Week 1

[oberon]

Is DIVERTIMENTO #15 jinxed? I have seen four ballerinas fall during this beautiful ballet; tonight it was Ashley Bouder's turn. But she hopped up, dusted herself off and continued to dance quite brilliantly. She has also found a nice facial expression for the less showy moments of the role. Janie Taylor was on spectacular form, and Rachel Rutherford gave a lovely performance, one of her finest actually. The sumptuous Miranda Weese has that extra dimension that separates the principals from the soloists...a sort of containment, that's the only word I can think of. To my mind, Megan Fairchild seemed a bit out of place in this group - a girl among women. She danced well, however. Philip Neal seems to be working back into things after an injury, and Jared Angle and Arch Higgins were both excellent. It was a delight to see Kristin Sloan, Sarah Ricard & Glenn Keenan among the very attractive corps.

It is amazing how 4 TEMPERAMENTS can seem so fresh and fascinating nearly 60 years after its premiere. Tonight's performance was spell-binding on many levels, starting with a fine group in the Theme (Faye Arthurs, Jon Stafford, Carrie Lee Riggins, the very sexy Amar Ramasar, the under-utilized & amazing Jennifer Tinsley, and Seth Orza). What compares to seeing Peter Boal in Melancholic and Albert Evans in Phlegmatic? Each held the audience in his thrall. Alexandra Ansanelli & Stephen Hanna were very well-paired in the pas de deux...Alexandra's range keeps expanding; here her boldness & clarity paid big dividends, and Hanna has a very charismatic presence and managed all the tricky partnering; what a body this guy has. Following dancers like Boal, Evans & Alexandra cannot be easy but I have to say Teresa Reichlin came very close to stealing the whole show...her Choleric has a spaciousness that was captivating. Amanda Edge & Pauline Golbin, those two dark-haired beauties, were an added lustre. Good audience reaction, but only a fraction of what these dancers deserved.

CORTEGE HONGROIS showcased the magnificent Sylve, prima ballerina par excellence, in a dazzling performance on the grand scale. Askegard took care of everything for her and tossed off some turns near the end that roused the audience. Ringer & Fayette had fun as the gypsies and Abergel & Hanson were the soloists. On many nights, some corps dancer will catch my eye and I'll follow him/her with my opera glasses for a while. Tonight it was Sarah Ricard, one of the prettiest girls onstage, and her dancing was joyous. She has such a nice smile.

[Dale]

Thank you Oberon for getting things rolling. I'll have to wait until I'm not so tired, but the New York Times has started its overnight reviews. I'm sure Ari will put this in tomorrow's links, but for the night owls, here it is:

http://www.nytimes.com/2005/01/05/arts/dan...html?oref=login

[Helene]

Sounds like a wonderful program.

Hooray, another season of living vicariously through y'all's' posts has begun! (And I must find a way to see Sylve live!)

[charlieloki]

Thank you Oberon for getting things rolling.  I'll have to wait until I'm not so tired, but the New York Times has started its overnight reviews.  I'm sure Ari will put this in tomorrow's links, but for the night owls, here it is: 

http://www.nytimes.com/2005/01/05/arts/dan...html?oref=login

<{POST_SNAPBACK}>

for some strange reason, my edition of jan 5's nytimes has the review of last night's nycb performance in the metro section, not the arts section -- i almost missed it

hanna and ansanelli make a very interesting combination: a photo of them in four temperaments is included -- it is very unflattering to ansanelli -- i had to look twice to make sure it was her

that's a shame, she's unusually photogenic

i was at the performance and thought that the only real highlight was sofiane sylve in raymonda: what would mr. b have thought!

she is the genuine article: a real ballerina: intelligence, wonderful technique, personal beauty, musicality, a comic and a dramatic sense, an ability to make meaningful and gracious eye contact with her partner, and a steely nerve

the audience seemed to agree: there were some real fanatics in the 4th ring

ms. sylve seems to have quite a large fan club (including me)

[Dale]

for some strange reason, my edition of jan 5's nytimes has the review of last night's nycb performance in the metro section, not the arts section -- i almost missed it

<{POST_SNAPBACK}>

That's because the Metro section is one of the last sections of the NY Times to be "put to bed." The Arts and Leisure section's deadline is usually in the late afternoon, while the sports, metro and front section is held to 11pm or later (for later editions). The performance ended just before 10pm, enough time for Anderson either to go home and write quickly or go to the paper and write. City Center has an old press room. I wonder if somewhere at Lincoln Center there is a press room too.

[socalgal]

I am so glad that someone mentioned the wonderful AND underused Jennifer Tinsley.

Would love to see her in a mulititude of principle roles!

[nysusan]

Loved the 4Ts. This is the kind of choreography & music that absolutely grips me from beginning to end. Thought Peter Boal, Albert Evans and Tess Reichlin were all fabulous, I also really liked the girl who did the very first variation, maybe Faye Arthurs? I think I'm going to go see it again on Saturday night.

