I wasn’t quite feeling that bloom in the 3 earlier performances — and wondered if I had overestimated the artistic merit of Copland — until last night. We were informed before the performance that there would be substitutions as 4 dancers had injuries. Several of us learned that there was an emergency rehearsal right before curtain so the cast could go over the piece with the substitute dancers — one of whom was Emily Gerrity, who originated a role last January, but had not been in the piece this season. Can this explained the esprit de corps for last night’s performance? Perhaps so — the coming together in time of need, wanting to honor Justin Peck’s work in this last performance, the perhaps feelings of, “oh well, let’s go for broke”, or the pressure being slightly off with everyone having to improvise. Perhaps all of these or none of these — but the rich bloom and scent were there and it carried me through the night. Dancers to highlight — Miriam and Gilbert were like two beasts — a lion with his lioness, Gilbert using his bulk and size in a new way — and Miriam using her length and expansiveness — they were eating up space like no one else — and how they both connected emotionally — looking straight into each other’s eyes — they were giving everything — they were giving Life! The women came together — perhaps the presence of Emily bolstered and calmed them (how does she remember the choreography?) , and they all became sisters or cousins or BFF’s — there was more warmth there, relaxed and real and inviting. David Gabriel dances like he has wings on his ankles.

Just a few thoughts from today’ performance: 1) Ballo della Regina — impressed by Joseph Gordon — more bravura today than I ever remember from him — reminded me a bit of Damian Woetzel — not so much in terms of facility — but in the the slight flick of the wrist at the end of his variation as if to say, “ there you go, easy as pie.” When I saw MT MacKinnon dash onto the stage I thought next time she should be cast as the lead — her dancing has force, clarity, speed — and she’s a show off — in the best way, she lets her dancing do the talking. I’m sensing that there is talk about India Bradley and her possible promotion to soloist — and I’m a fan — and it may happen — but she and MT were paired side by side in the 4T’s and in Ballo — and MT impressed me more, she remained in my mind’s eye longer, and I could picture MT dancing in the lead parts in other ballets. I was thinking of which corp dancers will be promoted next — and there is such a strong field of contenders… 2) In a Landscape — 2 very, very strong contenders for promotion to soloist are Dominika and Alec. Alec has proven to be the definition of a stalwart partner. And I hadn’t REALLY noticed Dominika till this afternoon — OMG, she’s a gorgeous dancer — with such a delicate way of moving, to move slowly with such grace, as if under water — and with the loveliest feet since Maria Kowroski. She danced this ballet so different than Ava did last week — and yet both were so wonderful, both so impressive. Ava was monumental, elemental — Dominika was refined, exquisite. It was like one week watching the Winged Victory of Samothrace and today watching the Nefertiti Bust. 3) Hallelujah Junction — Alston and Victor stood out again — and I thought should/could have replaced Taylor and Lauren as the lead couple — not that Taylor and Lauren were wrong for the parts, or danced poorly — they danced well — but they weren’t the best couple in this piece — and talent such as Alston’s deserves to be on stage for longer than a minute. She is on my short list of candidates for promotion. And who is David Gabriel? And how did I not notice him till yesterday’s Copland? He was striking and memorable yesterday. But today — it was like Athena being born from the head of Zeus — fully grown, dressed in armor, ready for battle (well, dance battle). And dance battle he did — and he dazzled and conquered — stealing the show — and I wouldn’t have been surprised if Jonathan Stafford came out after the curtain call and promoted David on the spot. I would have.

Just a few thoughts from last night’s performance: 1) 4 T’s — have to say that I was feeling quite cool to the performers (even to Huxley — who is one of my favorites) until Davide showed up — and yes, he was even better than the night before — more solid, more secure. And then, of course, there was Mira — the energy and musicality that can pour out of this dancer! I was thinking about how Callas fans — how they worshipped her — that she should/could sing everything — Callas sings the Beatles! Callas sings Cole Porter! Well, I think Mira should/could dance everything. To start, she can do every role in Jewels! 2) LW — the best of the 4 performances. The men were so gallant and chivalrous — and all the women (yes, even Isabella) breathing and moving in the perfume that makes LW unique in the Balanchine canon. Sometimes I got a sense that Sara was conveying a last chance at love — not desperate, but yearning, ever hoping, more than willing to take that chance at happiness. And Chun — how he seemed to worship Sara. At moments their dancing was glorious with emotion. But the real bond was between Indiana and Preston — they both seemed giddy to be dancing together, to be in this dream that can be and was Liebeslieder Walzer.

