mimsyb

Pacific Northwest Ballet has done several one-choreographer evenings (Robbins, Tharp, Wheeldon, Forsythe, Dove, and several Balanchine) -- it's always a fascinating program. You really do learn a lot about a choreographer and about the works when you see them lined up with each other. I saw the Ratmansky trilogy in San Francisco last spring and thought it held together excellently, but I would be very interested to see a collection of works that were not made as a group.

Yes, I also saw the SFB production of the Trilogy and felt it held it's own quite well. We'll see how it all comes together for ABT come Spring. And if the new Ratmansky threesome is "new ballet"," Seven Sonatas" and "Firebird" last on the bill, I can get home early on that night! I sort of struck out with "Firebird" last time around.

Caught last evening's show with my grand daughter and just want to add that, even at my age, I think I can do without Company B again. I believe the show was sold out, many Misty fans. Brandt did replace Bond in Company B and delivered even at such last minute, I wonder what happened, nonetheless, paying the ticket prices I did, I would much prefer live orchestra than radio recordings, and I think that is more dated feeling than Spectre as mimsyb mentioned. Cornejo and Lane delivered beautifully as always and look forward to their future partnering in SB. Valse was indeed refreshing and crisp, well done to the cast that included DeGrofft, Hamrick, Post and Waski. Waski, I believe younger corps of the four, surprised us with a strong soloist performance right after intermission in Brahms-Haydn Variations, both soloist couples did wonderfully to deiliver an excellent half of Saturday evening. Hope they bring Valse back again soon!

"Company B" has always been danced to recordings. Never an orchestra. That's part of it's appeal. I'm told Taylor found the records in a "throw out bin" and liked them so much he decided to use them for a ballet. To see Taylor's company perform it is to see a very different work, I think. Even though it was originally done for a ballet company, Taylor dancers bring an all together different energy to the piece. ABT does quite well with it, mind you. I guess we all have our favorites.

I guess no one’s been attending ABT’s fall programs this week, because they’d have reported by now on the fantastic Thursday evening performance given by the entire company. Opening with the Brahms-Haydn Variations gave the audience a real lift, with the company more buoyant and energetic than I’ve seen in a long time. With 15 couples flying in, out and across the stage, it was hard to follow any one duo for any length of time, but Murphy and Whiteside, Cornejo and Kochetkova and Lane and Simkin were all excellent (and Simkin did not drop Lane!). The company was well-rehearsed, and it showed. I had great trepidation prior to seeing The Monotones; the very title does not instill eagerness in a viewer. However, it turned out to be one of the most beautiful and hypnotic ballets I’ve ever experienced (both parts). All six dancers were excellent; no one was out of tune or step with another. The movement of each trio across the stage, and their bending, twisting and turning relationships in and among themselves made me wish it would never end. I can’t wait to see this ballet again.

The last number of the evening was The Green Table, which I’d seen before. However, I was not expecting the deeply dramatic and emotional performance given by the entire ensemble, led by Marcelo Gomes, Herman Cornejo and Sarah Lane. Whether it was the current state of our nation’s foreign affairs, or the presence of Marcelo Gomes as Death, or both, this was simply one of the best performances I’ve ever seen from this company. I can’t imagine anyone better than Gomes as Death, cold, brutal, and deeply frightening, the embodiment of every monster from the human id. As the reptilian profiteer, Herman Cornejo imbued his character with more than just cynicism and opportunism; jauntily skipping among corpses, he made you loath him. Sarah Lane was outstanding as the young girl. Desperate, despairing, then finally overwhelmed and destroyed, Lane’s strong and deeply felt performance indicates that she is capable of handling far darker and more complex characters than the de rigueur ingénues and princesses we associate with her.