I found Divertimento #15 very entertining. It had a wonderful sense of fun & good humor which the dancers conveyed well. I don't know a lot of the dancers well enough to identify them, but I really liked the girl who danced the 2nd variation, I think it might have been Janie Taylor.

I had been thinking of Cortege Hongrois as the "safe" piece, the one I knew I would enjoy. I love Glazunov's music and thought I rememebered liking Cortege from way back when. Wrong. I knew I was in trouble the moment the orchestra started playing. I often have problems with the NYCB orchestra's tempos,and this was a perfect example. I found their orchestration & pace really stripped the music of it's lovely, lilting qualities & when the corps came out in the beginning they seemed so stiff & rushed it looked like they were off to the races. To me, Balanchine's czardas looked more like crazed gypsies than the stately, aristocratic Petipa czardas that I love so much. This was the best performance I've seen from Askegard ( but I've only seen a couple). I was impressed with Sylve, I look forward to seeing her in other roles but she hit the wrong note for me here. The word that comes to mind is formidable - her dancing was wonderful but it was so sharp, hard edged & brilliant that it really didn't evoke Raymonda for me. I realize that this is Balanchine's ballet to music from Raymonda, not the Petipa ballet itself but I guess I was expecting something like the T&V/Sleeping Beauty relationship where he encapsulated the spirit of an older masterpiece through his own vocabulary. This felt more like the opposite of Raymonda to me.

[GeorgeB fan]

OK I'm seriously hating you right now Oberon ! I knew someone will start a post writing about the first night performance of the new winter season. And here you come alone a write a vivid description of what was obviously a wonderful evening - which I knew it would be judging from the casting. I had tickets but an emergancy prevented me from coming. I was so looking forward to seeing Divertimento #15 - it's one of my favorite Balanchine's, seeing Sofiane Sylve in Cortege Hongrios, but most importantly I was looking forward to seeing, prehaps for the last time, Peter Boal in the Melancholic section of the 4T's. And just when I got myself psych up thinking, "All well I just wasn't meant to see it - no big deal", you come alone and write a beauifully detail review which makes me what to kick myself for missing it!!!

And don't think I'm leaving you out Nysusan and Charlieloki! Your reviews and thoughts also makes me regret not being able to go :rolleyes: You lucky dogs!!!

But seriously, if I couldn't make it, I'm glad I was able to read about it from individuals with intelligence, taste and knowledge who all has the ability to write intelligently about the art form we love so much. Talk about stoking egos!

[Helene]

I realize that this is Balanchine's ballet to music from Raymonda, not the Petipa ballet itself but I guess I was expecting something like the T&V/Sleeping Beauty relationship where he encapsulated the spirit of an older masterpiece through his own vocabulary.  This felt more like the opposite of Raymonda to me. 

Balanchine choreographed Cortege Hongrois as a farewell piece for Melissa Hayden's upcoming retirement. I've only seen Hayden on film, but Raymonda is one of the last pieces which I think characterizes her. The ballet has gotten mixed reviews since it's premiere in the early 70's. In Joseph Mazo's book Dance as a Contact Sport, in which he observed NYCB during the season in which CH was created, he says that many people felt it was not a whole-hearted, first-rate attempt, but Balanchine said "I made it for Melissa." (That was his story, and he was sticking to it!) I once had a discussion with one of the regulars in the Fourth Ring, who called it an excuse for Balanchine to choreography a really great part for Karin von Aroldingen (Czardas lead), one of his favorite dancers.

If it weren't for the character roles, I'd uniformly prefer Raymonda Variations to CH, but my favorite of Balanchine's treatments of the Raymonda score is still Pas de dix. There's a VAI DVD set of Maria Tallchief's Bell Telephone Hour performances in which this ballet appears. Tallchief danced with Andre Eglevsky. (And I've always been a softie for Eglevsky and his soft, pliant landings.)

[Estelle]

Like GeorgeBfan, I'm fealing jealous ! :grinning-smiley-001: The Four Temperaments is one of my favorite ballets, even though I got only three opportunities to see it (one of them being by the NYCB in Edinburgh four years ago- and I treasure the memory of Peter Boal and Albert Evans in that work...) And I wish I could see "Divertimento n. 15" someday (the POB used to dance it, but as far as I know they haven't danced it for more than a decade )

[carbro]

My advice: Run -- do not walk -- Run at Ballo speed to catch Ashley as La Regina. What a thrill! If an infirm couple is in your way, mow them down. She was even better than I expected. Ben was terrrrrrif, and the demis as a group earned a solid B+.

Yes, I know the performance is still on, but I came home because I'd rather watch West Wing than Stabat Mater. I'll post more (if necessary) later in the week.

Gotta go.

[bobbi]

May I second Carbro's advice? It was a historic night at NYCB: a Ballo with Ashley B. is not to be missed. It's been almost a quarter of a century since we've seen a Ballo done "right." Ashley Bouder nailed the role first time out. She even brought back the famous grand jete with backbend that was Merrill Ashley's trademark --and that only Merrill managed to do -- until last night.