A few thoughts on last night’s performance: 1) The 4 T’s: Jules Mabie — what a fine — well, actually very fine debut for this young dancer. So calm and steady — no nerves at all — and how this calmness generated his movements to match the solemnity of the music. It’s one thing to debut in Melancholic — but to debut well — now that’s a feather in his cap! Ashley Hod — she started well — confident and sharp, but then something happened in the middle of her performance and a double pirouette became a single and then a bit of the choreography went missing. Davide Riccardo — to see a young dancer be given an opportunity and then to see them leap in the sky — perhaps the best thing of following NYCB (well, other than seeing Balanchine ballets) — but what line, extension and flexibility — plus sensitivity and beauty and glamour — when the 4 tall, tall girls came out to dance with him — Davide’s line was the most lyrical, his extension as high, and he has a matinee idol’s looks, a star’s aura. Mira — well, I’m the self proclaimed president of her fan club, so I’m biased. But she surprised me by adding colors and nuance to her performance in Choleric — most dancers I remember dance this as a full on attack — but then she is beginning to dance in a world of her own. I recall reading somewhere that Balanchine once commented on Farrell, “She is like a whale in her own ocean” (or something like that). 2) LW — how so very interesting to see Sara dance after Mira’s performances in LW — so, so different — but still beautiful, still radiant. I like to think that Mira’s performances last week pushed Sara last night — because last night’s Sara was the Sara I know and adore — regal, confident, and able to lose herself in the music. I had thought that Indiana was underused this season — so she was like a bird set free — alive and happy — her epaulement and other dance qualities finding a home in LW. I wish Ashley was given Isabella’s role — as Isabella was the odd man out — lacking an inner life, lacking color, nuance — a glance, a smile, a look away, yearning, anything other than a wan smile and a stiffness. But I can understand why Isabella was cast in LW — perhaps to see if there is something more there. Well, not yet. The men all were gallant — and there was a real sweetness between Preston and Indiana.

What a sweet article to come out on Valentine’s Day! https://www.nytimes.com/2024/02/14/arts/dance/ashton-edwards-nonbinary-ballet.html?smid=nytcore-ios-share&referringSource=articleShare

A few thoughts on tonight’s performance: 1) Rotunda — Uninspired and lacking freshness — especially from the conductor Litton. Also, Peter Walker is becoming the male Unity — only a worse version of a dancer who comes across as bland and dull and seemingly cast every night. 2) Concerto for Two Pianos — this was my second viewing, and there was no improvement — actually this piece slipped into the banal for me. Especially banal when there are 2 extraordinary dancers in Roman and Mira — and they don’t really register — I was waiting for something to happen, and then I was just waiting for it to end. 2 positive things I noticed — the lovely epaulement of Emma, and the rapacious consumption of space by Ava (in the corp no less!). 3) Odesa — Sara smiles!

Just a few thoughts on last night’s performance: 1) In a Landscape — agree with @nysusan — Ava Sautter — or should we call her Ava Star — as here she was last night — debuting as a full fledged American ballerina — tall, long limbed, rangy and elastic and attuned to the choreography to such an astute degree — she was Albert Evan’s’ dream! I’ve noticed Ava in the corp since last Fall and thought she was ripe for an opportunity — but didn’t expect her to be this physically adept, this fully established — to be this ready for principal roles! Her expansiveness, her control, her inherent grace, her wonderful leanness and length, and most importantly, her inner life — leap frogs her to the forefront of dancers I want to see cast. Her performance last night was that impressive — complete in every way. Bolden was her excellent, solid partner. 2) Hallelujah Junction — shoutout to Victor Abreu and Alston MacGill — they made the haywire choreography their own — esp MacGill — who gleamed like a hummingbird.

