Eileen

Alastair Macauley has a wonderful review on the New York Times website. http://www.nytimes.com/2011/06/09/arts/dance/school-of-american-ballet-workshop-performance-review.html?ref=dance On Angelica, he writes: "whose name alone deserves a glorious career"! I love the way he describes dance, and coins the word "danciness".

Thank you, Melange and Krystin, for reviewing the cast I saw on Thursday night (the night of Maria's fall). Your impressions are spot-on. Jennifer Ringer in the second solo was delicacy, refinement,and beauty, all qualities she possesses in abundance. Her extensions are not jaw-dropping - but she has more than that, and what she has is artistry. Abi Stafford is to me, bland. She just doesn't register as a personality on the stage, though she does everything competently and efficiently. Tess Reichlen was a marvel in Rubies. Then Miss Cuteness hurtled on, and the contrast between them was very effective. Maria recovered swiftly from the fall - it was a startling moment - and she and Charles Askegaard were sublime. He will be missed, but he is retiring at his peak. (I still pine for Nicolai Hubbe and Damien Woetzel!)

Am I the first to comment on the School of American Ballet Workshop, the highlight of the ballet season? A glorious night at the ballet, watching the next generation of virtuoso dancers, young, committed, exuding joy and energy. Four ballets, three of which I hadn't seen recently, and one, Les Gentilhommes, I had never seen. In Allegro Brillante, Angelica Generosa is - well, brilliant. I hope she takes her place at NYC Ballet, where she belongs. Suki Schorer staged Allegro Brillante and took her bow, as energetic and elegant as ever. In Who Cares, the four soloists were wonderful, especially Meaghan Dutton-O'Hara, who has a Sterling Hyltin-like sparkle. In Peter Walker, do we have someone who can dance in Damien Woetzel's ballet shoes, still sorely missed? There is such an overwhelming amount of talent here, each solo dancer a standout and individual. I hope each of these young talents find a home in a major ballet company. Circus Polka's little girls were adorable. Jock Soto, who played the Ringmaster, was greeted enthusiastically. Les Gentilhommes I had never seen, and I considered it a puzzle that I was going to solve. The puzzle was - why are these courtly men in white ruffled shirts here, standing in elegant poses, presenting their hands and arms in a stylized, 18th century manner? Where were they? I decided, purely for my own satisfaction, that this was a fencing class, and their movements were fencing stances. Of course, abstract ballet is not "about" anything but dance, but the fencing class metaphor suited my need for clarity. The excitement of this performance did not compare to a usual performance at City Ballet across the plaza. The audience seems so jaded, so "we've seen that", and I think the dancers are picking up on that ennui. Some performances are standouts - the Thursday night Jewels - but for sheer excitement, nothing compares to the SAB Workshop.

Now that Charles Askegaard is retiring, the burning question is - who will be promoted to principal? This will be announced I suspect at the end of the season, and I am filled with curiosity. A male soloist will become a principal, and a male corps de ballet member will be named soloist. Since Ellen Bar is leaving, a female corps member will be promoted to soloist. (I do wish Georgina Pazcoguin would be promoted - she is so full of life and has been cast in many featured roles.) I will wait to see more of the season before taking a guess at who has a chance.

Faux Pas, if you ever have a problem like this you should involve the usher. That's not always possible and sometimes ineffective unfortunately. I always try to avoid confrontations, but people take advantage, like this couple. They were outrageous. You should also tell the couple THEY should report YOU to the usher. It often has a marvelous intimidating effect. Because they don't want to get caught! I've had some terrible issues at State Theater: The Arm Game: A few years ago, City Ballet was giving away tickets on the side of the orchestra free to senior citizens who were obviously not regular balletgoers. I had paid $55 for my ticket, but the elderly woman beside me was trying to occupy my seat as well as her own. She was doing this by resting her arm in a very intrusive way on the armrest and leaning against me! I tried to gently move against her, but she was determined and pushed back. At intermission, I inquired in my sweetest voice, "Do you have enough space?" "Oh, yes!" she assured me. After that gentle confrontation, she played the arm game no more. The Hygiene Challenge: The distribution of free tickets (by the ticket office?) is often a misery to paying customers. For example, the other day when the orchestra was not populated, two men who clearly had both hygiene issues and mental health issues sat in the chairs next to me. I moved over 3 seats - in the middle of the orchestra there were 3 seats empty! But I paid a fortune for my ticket and should not have to experience suffocation from BO at a ballet performance. Kicking the Chair Game: I tried to shush a couple who were talking throughout Act 1 of Swan Lake. At intermission, I told the usher where they sat and told him to quiet them. But the usher tried to put the onus on me, telling me, "Have you asked them to be quiet?" I said to him, I am asking YOU to ask them. So he had to be prodded. But then he spoke to the row in general (about talking during the performance). And now the woman who had been talking behind me started kicking my chair! I turned around and said loudly so everyone could hear: "AND DON'T KICK THE CHAIR. IT'S CHILDISH AND I WON'T STAND FOR IT." That did it. The bully was finally neutralized. I embarrassed her in front of a row of strangers. I try to avoid all confrontations, but sometimes you have to Stand up! Stand up for your rights! as the song says. I'm sorry you had such an experience.

