deanofdance

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!

A few thoughts on tonight’s performance - but first — how incredible this season (75th!) of all Balanchine has been — it’s not that every ballet was wonderful or that every night made me happy — but when it did, how good it was to be alive and living in this city and going to NYCB — I’m just a lucky so and so… And tonight was one of those nights — I wasn’t moved by Serenade, it just didn’t come together for me — but Theme and Variations — I was swept up in its largess — the grand music, the dancers dancing fast and and full out and exuding freedom and joy. (Bolden had the largest smile on his face). Anthony and Megan were excellent, their dance qualities and personalities beginning now to really mesh, and perhaps they bring out qualities in each other that other previous partners hadn’t. They’re veterans of the company, and stars in their own right, and tonight there was more than a bit of bravura in their steps, and they sailed through this ballet.

Indiana replaced Pollack in the 4th Movement. Indiana was wonderful — recovering nicely after an early slip (my husband joked that Roman’s sweat probably made the floor slippery!)

A few thoughts from today’s matinee (this season of all Balanchine is an embarrassment of riches, but still - would have loved to have seen Union Jack, Chaconne or Duo Concertant included as well — but I’m being greedy…). 1) TPC2 — everything about this performance was sublime — cheers to Tiler, cheers to Joseph, cheers to the orchestra and the pianist, and cheers especially to the Corp — shoutout to the tall young men! Bravo, bravo, bravo! 2] Apollo — this was the ballet performance of the season for me so far (and that is saying a lot) — this performance expanded my understanding of dance and movement and partnering and performance. Chan was a fine Apollo — but the the muses stole the show — how could they not, all three were Amazons — wonderful and majestic and enveloping more space than the newly born sun god — so it was the first time that I saw this dance from the perspective of the muses — especially when Mira came out fully formed, dancing and moving as Terpsichore like no one had before. How sinuous and sensual were her moves — but what else does one expect from the muse of dance? Before today I had concerns that Chan would be overwhelmed by his muses in a negative way, but in reality he was overwhelmed by the muses in a positive way — and the ballet Apollo began to make more sense to me. So interesting to recall certain images — at times it seemed like Apollo with 3 wild horses that he was trying to control, and yet at any minute, they may break free… And Mira Nadon was free — to see her dance a new role is to see that role refreshed and reshaped and reimagined. I expected great things from Mira in her debut as Terpsichore — but she exceeded expectations. Her Terpsichore was alive and in the flesh — the other dancers on stage were play acting to be Apollo, Calliope and Polyhymnia.

A few thoughts on tonight’s program: 1) Concerto Barocco — honestly, Emily and Unity should have switched roles — as Emily was fresher and had that willingness to say something, to communicate something personal. I think Unity is being stretched too thin, and to me she appears to be getting by (she is very technically sound, though not overtly so, so getting by is not difficult for her) — she is becoming more of a cipher for others to put their emotions on. But my eye really went to Ava Sautter in the corps — how wonderfully graceful and stretched she was and there is something inherently dramatic in her epaulement, and she moves so big in space. I think she may have that rare gift — of being able to conjure illusions of movement. 2) the Bizet! When I tell people that I love NYCB, they say, “Oh, you love ballet.” No, I love Balanchine! Then if someone were to ask (which no one ever has), “What Balanchine ballet would you recommend I see?” I would answer Symphony in C. The speed, the attack, the regal gravitas of the 2nd movement, the whirlwind which is the rest of the ballet, and that ending, which used to have the 4 ballerinas compete as whirling dervishes (now they are in sync). Tonight’s performance made me stand up and cheer! I didn’t really look at the full casting till I got there tonight (as I usually just want to know who is doing the first and second movements) — but wow! In the first movement Meghan and Joseph were excellent (but they are excellent to begin with), and I was excited to see Ashley Hod paired with Davide Riccardo (now those are 2 gorgeous dancers being gorgeous together! More please!). In the 2nd, Sara seems to be entering a new phase of her career, her high summer, of being relaxed and calm and breathing and enjoying and luxuriating in the music — she senses perhaps that she no longer needs to be that powerhouse dancer, and now there is a sweetness, a joy that moves her — and it adds a youthful quality to her movement — which combined with her years of experience in these prima roles — gives her current performances nuance and depth and — I don’t want to jinx her — a culmination about to begin, that after all these years, of being able to say more with less. And Tyler was her gallant partner. But just when I thought the Bizet couldn’t get better - BAM! — out from a cannon comes Roman and Emma — like they were filled with helium bounding across the stage — and both of them glittered like stars. How does this happen? So glad it does — a dancer that had talent and spark last season — suddenly it seems, this season blooms and blooms and becomes a ballerina — such is the case with Emma.