After such a great Thursday evening, Friday night seemed anticlimactic. I was there to see only Cornejo and Lane in Le Spectre de la Rose, and they did not disappoint me. If you’ve seen Cornejo in this ballet you’ll know what perfection he brings to the role, his great leaping and slicing through space like a knife, his upper body more lush and fluid than some of the women in the company. As the girl, Lane was less dreamy child than eager young woman thrilled by her first ball and the sharp, brief sexual spark which the Rose promises. There was great chemistry between these two performers, which I hope to see again in their upcoming Sleeping Beauty. Lane has been having a very good week, and I hope this bodes well for her future.

If you’re able to catch one of the remaining performances of The Green Table with Gomes, Cornejo and Lane, I would encourage you to do so, because I don’t think you’ll be disappointed. The second cast, led by Roman Zhurbin as Death, is fine, but not up to the same level of performance or experience as the first.

I also saw both the Thursday and Friday performances. While the dancers were splendid in the Tharp, this seems at times to be a ballet with a lot going on and a ballet with nothing going on. It could be personal, but for an ensemble work I prefer Tharp's Bach Partita, but that has been recently done so perhaps it's why the Brahms got the nod. The costumes don't always flatter the men. Monotones was splendid. So glad it's being done finally. Stella and Isabella both had an early bobble in arabesque, but recovered in fine fashion. Veronika was gorgeous in II. All the men very fine. Green Table holds up amazingly well, especially in today's world. Gomes was terrifying! Lane and Cornejo both in top form. Green Table on Friday had Zhurbin as Death and I found him equally fine in the role. The surprise here was Skylar Brandt as the young woman. Moving beyond words. ABT does this ballet so well. I'm never sure if I'm going to want to see it again and then I do see it and am forever grateful. The Mark Morris on Friday was great fun. Everyone looks so at ease in this clever and energetic work. Wonderful costumes/music, etc. Morris at his congenial best. Spectre just looked dated to me, despite both Cornejo and Lane doing what is asked of them. On the other hand, the Valse Fantasie (Balanchine 1969) looked as fresh as a daisy. While danced perhaps at a tad slower tempo than seen recently at last year's SAB Workshop, it still never fails to astonish. Hee Seo looked ravishing. Whiteside pure ease. This is Balanchine in his choreographic groove. Please let's see this again!! (I would love to see both Trenary and Brandt dance this one!) All in all though, both nights were quite joyous.

It looks like we're gettting closer and closer to an ABT at the Met season entirely choreographed by Ratmansky((((((

Well, I love the "Trilogy" and am happy they are doing all three sections in one evening. As for other evenings devoted solely to Ratmansky, I'm not so sure. Oddly, I don't feel the same way about an all Balanchine evening. His works fully engage me, while Ratmasky can blow hot and cold. Let's just be grateful we're not getting "The Tempest"!

Hallelujah for that!

I could go for a few Nunez appearances.

Amen to that. A while ago MCB had a program that included the piece, along with some Tharp and something else...can't remember what. The night didn't feel AT ALL like a "night at the ballet"...(which is lately the common case with this company, BTW...)

WHOA! No pointe work = "not a ballet"? What about "Rodeo"? ""Interplay" "Glass Pieces" I could go on.

Going from school to company is a big change. That's why an apprentice time is actually a good idea for all. Learning ballets, the schedule, seeing the demands of the corps up close, feeling the reality of the expectations. I see many reasons why an apprenticeship might not work out, that have nothing to do with anyone killing dreams.

As far as dancers changing careers. Again, there are lots of reasons. Having children is one. I was a dancer and when I had my first child I decided it was time to teach. I personally was not up to getting back into shape and juggling rehearsal schedules etc. The simple fact of interests changing is another reason. It doesn't mean hating ballet, or being crushed by negativity (yes this happens) but sometimes it's a matter of being drawn to another interest.

I guess I'm saying that sometimes it doesn't take the body breaking down or getting too old to dance to cause a career change. BYW I would't trade my years as a dancer for anything.