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I attended the Saturday matinee (May 21) and it also was not well attended. Divertimento was lovely as always, and Lauren King danced beautifully. It's always interesting to see who replaces a retiring dancer, in this case Yvonne Borree, who had a lock on one of the principal roles until her timely retirement. Polyphonia - it was my first time seeing this ballet by Wheeldon, and it premiered ten years ago! I can see why I had passed it by til now. It is not dancing to me, but acrobatics. It's not about movement, which, as Suki Schorer wrote in her Ballet Technique book (which I looked at before the performance), is the touchstone of Balanchine's choreography. Balanchine is about movement; she emphasized this. I wish the company would revive Wheeldon's Variations Serieuses, I remember from a dozen years ago as a brilliant vehicle for Maria Kowroski's comedic talents, as well as terpsichorean gifts. La Sonnambula with Janie Taylor and Robert Fairchild - Robert Fairchild was far more ardent than Marcovici had been Wednesday night. He convinced me he was the Poet. Jennie Somogyi, Coquette and troublemaker, as ViolinConcerto pointed out, conveyed better that she and the Poet had been lovers. But I still missed my favorite of all, Jenny Ringer, whose presence is beauty and whose refinement conveys to me all that ballet is, or should be, about. Exciting sighting! This morning about 9:15 I was on Broadway at Lincoln Center and I passed none other than Jenny, her hair in short ringlets and with her husband and little girl in a stroller. She was obviously on her way to the theater for her performance in La Sonnambula. Janie Taylor as the Sleepwalker - she was excellent. It will take some getting used to her as I identify this role very closely with Wendy Whelan, who emits an intensity despite her emotional absence in the dance with the Poet. But Janie certainly looked ghostly, and I saw that she was wearing very white makeup when they took curtain calls. Adam Hendrickson acquitted himself respectably as Harlequin - but Daniel Ullbricht the other day had been thrilling, and funny. This is the difference between principal and soloist. Daniel Ullbricht is a principal and deservedly so, his jumps were spectacular and he was spectacular. The pas de quatre featured two new corps members, Ashly Isaacs and Sarah Villwock, who were clearly thrilled to be given this opportunity. They were lovely, and their cavaliers, David Prottas and Devin Alberda, were eloquent. I also was glad to see one of the most expressive of the corps members, Alina Dronova, in the pas de deux with Vincent Paradiso. She has lovely qualities, and an alertness that I have noticed. All the dancers were superb. Question: Which corps members or soloists should be promoted? There are many I can think of. But there are currently so many principals, and none seem to be headed toward retirement, so how can Peter Martins promote anyone unless someone at the top retires?

Thank you for that validation, Carbro. Searching the Met Museum website of pictures of their Grecian reliefs, here is another example that reminds me of Antique Epigraphs: http://www.metmuseum.org/works_of_art/collection_database/greek_and_roman_art/marble_relief_of_hermes_three_nymphs_and_acheloos/objectview_enlarge.aspx?page=1&sort=6&sortdir=asc&keyword=reliefs&fp=1&dd1=13&dd2=0&vw=1&collID=13&OID=130012329&vT=1&hi=0&ov=0 Also many of the vases are terracotta, a shade of red that is the same as the dresses of the 4 corps girls in Antique Epigraphs. I looked at the Parthenon sculptures, the so-called Elgin Marbles, on the British Museum website and it is so obvious that in Apollo, Balanchine was molding his Greek God after Grecian art, with Apollo striking poses strikingly reminiscent of ancient Greek sculpture. There is a clear connection from ancient Greek sculpture to Michelangelo's famous image of Adam and God reaching out fingers touching, to that very image in Apollo where Apollo anoints Terpsichore, that "it" moment.

Alastair Macauley has a review of Wednesday night's performance in the Times, with many insightful comments. http://www.nytimes.com/2011/05/20/arts/dance/new-york-city-ballet-performs-balanchine-robbins-review.html?ref=arts

Ceeszi, Antique Epigraphs is more mysterious than Faun, and I think it is related to the Nijinsky Afternoon of a Faun in the attitudes of the dancers - the row of sirens in Faun is similar. I was researching Greek art on the Met Museum's website, because I think the poses of the dancers in Antique Epigraphs is related to ancient Greek art - the row of women, their stylized poses. Here is an example of what I mean: http://www.metmuseum.org/Works_of_Art/collection_database/greek_and_roman_art/terracotta_alabastron_perfume_vase//objectview.aspx?OID=130016222&collID=13&dd1=13

Ceeszi, another poster described Afternoon of a Faun as a commentary on the original Nijinsky Faun. That's valid. But I've always considered it a ballet studio where the dancers are stretching on the floor, doing a barre, each at first oblivious to the other because they are concentrating on the "fourth wall" - gazing intently at an unseen mirror in front of them. They are concentrating on themselves and their perfect form, which is why I described them as narcissistic.

