Eileen

Posted in error. See above.

"Maria Kowroski was delightful in The Concert. I think of her look in the "black and white" ballets as "the implacable Maria Kowroski stare," so it can be surprising when she is so funny and expressive. Rarely have I heard a ballet audience laugh so heartily." Cobweb wrote that previous page. Years ago, Maria Kowroski's career took off with her explosively funny performance as The Ballerina in Christopher Wheeldon's Variations Serieuses - which despite the name, is a laugh-out-loud funny ballet to unexpectedly serious Mendelssohn. I wish it would be programmed again at NYCB, it is such a vehicle for Maria's comic talents, which have been underused, if only because she is so superlative in every other genre. Pacific Northwest Ballet apparently revived it in 2011, and there are a few snippets of trailers on YouTube. Note to Peter Martins: Please program Variations Serieuses while Maria is still before us.

In a video, Peter Martins said the dancers cast themselves. By which he meant they demonstrated the qualities needed for the role. So the answer is hand-picked by Martins.

I had no idea who or what JR was til I glanced at the caption of the Times photo. I still don't know who Lil Buck is. I do not go to the ballet to see hip hop. If this is what Peter Martins is trying to incorporate into City Ballet in a dubious attempt to win new patrons, then I have no regrets about leaving New York and City Ballet behind. There are still moments, shreds, of former glory, but this romancing the latest fad (gads! JR is a "street artist" - does that mean a nontrained, nontalented nonentity that Peter picked up from the street?) is fatal for the quality of City Ballet. Helene, if I am too emphatic, given that I have not seen the ballets I mention - please advise.

Why is Suzanne Farrell not being utilized to coach dancers at City Ballet? What is the role of ownership of certain ballets willed to her by Balanchine? Are these two different issues?

Very interesting and true, Helene. We are not hearing the Giselle of the 19th century on modern orchestral instruments and arrangements.

What impresses me about Balanchine and music, if he did feel negatively toward traditional ballet scores, is that he used serious classical music for his ballets. He used the Bach Double Violin Concerto for Concerto Barocco, Symphony in C by Bizet for the eponymous ballet, and of course, he introduced Stravinsky to many musical neophytes (like me). Then he used Mozart in Divertimento No. 15, and excerpts from Tchaikovsky scores, as in Allegro Brillante. His music is always serious classical, so of course he may have felt the light music of Adolph Adam was not in that league, and it is not.

RG, is it possible you could provide a link to Nancy Goldner's article in Raritan when it comes out? If this is allowed? I'd love to read it, and have no access to Raritan. Thank you.

Thank you for the correction, Mme. Hermine.

I am throwing out this question - why did Balanchine reject Giselle as a ballet for his company? I recently saw a 1969 film version of the ballet with the amazing Carla Fracci and Erik Bruhn. I have seen it on stage as well. In the first act, for much of the time the corps is animated wallpaper. In the second act, the corps stand, arms crossed in the distinctive posture, for long periods of time. The second act especially has its longeurs, even in the solo of Myrtha, danced by Eleanor D'Antuono. Again, you have the wallpaper of the corps, standing in position for lengthy periods. This is, as any Balanchine afficionado knows, contrary to everything Balanchine conceived of. Balanchine's corps is integral to the ballet. There is no standing in pretty poses. Also, Giselle depends a great deal on mime, when the dancing comes to a stop and the story is told. Balanchine's choreography requires minimal, often no, story telling through mime. Think of the innovations of Symphony in C and Concerto Barocco - the corps dances throughout, and they are "storyless". So is Jewels. So many examples. I'd like to inquire of those with more knowledge of Balanchine and Giselle, as to whether my theories are correct, or if there is more to Balanchine's rejection of Giselle.

May I add - I took a photo (35 mm not postable) with Tyler Angle at the Kennedy Center. All the young dancers I met there were really approachable and for want of a better word, humble. You could have a chat with corps members while they waited for the cafe to open.

I saw no imperfections, but my attention was mostly focused on Russell, whom I had just met before the performance. I like to see who's "up and coming". But he must "come out" more, and I think that will happen in time, especially if he is suited to Tess dance-wise.

I attended the Sunday matinee on April 6 at the Kennedy Center. I was surprised, to say the least, to see Tess Reichlen in Diamonds partnered by Russell Janzen, a corps member. And then I met him before the performance at the cafeteria! We spoke and I asked him whether Peter had been casting him recently, I did express surprise that he was (temporarily) plucked from the corps for a starring principal role. He told me Peter didn't single him out otherwise - except he did a Cavalier in the Nutcracker last December. Then I realized - Tess is all limbs and tall - Russell is 6'3" and can perfectly partner her. I felt I was bursting his balloon. But men are often chosen for height in ballet, and I wish I had told Russell that Peter himself was recruited by Balanchine because Suzanne needed a tall partner as Jacques was nearing the end of his ballet career, and he had been her perennial partner. When Suzanne met Peter (fresh from the Royal Danish Balet) she observed, "At least he's tall." I don't think that was an auspicious beginning. Now to the performance: I watched Russell intently in Diamonds. The boyish young man, very nice, whom I had met a few hours previous had been transformed to a danseur. He partnered Tess beautifully. He had an air of authority. What he needs is the quality Suki described in Sara Mearns as student and now artist: "we just needed to bring her "out", and now [smiling] she's out!" Russell needs to become confident in a leading role so can be more "out", express more, extend himself from a emotional point of view. His leaps are not all they could be, but he has promise. The Diamonds piece was beautifully supported by the corps de ballet. The ultimate promenade was as impressive as I've always seen. No one handles large numbers of dancers on a stage like Balanchine. Speaking of Sara: In Emeralds, Abi Stafford had the first female role, and she was correct but did not project personality or commitment. She was all technique. Then another dancer, blonde, entered for a second section and she simply sparkled in comparison. I think technique is one part of the perforance, personal commitment the second, equally important aspect. Every time she entered, the stage lit up with her presence. I glanced at the program at intermission and realized, this was Sara Mearns. Even in a "secondary" role, she stole the show. I'm so glad I had a chance to see her again, even if not Odette-Odile. Rubies' principals did not make an impression on me. Savannah Lowery has never projected that sparkle. Everything was correct, but I missed Tess's spectactual extensions.