I agree. I too would not trade my years as a dancer (and now also a teacher) for anything. Dancing can prepare one for any number of things in life. The discipline, hard work, accountability and yes, even the disappointments can be so valuable to someone moving on to something else in life. A dancer's life can be hard and heart breaking, but also so wonderful. It may define us for a portion of time, but it should never put a noose around our necks and prevent us from becoming whatever and whomever we wish to be. For many, leaving can be a liberating move. I always thought that being a dancer was just another tool in my toolbox that I could draw on as my life progressed. And because we live so long now, having three or four separate careers is not unheard of!

that this wasn't streamed...

yes, truly bummed out.

What a wonderful presence on stage. And a wonderful teacher. His classes were both challenging and inspiring. Such sad news.

This coming season would be a good time to have Stella and Sarah Lane debut in Juliet. Sad that Lane probably won't get the chance, because I'm sure they'll have to accommodate Kochetkova. I've always been and always will be a Ferri fan, but with such a shortage of slots for principals to get the opportunity to dance, its sad to not see this go to a current dancer. Stella especially, as great as she is, doesn't have that many years left, so I think it would be a disservice to not let her dance while she is capable. IMO, McKenize also owes her for all the years he kept her sidelined!

Well, it would be a mistake to say that Stella doesn't have that many years left. After all this is a thread about a woman who's 52 dancing a role more suited to a teenager. Both Ulanova and Fontyn danced into their late years. I think it's grand that Ferri is dancing again. AND with Herman! What could be better?

http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/Press/Casting/NYCB-Casting_September-22-29,-2015.pdf

Casting is available. Same 4 Swan Queens as the past few years. However, we have 2 new Siegfrieds- Catazaro and Janzen. Some interesting new faces in the secondary roles.

No Lovette, no Finlay.

Didn't Lovette recently have foot surgery? May be why she's not dancing.

Has anyone seen Misty in "On The Town" yet? Gia Kourlas in the Times wondered if her "home wasn't on Broadway". Any Ballet Alert reviews?

That line about people's career being tarnished by the media I don't agree with and think it's tacky. I guess she's referring to Misty Copeland with it? Nevertheless, she's entitled to her opinion. I never found her dancing compelling at all but interesting interview. I was surprised she didn't have more negative things to say about ABT's handling of her retirement performance.

Why would she? She was supposed to have retired with a "Sleeping Beauty". The schedule was set. The fact that SHE decided not to perform in "Beauty" and dance something else probably meant that ABT had to do some very quick juggling. I find it remarkable that ABT was able to give her a slot and in a ballet she preferred. OK, so it was a matinee, but I think they did the best they could, given the circumstances. I can't speak to any thing else regarding her retirement, but her final bow was lovely and well earned. If she was unhappy about the circumstances it certainly didn't show.

Might Stella get a go at Medora? I can only imagine that bedroom Pas de Deux. She would be so beautiful. Veronika Part has danced it before. Can't imagine Copland dancing Medora, but she will probably get cast.

I can see Misty dancing Gulnare, but not Medora. But, you're probably right; she will get the lead. Actually, Skylar Brandt would also make a great Gulnare.

Oh yes, The Ballet Shop and Tobias were such a huge part of my early ballet days in NY also. I too have so many books, articles, etc. bought from his shop. Always a deep pleasure to be there and peruse the shelves. RIP.

Speaking of seasoned corps, anyone know whatever happened to Nicole Graniero? She has a website but it still says ABT? She had quite a lengthy repertorie and hope she hasn't given up all together.

I'm pretty sure it was mentioned either up thread or elsewhere that Nicole went to Washington Ballet. Don't know in what capacity. She will surely be missed!

I love Moreno and will be thrilled to see her recognized with this, but I agree -- it's long past time for McKayle. He and his colleagues from the 50s and 60s have faded from contemporary repertories a bit, but they were the core of the dance world here in their time, and we would be in a totally different (and lesser) place without their contribution.