I also attended Wednesday's performance (last night). Chase's third performance as Apollo was much improved over the first. He is feeling more comfortable in the role's later masterly aspects. The first time he danced Apollo ten days ago, I felt he was carefully doing the movements just so, now do this, now do that. Last night, he had more of a flow, the movements were not so calculated but felt intrinsic. The three muses - all superb principals Kowroski, Mearns and Reichlen. But each is such an individual. Mearns is extremely sharp and dynamic. She has the quality I call "watchability". She is a star; she twinkles. But - she should not twinkle and pose and smile sparklingly while Maria is doing her solo variation. This is distracting. A bit of self effacement is called for here. I was relieved to see in Antique Epigraphs she was able to blend into an ensemble without attracting undue attention to herself. Kowroski is one of my favorite dancers and she should not be upstaged. Each muse has her moment. Teresa Reichlen is the opposite of Sara - an artist of great beauty, but a wee wan. She does not self promote. The beauty of her form and shapes in Antique Epigraphs was riveting. Apollo is a masterpiece; with the right cast as last night, it is revelatory. One quibble - the second muse following Apollo at the famous closing image - whether Mearns or Reichlen I don't recall - held her leg too high. She should have moderated her extension to create equal angles among the three muses. On to Antique Epigraphs, with Savannah Lowery in a prominent role. I know I am hyper-critical, but I do not think she should be in this company. She glowered grimly, she was statuesque but not svelte. Her appearance and demeanor simply do not lend themselves to ballet at this level. In Faun, I was struck for the first time the beauty of Craig Hall and Janie Taylor. Janie has always seemed sort of a waxen figure to me, with too long eyelashes screening her face. Thankfully, she has trimmed her lashes and I could see her eyes. She and Craig were simply beautiful creatures, both narcissistic, but she awoken by a kiss. A perfect performance, perfectly danced. La Sonnambula I have seen many times, but my recent memory of Nikolai Hubbe (alas, retired!) cannot be supplanted. Sebastian Marcovici is fine, but he is not the Poet as was Hubbe. Wendy is wraithlike. I attended this performance to see my most beloved dancer in the company, Jenny Ringer. She embodies to me the poetry of woman itself. She is beautiful, but she is also womanly, not a girl like most of the dancers. And she exudes a refinement that is rare. She is self possessed. She does not grab the spotlight, but dances with artistry. I am not looking for pyrotechnics from Jenny - I find rare pleasure in her presence. She hosted the Dancer's Choice of 2 years ago and was on the Balanchine panel in January so I see her refinement is not limited to dancing. But! She has to convince me in La Sonnambula she is vain and a flirt - a coquette. She could use a bit more coquettry, more vanity. So when she sees the Poet and the Sleepwalker together, I expect more intensity in her reaction than I saw. Not acting - don't act! But as she stands at the side of the stage, she must look as if this affront to her vanity is sinking in and she is absorbing the unfamiliar humiliation to her ego. Jenny is too nice! She has to have more of the back-stabber in her. Have I said too much? Have I mentioned that Ana Sophia Scheller and Antonio Carmena were sublime in the pas de deux in La Sonnambula?

I saw the Thursday night performance - Chase Finlay's first as Apollo. He was handsome and perfectly coached, every movement just so. Apollo starts as an unformed boy and develops into a man, leader of the muses. Chase was believable as the boy, but unfortunately, I felt he was too young to be credible as the man. He did not have the gravitas yet to convince me he is Apollo. I hope I can see him in future performances, as subsequent performances always improve over the debut. I loved Sterling Hyltin, she is a favorite of mine, but I understand Alastair Macauley's comment that she has chosen to be dainty and pretty when she could be beautiful. She also needs to grow into her role as Terpsichore. As the orchestra played the opening four notes of the music, the announcement as I call it, I put my hand to my heart. To hear that music again, that signature Balanchine theme! The opening of another season at NYC Ballet, and reason to rejoice and be thankful.