After cinnamonswirl's review of the first night of Jewels at the Kennedy Center, I am eagerly awaiting the alternative casting at the April 6 matinee. In reverse order: Can hardly wait to see Tess Reichlen in Diamonds, though it will be interesting to see her partnered by a corps member, Russell Janzen. I am not impressed by casting Megan Fairchild in Rubies or Savannah Lowery but would be happy to be proven wrong. I am eager to see Andrew Veyette, whom I spotted at an SAB Workshop years ago and knew he would be a leading danseur. His air of authority was evident even then. Emeralds has the same casting in major roles as April 1, and it will be interesting to compare my impressions to cinnamonswirl's. I am waiting, fingers crossed!

I was impressed with the sincerity of Misty Copeland's new memoir of her life as a cafe au lait swan. Though she started late, at 13, she immediately excelled and was on toe shoes after only three months' study. I wrote a review of the book on Amazon. What intrigued me, other than the unusual up-from-poverty to soloist ballerina at ABT story line, was how her story could apply to other teenage ballet dancers who all face challenges, though not as spectacular as Misty's. She gives proper credit to ballet teachers, supporters, earlier "black swans" including Raven Wilkinson, and even to her mother who earlier was her nemesis. Despite a youth of squalor and poverty, her talent and determination won out, and hers appears to be a loving family. Although I've never seen Misty dance on stage, I have caught early glimpses of her as a young teen on youtube, and she is indeed a spectacular talent, just as her teachers and directors recognize.

Yes, it is choriamb who posted it, and thank you to choriamb! Sorry about the mix-up.

Thank you vipa for posting the Walpurgisnacht video from 1980. I do remember seeing Kyra Nichols and Ben Huys during that period, and I admired his presence and flair. And Nichol Hlinka was superb in the second variation. And who doesn't love and remember Kyra? Is it my imagination or did the company in Balanchine's era have more softness, less angularity, than it now has? I would have to compare a recent performance of the same piece. Any opinions?

Thank you kfw, for posting the cast list.

I am looking forward to seeing NYCB in Jewels in April at the Kennedy Center. With all of your experience, who do you think will be cast in Jewels? I know Jenny Ringer had the second role in Emeralds, but who will replace her? The tall girl in Rubies is always (usually?) Teresa Reichlen - but in Diamonds, do you think they would give us Sara Mearns on a Sunday matinee? And who would dance with her? Any other ideas for probable casting for Diamonds or the other sections? Thank you!

I regret the loss of many of the wonderful principals I have come to love over the years - Jenny Ringer, Janie Taylor, Sebastian Marcovici, and others I can't recall. But now soloists can be appointed principal, and corps de ballet members can be promoted to soloist. I have heard wonderful things about Lauren Lovette though unfortunately I haven't had the chance to see her dance. Does anyone have any ideas about who might be promoted to principal or soloist?

In the wake of Jenny's farewell performance, here is her book, ready at last, and I leapt upon it! Jenny is or rather, was, my favorite dancer in NYC Ballet, and her dance biography is elegantly written and put together. The photos are delicious and she has given close attention to important milestones of her career. I have written a review on Amazon. I hope her future will be as fulfilling and filled with dance in some form. I also admire her speaking ability and poise as host of a Dancer's Choice program several years ago at NYCB.

Colleen, thank you for your thoughtful and informed review of Jenifer Ringer's farewell. I would have been there, but left New York last year unfortunately. Jenifer R always impressed me, whether appearing in the video on Jewels speaking about her role in Emeralds, or hosting a Dancer's Choice evening several years ago. She had refinement and presence. Most important, compared to many more pyrotechnic dancers, Jenifer Ringer was womanly. Her careful footsteps in Emerald evoked adult feminity. Of all the brilliant NYCB dancers I saw over the many years I attended NYCB faithfully - she is my personal favorite. I also remember her some twenty-five years ago as an apprentice (or corps newbie?) - she and Dena Abergel entered as the nurses in Sleeping Beauty holding the baby Aurora. At least that is my memory. Who would know she would become a principal? She has had a glorious career. And I'm glad the Times gave her full appreciation - and Macauley did not review her.

Sean Lavery has always been Peter Martins' key assistant - I don't know the title, but he seemed to be second in command and had responsibility for devising the repertoire for the season. He also led a panel last year on Balanchine's birthday. That he has lost this job is puzzling to me.

"Hell hath no fury like a woman scorned!" - William Congreve (1670-1729) Perhaps she didn't want to make the payment under the prenup that would have been required after a nine-year marriage with a no-fault divorce. With a proven fault divorce, she wouldn't have to give Chuck a dime.

Why thank you, Colleen for your kind words. They brought a smile to my face. (I will omit the icon though!) Enjoy the panel discussion and the performances. I didn't mention, you also need a free ticket for an on-stage demonstration at 5:30 by Peter Martins teaching class to advanced students in the theater. Just saw puppytreats' post. Thank you for your good words, too, but my ability to write what I think is what gets me into hot water! I love this board, and the forum it gives people who love NYC Ballet to discuss performances and dancers on a high level. I also learn from other posters.