Just a few thoughts on both tonight’s and last night’s performances. First, though — seeing NYCB as often as I do and for as long as I have — it’s a great pleasure to get to know the dancers — even some of the Corp dancers — and finding out what their dance qualities are, and how they develop and the opportunities they get, and what roles they are given and how their careers grow or stall. Dance is not an easy profession, and I know everyone is trying as hard as they are able at the time — but there are only so many roles and opportunities to go around, as well as the unique manner in which principal roles are cast at NYCB — for example, only a few female principals will be cast in, say, Diamonds or Mozartiana or the second movement of the Bizet (for me, these are the grandest of roles). This is to say that a life in ballet will not be a fair one — but perhaps it will be fair enough for most dancers. 1) 4 T’s — first, the music was grander and more propulsive these past 2 nights than usual — and last night I looked at the conductor to see who it was and saw the reason, it was a guest — Tara Simoncic — bravo! Comparing the nights — I thought the first night was more like the practice round — everyone seemed to have an abundance of nervous energy — all pent up and excitement — and the dancers moved if as repeating the mantra “attack and risk, attack and risk”. And it was good to see and feel this energy and to hear this music and to be in the land of Balanchine — but I think it left them exhausted midway through. And yes, Isabella had a stumble and Emily looked near the end as if she were in a kickboxing match — but tonight everything appeared better paced and measured — and it came together beautifully. More notes on individual dancers: last Fall I thought Sebastian was looking like principal material — he had clarity and electricity — but oddly his current dancing is lacking both. Davide has the making of a wonderful partner — he has a way of making his ballerinas look a bit more relaxed than usual. Mary Thomas MacKinnon caught my eye — now here was a dancer who wanted to be noticed. I was thinking that NYCB currently lacks really good male partners for their taller ballerinas — and then Preston appeared this season, refreshed — he has such presence on stage, and his body reverberates — so he gives the illusion of being larger than he is. I hope Preston continues his progress — I still don’t know how good of a dancer he is — of what he is really capable of. The 4 tall, tall girls with Adrian — they were stunning! I did like Isabella and Emily more tonight — they both took more measured approaches — with not much loss of power and with a bit more grace. 2) LW — one word will suffice — Mira! well, now a whole paragraph: she was doubly more enchanting tonight. I was thinking while watching her tonight — do the other 3 ballerinas on stage know what they are witnessing when they see her dance? Because Mira was like a young Garbo — inhabiting a world of imagination — as if she stepped out of 1869 Vienna. She was playful, alive and in the moment — the belle of the ball — letting the music move her and not counting steps. She also makes the back bend the most beautiful move in ballet. The other 3 ballerinas remained themselves, dressed in funny gowns, dancing as they usually do — technically dazzling (Tiler) to proficient (Megan) to somewhere in between (Unity). Shoutout to the chandelier!

Just a few thoughts on last night’s performance — which was the first of 3 performances with all tickets $40! Just a festive atmosphere — with tons of younger people all dressed up — for this special occasion/night of ballet! Wonderful to be a part of! And there was an after party — crowded with revelers! 1) Polyhonia — a better, tighter performance from this cast than on Wednesday night — but still in the realm of nondescript — also Sara Mearns joined this time — and I thought — now here is the preeminent American ballerina for the past 15 years — with such a wealth of dance qualities at her disposal — luxurious expansiveness, unique power and musicality, etc… — who has danced all the great Balanchine roles, and who has had a legion of choreographers create ballets for her — and if I was one of those younger audience members who was seeing their first NYCB performance — I would be very hard pressed to even (positively) notice Sara in this ballet — I will just say she was underpowered. 2) Barber — I wrote that Preston had a mini breakthrough on Wednesday evening’s performance. Well, last night it was Miriam’s turn — something of a shock (in the best way) of seeing a dancer perform outside of their usual expectations — but it’s like caffiene — you’re jolted awake — now here was Miriam dancing and projecting like you thought she could — moving with such expansiveness, she seemed ten feet tall, gobbling up the stage, like a beautiful tornado! But also with an emotional connection to Preston — when they are alone on stage — I thought of the song, “The Dark End of the Street” — their pas de deux had real, yet wonderfully understated emotion (their facial expressions remained straight faced). Now, again if I were a youngster seeing NYCB for the first time — I would have thought Miriam was the star ballerina! @cobweb I had the same question — who is the sleepwalker on the screen? At first, I thought Unity — but at second, I don’t think it’s Unity… @BalanchineFan for me, what was wonderful wonderful about Ashton and Taylor was their emotional connection — the times are indeed racing — in the best way — to have 2 non-binary dancers of color in these roles — it brings new life to this ballet — and allows it to develop as art, as well as a reflection on social justice, acceptance and diversity in ballet — all good things! And I got a sense of Ashton understanding the opportunity they were given in their young career, and how they were going to make the most of it — there was hunger on the stage, the hunger to dance and the hunger to be true to oneself and the hunger for representation — and that hunger became infectious happiness and infectious energy — as all the dancers on the stage became part of Ashton and Taylor’s joyous connection — and what dancers Taylor and Ashton are — moving and dancing and loving life! They were wonderful wonderful wonderful.