I also love Moreno. Have worked with her on a few occasions and she is just splendid! So not sorry to see her honored. It's just that choreographers get so little notice and honor, and Donald is just so worthy.

http://www.washingtonpost.com/entertainment/george-lucas-carole-king-rita-moreno-selected-for-kennedy-center-honors/2015/07/15/24f527ac-2a60-11e5-bd33-395c05608059_story.html

No dancers again this time. :-(

No. Such a disappointment. There had been a push to have Donald McKayle chosen as an honoree, but I guess there weren't enough votes for that. Donald is getting older now and may not have the opportunity again. So sad. He is so deserving of this and it would have been a wonderful thing to perhaps see "Rainbow 'Round My Shoulder" performed. Alas.

ABT's Beauty nominated for Bessie best revival: http://artsbeat.blogs.nytimes.com/2015/07/15/bessie-nominations-are-announced/

It's the only thing nominated in this category. I guess it's a "shoe in".

So great an artist. I danced in "Aida" at the San Francisco Opera Ballet when Leontyne Price made her debut in the role. Vickers was her Ramses. I thought I'd heard the singing of the Gods!

RIP, Mr. Vickers.

Boal's wife, Kelly Cass, also danced in it at NYCB.

The 'Valse-Fantaisie' ABT is performing is Balancgine's rarely seen, first crack at choreographing to that music, the 1953 version from the larger 'Glinkiana'. Miami Cuty Ballet last performed the work in 2010, and maybe Farrell Ballet has done it as well, but NYCB only does the later version. This one features 4 principals and no corps de ballet.

Thanks for that info. I agree that Isabella would be fantastic in this. Also, as I mentioned up thread, Skylar. And I'm also happy whenever Balanchine is performed at ABT.

Balanchine and Robbins both choreographed works for ABT (or Ballet Theater, as is was then known) -- Theme and Variations and Fancy Free, respectively. These ballets are part of the company's heritage; surely it has every right to perform them. Indeed, one might argue that there have been periods when ABT could field a better cast for either work than NYCB could: it wasn't so long ago that the conventional wisdom in certain circles was that NYCB itself lacked the speed and attack necessary to dance Balanchine well.

In any event, how is any company supposed to get better at anything if it doesn't perform it regularly?

Having just seen "Valse Fantasie" at the SAB Workshop in the Spring, I can't imagine anyone at ABT being able to dance this work at the speed and clarity witnessed at the Workshop. Possibly, Skylar Brandt. Who will be staging it? Suki Schorer did it for the Workshop. Hopefully, she will repeat her magic for ABT. On the other issue of "Spectre", I don't get that. So many other ballets to choose from. Still, as a vehicle for Simkin or Cornejo it's OK. But just OK. But am happy about "Monotones I&II. Would love to see Stella in this. "Company B" is being danced on quite a few programs. I happen to be in the "prefer Taylor's version" corner, but it is a vehicle for Misty. But Luciana Paris would also be fine in the 'rum and coca cola' section. Some oddities, for sure for this Fall Season.

And both of them made for Tharp's company long before she amalgamated with ABT.

Yes. And that may be her genius and strength. That both of these "ballets" can be danced by ballet companies as well as her own company.

Yes, Bernstein was a classical composer who also wrote for musical theater, but Gershwin was a theater and pop composer first (in his day, of course, theater music was pop music) and then later began working in classical forms, which he was still in the process of mastering at the time of his death. I wouldn't call On the Town or AAiP classical for the most part, but the latter does have the symphonic poem at its center. Also, much of the Great American Songbook has assumed a sort of light classical status over time.

Thank you for the link, sidwich, it is a good read. Fairchild's comment is actually in regard to her husband, Andrew Veyette, it looks like. Her brother, of course, has had plenty of musical theater on his schedule recently.

Gershwin's "Rhapsody in Blue" was first presented at the concert at Aeolian Hall in 1924. Was it pop, jazz, classical? I think today it would be considered classical, although at the time it was most likely considered to be a jazz score. It's probably both, actually. Whatever, both Gershwin and Bernstein wrote music that was highly danceable. What choreographer wouldn't be drawn to either composer?