Kitka and LaFreniere are very good, likable, athletic dancers who are also, relatively very tall with relatively large heads and faces. They really do need a partner who is also larger and taller than they are (or who looks appropriate with them moving together). I do see this as an issue, because when LaFreniere was partnered with Chan in Diamonds, he was just too small for her, and it seemed at times that I was watching the Trocks perform Diamonds, since both dancers seemed the same size to me as I was watching them perform on stage. While I am looking forward to seeing Mira (swoon!) as Terpsichore in Apollo — part of me is thinking than Chan will just be overwhelmed on stage by the sheer physical size of his muses (all of whom can move very big through space) . Chan isn’t a large dancer, so it is odd that he is partnering the largest ballerinas. Yes, Bolden is larger framed, but he isn’t that tall — I think he can partner Mira, but Emily and Isabella are just proportionately larger so it is difficult to find a partner for them from the current crop of male principals and soloists. I’ve observed several taller male Corps dancers — so there is hope. I see Preston Chamblee back in action — bigger than before, but he wears it well — I always thought he and Mira would be a good pair when they were both in the corps…

I was at last night’s program (for the second time) and Western Symphony made me so happy! For me, this performance was the epitome of the current state of NYCB — new faces and new energy — from the corps (especially the corps!) to the principals (glad to see Indiana who replaced Brittany) — so much verve and attack — so much glee and joy in movement — and the conductor Sill seemed to have a train to catch, as the tempo was quicker — everything and everyone just shone a bit brighter in last night’s Western Symphony. I think they should bottle this performance and send it to the other ballet companies to say, “this is us, this is NYCB!”

I have admired Unity as she stepped into all these great ballerina roles since she made principal — but I do think it has been premature — as I haven’t really seen much progress from her artistically. So I am hoping that perhaps these third and fourth weeks (yes, she is cast in EVERYTHING) will be a breakthrough for her — that she will grow in confidence — and in grandeur. I can’t say I’m a fan of ballet, more a fan of Balanchine — so I’m not familiar with other companies, only NYCB. But I was in London in 2017 and twice saw the Royal Ballet do Jewels — first I saw Marianela Nunez in Diamonds — and she had the innate regal quality, fierce concentration and dramatic imagination that this prima role calls for and she was magnificent. The second time I saw Sarah Lamb in Diamonds and something happened in the beginning that caused Sarah’s confidence to slipped away and she was left with only doing the steps, the drama had disappeared, and she was just a dancer in a tutu. I bring this up — because I don’t think artistry can be taught nor can it be faked or willed into being — but for Unity’s sake, I do hope a glow appears in her dancing these next 2 weeks.

Coming late to this ongoing conversation regarding the Fall NYCB season — but I do want to state my highlights of week one and two: 1) Mira is an artist — I had always thought Emeralds as boring — and could be skipped — but Mira showed me the romantic perfume of Emeralds (finally) — more than that she showed me the mystery of how when movement and music and imagination come together — it can weaves a spell, an enchantment. I’ve noticed her since she started in the Corps — she’s physically gorgeous, but I have continually been surprised by how fully formed artistically her debuts are — she’s like caffeine — I wake up every time she’s on stage. (I know, I sound like the president of her fan club!). I was disappointed she wasn’t cast in Diamonds, but seeing her in Emeralds was fine consolation. Shout out to Ashley Laracey — she was elegant and her epaulment was relaxed, wonderfully expressive and and there also seemed to be an elegiac perfume to her performances in Emeralds. 2) Emma was sparkling in Rubies — and she had a great partner in Jovani! It’s heartening to see a dancer get an opportunity, and then run with it! She was also sparkling in Bourree Fantasque with Villarini-Velez — they sparkled together! I think Emma will be promoted soon, and Villarini-Velez will not be far behind. 3) Sara and Russell were in another world for Russell’s last performance in Diamonds. Especially Sara — whose face was so full of joy — to be in that moment, to be in that dance, to move to that music, to dance for the last time with her friend — she let herself go and rode that wave — and I was fortunate to witness it! On a negative note — Isabella and Chan are mismatched, she is simply too large for him — and there doesn’t appear to be much chemistry in their partnership — so to me it’s just steps being done, and no spell being cast. 4) Agon! The more I see it, the more I like it — and I’ve been seeing it for over 25 years! I finally learned the name of a Corps dancer who caught my eye recently — Ava Sautter.