Just a few thoughts on last night’s performance: 1) Rotunda — Nico Muhly’s music keeps me from REALLY liking/enjoying this piece — It’s fine enough, but not very fine. Last night Sara Mearns’ energy/aura just seemed to be blue — a bit downcast, a tad sullen — the steps were there, but no smile, no vibrancy, no sharpness — which was not the case with Sara Adams and Indiana — they just beamed (Sing out Louise!). Also, missed Jovani’s flexibility and extensions. 2) Concerto for 2 Pianos — just a lukewarm response on this viewing. But then again, I realized that I’m a tough crowd to please when it comes to choreographers — which I think is the most difficult of art forms. And I tend to think that choreographers either have IT from the get go (remember Gianna Reisen — she had IT at 18) or they don’t. To be fair, I won’t past judgement on Tiler’s choreographic talents until she has done a couple more pieces — but I wasn’t feeling IT last night. Also, I had thought that since Tiler knows Mira so well, that Tiler would create an individual show piece that highlighted Mira’s dance qualities (I know, she has many) — but I didn’t sense that Mira’s dance imagination (a rare quality) had an opportunity to take root and bloom (I know, a missed opportunity). Also, India and Emma were lovely and I am glad that India was given this chance — I’d like to see her get more! Note: parts of the Poulenc music reminded me of Shostakovich and Ratmansky’s Concerto DSCH — which highlighted in a way Ratmansky’s choreographic flourishes even when seeing Tiler’s piece — Dance, it’s funny that way.

Just a few thoughts on last night’s performance: 1) Polyphonia — so interesting to see this piece with a new cast (well, 5/8 new) — as it felt flat and a bit messy and off the music — I know parts of the music are “difficult” and brittle, but even then… — and I didn’t sense anything new from the dancers — they appeared to remain in their comfort zone — which is fine — except my memory retains the first cast’s performances. Also, I’m thinking the choreography was changed a bit, with difficult parts removed (most notably with Sebastian and Davide’s duet). And not to harp on Unity — but she seems to be fading artistically — esp. when comparing how bold Alexa’s performance was in the same role. 2) Barber Violin Concerto — Really, one of the goofiest ballets staged by NYCB — usually I sit through this hoping I don’t fall asleep — but this time I sat and marveled at Preston and Miriam performing together. I don’t know how these 2 (along with Alexa and Alec) were able to rise above the goofiness, but they did — and I sense this was a mini breakthrough for Preston — as I had noticed him immediately when he first joined the company and had thought he had the potential for making principal. He had this beautifully proportioned body and a huge stage presence — but has never been able to live up to that potential — well, till last night. Last night he added a slightly hidden grandeur to his performance/dance qualities that blended so well with Miriam’s qualities of gorgeous lines, sweet innocence and all American blond beauty (like the Breck girl!) — which I think culminated in them finally “realizing” this ballet. 3) The Times Are Racing — comparing casts — Peter Walker was less effective than Harrison Coll — his longer body not being able to move as specifically as Harrison’s — and Harrison and KJ are a better combo — their energies are similar. And how can anyone say something negative about Tiler in a role she originated! You can’t — so I won’t — she was wonderful with Taylor Stanley! But I would note that Taylor with Ashton Edwards was wonderful wonderful!

Just a few thoughts on last night’s performance: 1) Fancy Free - I think even the dancers and orchestra are bored with doing this one — it began well — but began to drag from the middle on. And even though this is my favorite of Robbins — the scene when the 3 men take the woman’s red purse is hard to stomach… 2) In the Night — the highlight was Emily and Tyler — now here was a ballet where the dancers could communicate with each other and the audience — what do you want/have to say? Yes, there are the steps and your technique — but is there more in/from you? And I think it helped that these 2 are relatively older than most of their fellow company members — they moved together with a sweet warmth, an emotional gravitas. 3) The 4 Seasons — to me, just a goofy ballet saved by Tiler Peck feeling the need to show off — Thank God! Also — shout out to Cainan!