I have to agree. Finlay has a lot of promise, but he sometimes looks a little green on stage when he is given difficult principal roles. Certainly, I hope he does an excellent job in Apollo. We'll see. I predicted Chase Finlay for the role of Apollo, and wrote it on the Swan Lake thread on February 24: "Here's a dark horse prediction: Chase Finley has been given many prominent roles. I suspect he's being prepared for Apollo. He'd make a perfect Apollo as his technique sharpens and he gains more performance experience." To which abatt replied: "Finlay is certainly a future candidate for Apollo and many other major roles. He may even be learning the role as an understudy now. However, he is too young and not ready for a major role of that stature at this juncture." And I responded: "Yes, but he is all potential." Since I just happened to have tickets to this performance (bought way in advance!) I can't wait to see him and report on his performance, and Sterling's as well.

See below.

For those of you located in the DC area, NYCB will be at the Kennedy Center in from April 5 to 10 - and wonder of wonders, Suzanne Farrell has emailed her notes on the ballets that will be performed. Here is her link for Square Dance, which contains links to her previous notes for other Balanchine ballets. She mentions in her e-mail that she will be doing Jewels at Kennedy Center. That's worth traveling for - from New York. Correction: Her company will be at the Joyce Theater in New York from October 19 to 23. A must see! Here is the link to her notes for Square Dance: http://www.kennedy-center.org/programs/ballet/farrell/notes.cfm

For those of you located in the DC area, NYCB will be at the Kennedy Center in from April 5 to 10 - and wonder of wonders, Suzanne Farrell has emailed her notes on the ballets that will be performed. Here is her link for Square Dance, which contains links to her previous notes for other Balanchine ballets. I will also post this under Suzanne Farrell Ballet. Administrator, is there a way to cross-reference between forums? http://www.kennedy-center.org/programs/ballet/farrell/notes.cfm

Several years ago I was fortunate to sit in on a class given by Suki Schorer and saw that she instructed the advanced girls in a combination the following way: They gathered around her, and with a few ballet terms, she motioned the combination using her hands alone. This was very interesting, because the students all immediately got it and were off and flying through the room. Recently I viewed the film of Balanchine's career shown at City Ballet and there is a clip from a 50's TV show demonstrating how Balanchine choreographed. And I saw - he instructed his dancers with only a few ballet terms and he used his hands to indicate the steps! Did Balanchine originate this technique of using hands to symbolize steps? Is this traditional in all ballet companies and academies? Is it from Russia? I'd appreciate any information on this, as it piqued my curiosity.

I had a chance to broaden my review of this book on Amazon and present some new thoughts. I hope the readers of Ballet Alert will find it helpful.

Excellent idea, Neryssa, I will add more detail on these points when I get home.

I hate to take the wind from all of your balletic sails since I see how much you are looking forward to this memoir. But perhaps I can urge you to borrow this from the library. Here's what I wrote on Amazon, and if it seems a bit strongly put, please be aware that I moderated my tone as much as possible so as to reduce the pain factor to the author, yet at the same time warn the unwary reader: "Is it possible for a ballet memoir to be boring?" "This book desperately needed a proactive editor. There is too much filler, too much biographical prologue, too much irrelevant anecdote not bearing on ballet. Unlike Edward Villella's memoir, where his development is placed in the context of the relationship of a rebellious son to a father, in Jacques D'Amboise's memoir there is no overarching theme. It is a series of anecdotes. There are excellent descriptions of the dancers that he has partnered, but what I miss is the lack of relationship with Balanchine. D'Amboise danced everything, but somehow I'm not getting the feeling that he had a relationship with his chief mentor, Balanchine. An important memoir, but in need of editorial guidance. Also, there is a vulgarness, a raunchiness that could have been omitted. Who needed to know TMI about Lincoln Kirstein, or that George Balanchine may have actually gloated at the untimely death of a choreographic competitor? It's hard to believe Balanchine would have said what Jacques D'Amboise claims, but that such an anecdote is included reveals the lack of editorial judgment that pervades and damages this project. I am saddened to see that the publisher of this book is the once distinguished house of Knopf."

Here's a dark horse prediction: Chase Finley has been given many prominent roles. I suspect he's being prepared for Apollo. He'd make a perfect Apollo as his technique sharpens and he gains more performance experience.

Whatever happened to Kristin Sloan who made the most compelling videos shown on both the website and in the theater lobby? She is no longer listed on administrative personnel. Her videos often led me to purchase tickets for a particular ballet. It was a superb marketing tool. Was she laid off?

This subject has been so fascinating. I never realized there were correlations between Picasso and Balanchine. I never knew (or I had forgotten as I own Suzanne's memoir) that a pose in Mozartiana was based on a depiction of the Virgin in a church nearby on West 71st Street, or that Suzanne prayed there. I thought Prodigal Son was based on the style of Roualt, who did the sets, or am I mistaken? My knowledge of art is rudimentary. Thank you for all the enlightenment.

I will certainly send a thank you note to Peter Martins and Sean Lavery for the entire day's programs. What an inspiration it was for me. Thanks for the suggestion!