I saw them on Satuday night -- things of note -- Yuan Yuan has the most expressive legs, they're not long, but she extends them as far as possible, and the speed and clarity with which she moves them, they're what your eyes goes to and stays on. "Concerto Grosso" - great eye candy -- though some had better (tighter) upper bodies than others. "Joyride" had some wonderful moments of music and movement, and some boring moments of movement and music -- should be edited. Their "4 T's" was a revelation -- theirs had a warmth and heart that NYCB doesn't -- after seeing SF's version, NYCB's comes across has if they are sleep walking thru it, I think NYCB should retire their "4 T's" for awhile. Also, Sofiane looked at home with SFB, but she should be careful of her weight, heavier and her line gets fuzzy and loses it's sharpness. She's the biggest woman at SFB. She reminded me of Monique Meunier -- except without Monique's musicality and lightness -- but they are big girls who could do anything.

I was never a true fan of Sofiane's -- I didn't find her musical -- I never got a sense that she was trying to tell me something -- she seemed to be a wonderfully competent blank -- and since she was given the greatest NYCB ballerina repertory -- she just didn't do it justice in my eyes (by great NCYB repertory -- bascially Suzanne Farrell's -- which now is Wendy Whelan's and Maria Kowroski's and now Sara Mearn's) -- but I wish her luck with the San Francisco ballet -- perhaps there she will grow in artistry... and sorry to be overly catty -- but she sometimes looked as big as the male dancers on stage... I was thinking that the chances of being given the opportunity to dance the ballerina roles in Diamonds, Mozartiana, Chaconne, 2nd movement in Symphony in C -- is rarer that one's chances of being on the Supreme Court -- I remember a line from Arlene Croce -- "Repertory is destiny". I noticed that Sara Mearns made principal -- don't want to jinx her -- but she looks like someone who will do the repertory justice. Fingers crossed...

Watching Mimi Paul in her ACT 3 solo variation brought a smile to my face. I did not know who she was until after the film and I was able to read the program. After she was done, I wish we could have rewound the film to see her dancing one more time. I've come to take pleasure in seeing dancers who have the ability to communicate something beyond the steps -- as if they want to tell us something about themselves and their lives. I remember seeing Jenny Somoygi for the first time some years ago and my eyes were drawn to her and she seemed to be the best dancer cast at articulating the dance to us, in being able to say something. And it helped me in my learning to appreciate dance, in understanding that dancing was, of course the steps and technique, but also, much more. Even though the film was made more 42 years ago, Mimi Paul and her dancing looked like freshly cut flowers.

I have never seen Farrell dance and so was eager to see this film. I have been a huge fan of Balanchine for the last ten years, and therefore of NYCB. I am familiar with the current crop of NYCB dancers and thought I understood the term "Balanchine dancer". But after seeing Farrell dance in ACT 3, and how much Balanchine adored her and her dancing -- my thinking has shifted. I could see why Balanchine would fall in love with Farrell. She was not only beautiful with beautiful lines and a plushness, but she danced with this abandon that one doesn't quite associate with classical ballet. Seeing the movie, I thought someone had put the projector on fast forward -- she was moving so fast, consuming so much space, twirling, twisting, jumping, kicking -- it was like seeing Baryshnikov for the first time -- afterwards, everyone else comes in second place. Now after seeing Farrell -- I wish the current NYCB dancers would take on more of her daring, strangely dangerous way of moving. But this abandonment, this moving as though spiritually possessed -- this may be unique to Farrell -- as few dancers even come close. I'm thinking, Janie T., Ashley B., Theresa R.