How life enhancing it is to be back to the State Theater for the Winter season! A few thoughts on yesterday’s (and Saturday evening’s - I saw both) performance: 1) Polyphonia — I’ve never been a fan of Wheeldon’s choreography — really can’t recall any of his pieces except for After the Rain— so my expectations for this were set rather low — and I actually wasn’t as bored as I thought I would be. The high points were seeing these dancers perform — especially Ashley Hod, Alexa and Davide — recently promoted soloists — it’s like race horses finally getting their chance at a big race — what can they do now? What artistry is in them now that they are beginning to be cast in major roles? What individual qualities will be displayed to be further developed? All 3 dancers impressed — Davide looked liked he’s been hitting the gym (very nice!) and his sex appeal (still boyish) lends a wonderful perfume to his partnering and appeared to make Emily smile from within (wouldn’t you?). Ashley showed a newly (to me) kinetic quality to her movement — wonderful speed and clarity with her gorgeous lines — that made me think of Wendy Whelan — who was so inimitable (was this the role that Wendy originated?). And Alexa just surprised me — confident and assured — so technically sound — telegraphing to us all “Here I am, ready for more, bring it on!” While she was on the stage, Alexa’s performance brought to mind Jenny Somogyi (which made me look up the original cast — and I saw both Wendy and Jenny were cast). What a great start to the season for these 3. Note: I realized part of why I’ve never warmed to Peter Walker — he lacks any sense of sex appeal with his partner, he’s asexual on stage — and there appears to be no chemistry between him and his partner. 2) Barber Violin Concerto — I’ve never EVER been a fan of Martin’s choreography. 3) The Times Are Racing — I’ve ALWAYS been a fan of Peck’s choreography! I remember when this dance premiered in January 2017 — and how dark and gloomy the world was — and how this ballet lifted me up. And it still has the power to lift any spirit! The energy that poured from the dancers on stage on both Saturday and Sunday — gives me hope for 2024! Takahashi and Cole were so wonderful — and how beautiful were Taylor Stanley and Aston Edwards — and this is why I go to see live performances — the energy and joy that all the dancers created on stage — no amount of Netflix can replace.

The Fall season is over — and for the past month, NYCB was my home away from home! And hearty congratulations to Davide and Gilbert! Bravo! We were all rooting for you two! Here are a few thoughts about this afternoon’s performance: 1) Concerto Barocco — This was the breakout season of Mira Nadon — to see her redefine and expand such ballets as Emeralds, Apollo and CB — it’s as if I was seeing new ballets performed — this afternoon I sat there watching her cast her spell — and it was a new Concerto Barocco I was seeing — cosmically and molecularly deeper and richer — its as if she opens a door into another dance dimension — it felt like a spiritual experience. And to think she is only 21 or 22! Isabella and Gilbert were more wonderful today — generous and full and alive! 2) The Bizet — can’t say I felt the joy with this performance. Tiler was perfect (as usual), but the second and third movement didn’t really glow or sing, so by the time Emily came out with energy and spirit, it wasn’t enough to really lift the ballet out and up. Not to be mean spirited, but I’ve concluded that Unity is more in the Rebecca Krohn mold of principal rather than say, the Wendy Whelan mold of principal. This season is one to cherish. NYCB is one of the glories of this city, and is one of the reasons why I cannot imagine moving out.

First — Thank you Cobweb for your kind words of welcome! A few thoughts on last night’s performance. Overall, every ballet was much better than on Tuesday night — it seemed everything and everyone came together. 1)Serenade - My eye kept going to corps dancer Savannah Durham — who vibrated with a wonderful presence — she is ripe for an opportunity. I recall 2 nights ago in the 3rd movement of the Bizet — she danced with Ava Sautter and Naomi Corti — and I thought those 3 tall girls are brimming with excess in these corps roles. And after Bolden’s eye popping debut in CB earlier that evening — thought wouldn’t it be great if NYCB had a night just of corps dancers in every role — and an Apollo cast with Bolden and these 3 - Ava, Savannah and Naomi? Just a thought amongst a few… 2) Orpheus - watching Ashley Laracey dance this season in Emeralds and Orpheus — I get a sense that she made peace with not being promoted to principal and decided to dance for herself and for her love of ballet — and the affect is that her dancing has become more nuanced and notable, and in a way, refreshed. She was always a dependably lovely dancer — but now her dancing has a sweet (bittersweet?) perfume… 4) T&V — I think this ballet has gone up a couple of notches on my list of favorite Balanchine ballets —the joy I got from seeing T & V performed last night — who needs drugs? And today is the last performance of this wondrous season — this has been, hands down, my favorite NYCB season (and I’ve been coming to NYCB for over 25 years).

A few thoughts on last evening’s performance. Bounty! What delight to see this season’s ballets — and with crowds — in the fourth ring! And last night’s performance seemed to be to one where I enjoyed ALL three different ballets and all three were danced very well. Last night it was young patrons night — with a lively crowd of youngsters dressed up — and I hope more than a few of them come back after seeing the music and hearing the dance! 1) Concerto Barocco — so many wonderful surprises here! First, Bolden appeared transformed — suddenly on stage was a danseur noble with his regal ballerina — and while it wasn’t perfect, he and Mira danced like a dream (they are tied with Russell and Sara for the best pairing this season so far). Did we say he should be promoted to soloist? Now, I’m thinking principal. Second, Isabella was wonderful as well, finally not her usual cautious self — letting go and enjoying everything about CB (though I wish her smile didn’t seem so pasted on, but that’s just me). And lastly, there is Mira — who now appears to be lapping her fellow female ballerinas in artistry and imagination. CB has always been a favorite of mine (it was my gateway Balanchine ballet where I actually did see the music, actually did hear the dance — and have been hooked ever since) — and to see Mira stretch, contour and curl her body and her lines to this beautiful music, to actually make her moves and poses into metaphors of emotion to Bach (Clotilde got the orchestra to play Bach with more solemnity than Litton), she’s capable of going places other dancers cannot. Her body’s energy and movement have a unique relationship with music and space - not only she is wonderfully musical, but her energy and talent makes her capable of details that allows the music to resonate into the physical. I’m trying to describe something about the experience of watching her dance last night — but I could also just say her dancing made me happy! 2] Prodigal Son - I found Huxley’s interpretation the most realistic I’ve seen so far — since he doesn’t overact, ham it up, or play to the audience — so it doesn’t seem like he’s play acting in a biblical parable. And Sara’s siren — while of course, very alpha female, had a realistic quality as well, a seductress still, but not one dimensional. And this made PS more palatable for me, enjoyable even. 3)the Bizet! Chan was impressive, he is the first male dancer I’ve seen who did not appear stressed by the speed of the music in the first movement — he actually appeared relaxed and danced with time to spare. And Tiler danced like when she was first made principal — free and secure and faster than anyone — she made me happy as well! First movement of the Bizet for Chan and Tiler - easy, peasy, lemon squeezy! I was glad to see Emily in the 4th movement — as I recall when she was a soloist (I know, not that long ago) that she was capable of dancing with speed and power — so it was good to see her move with a bit of fire in her.

A few thoughts on last night’s Anniversary performance. The video played at the beginning of the evening, began with, “New York City Ballet is ________” and the people in the video gave various answers. I remember reading somewhere someone (Arlene Croce?) was attributed with saying, “New York City Ballet is civilization.” Tongue in cheeky — but Truth! 1) Concerto Barocco — same feelings as from last Saturday evening’s CB performance - Emily and Unity should have switched roles, except Emily seemed lovelier this time and Unity seemed more utilitarian — as if much of the luster of her promise has dimmed. Yes, she is in all these great roles, the greatest roles of the repertory really, and I was trying to find something special and noteworthy in her dancing, but actually my eye was again drawn to Ava Sautter in the corp — and this time she had a sister in crime, Meaghan Dutton-O’Hara. Even just standing together, motionless — they were wonderful — it appeared that Ava was near tears, being swept up in this majestic music, her face trying to hide, control the emotion, and Meaghan beside her, so serious and calm — and when they began again to move, how serious and grand did they try to make every move and gesture — as if they had confided to each other that this was the music they loved most and this was the ballet they loved the most to dance and how they would dedicate this night — this celebration — to the dance gods — they were so sweetly serious and dramatic and appeared filled with emotion — dancing as if this were the last ballet they would perform in their careers . I know it’s all silly conjecture on my part — but I felt this from them — the 2 of them had a secret — and it was the secret to the meaning of Concerto Barocco. 2] the Bizet! Everyone was wonderful — but the evening belonged to Sara Mearns. The adagio role is arguably the most privileged in the repertory — and she danced this role with the calm confidence of her acknowledging her place in this company as the dancer who dances everything, is cast in everything and who everyone wants to see. But there is also her ability to lose herself in the moment, to dive into the music, and to enjoy herself on stage — to be confident and regal and free and full of joy — ballerina, indeed! Happy 75th!