Of the demis, I particularly liked Sterling Hyltin for her instinctive way of attacking a musical phrase, Ana Sophia Scheller for her stage presence, and Amanda Edge for making very credible snapshot pictures of those diamond pas de chats that were Sheryl Ware's creation. And Benjamin Millepied I think may have given his best performance ever: not only bravura in his own dancing but he was very attentive to Ashley.

Unlike Carbro, I did sit through another Stabat Mater just to get another glimpse of Sofiane Sylve and Charles Askegard in Cortege. Both were fabulous and gave first rate performances. I have a feeling Mr. Balanchine was smiling when he looked down to see Sofiane's dancing, as he always had a soft spot for French ballerinas, and Sofiane is indeed a real ballerina. (I'm looking forward to her T&V.) Special mention too to Dana Hanson for some lovely expansive dancing in her variation.

[perky]

My advice: Run -- do not walk -- Run at Ballo speed to catch Ashley as La Regina. What a thrill! If an infirm couple is in your way, mow them down. She was even better than I expected. Ben was terrrrrrif, and the demis as a group earned a solid B+.

What a funny teaser! Post more! Pronto! Pretty Please!

[paulofnyc]

My advice:  Run -- do not walk -- Run at Ballo speed to catch Ashley as La Regina.  What a thrill!  If an infirm couple is in your way, mow them down.  She was even better than I expected.  Ben was terrrrrrif, and the demis as a group earned a solid B+.

Yes, I know the performance is still on, but I came home because I'd rather watch West Wing than Stabat Mater.  I'll post more (if necessary) later in the week.

Gotta go.

<{POST_SNAPBACK}>

Did anyone else leave before Stabat Mater?

[richard53dog]

I went to last night's NYCB program.(Jan 8)

It was good to see 4 Temperaments again; I haven't see it in a while.

And I thought the performance could have been a little sharper, it seemed to be it was almost as if it was going in and out of focus at times. Still I liked it quite a bit.

This was my first time to see Sylve live, I was very impressed. Her dancing seemed very sharp and crisp with very good definition.

I really went to this program to see Todo Buenos Aires. I have to say I didn't think much of this. Does any know if this was modified for Bocca? Other than some flashy moments, he didn't seem to be a good fit for it.

Even though it was about the same length as Temperaments, it seemed interminable.

I skipped I'm Old Fashioned so I can't comment on that

Richard

[nysusan]

I decided to go last night and got a ticket at the last minute.

4T’s still looked like a masterpiece on my 2nd viewing, though a little less cohesive than the first cast I saw. I still loved Faye Arthur, but this time I thought all 3 couples in the theme were exceptional. Suozzi’s Melancholic didn’t have the same feeling of overwhelming sadness & weight that Boal’s did, I really liked the way Boal seemed unable to escape gravity,drawn irresistibly down to the earth. Suozzi wasn’t as earthbound, and he found some sharper edges in the choreography. He & la Cour provided interesting interpretations of Melancholic & Phlegmatic, but not yet at the level of Boal or Evans. I think these were debuts for them, and if so, comparing them to dancers who’ve had years to hone their interpretations is unrealistic & unfair. I just can’t help it because these are the only 2 performances I’ve seen of the 4Ts.

Sylve was wonderful in the Sanguinic variation, her technique is so solid, so sure and her dancing here had a fearlessness and a fierceness to it - almost a feral quality. When she was onstage in front of the soloists she looked like a woman among little girls (no slight meant to the soloists in that remark, I thought they looked very good last night!). I thought she was miscast in Cortege the other night, but that was because of my expectations. I had been looking for the qualities I’ve always loved in the music and the personality of Petipa’s Raymonda. I’m sure these considerations had no relation whatsoever to Balanchine’s intentions with Cortege (by the way thanks to Hockeyfan228 for proving the background information).

Todo Buenos Aires - in a word, boring. I love Bocca, but I’m used to seeing him in classical roles at ABT. I know that he is also well known for Boccatango, but he just didn’t look right to me in the tango “street clothes” costuming, with his hair hanging in his face. Even so, he is a great artist and it was interesting for me to see this side of him. His can still leap & turn with the best of them & Martins took full advantage of this. When he and and Whelan were on stage you couldn’t take your eyes of them. The other dancers were all fine, but they weren’t able to make much of the weak material. When your eyes weren’t riveted by Bocca & Whelan you realized that there really wasn’t much to the piece. By the time it was halfway over I was waiting for it to end.

I saw Old Fashioned for the first time last year from the 4th ring. I worship Astaire, and also love ballroom dancing & Kern’s music. I thought it was lovely, I really enjoyed the way Robbins dissected and reassembled the original dance. Perhaps it’s not the one ballet I’d take with me to a desert island (ok,definitely not), but it was enjoyable. Though I think much of NYCB’s repertoire is seen to advantage from high up, I remember thinking on first viewing that this work would look better from up close. It did. I can see how it wouldn’t be on a Balanchine devotee’s list of favorites, but it’s brought a smile to my face both times I’ve seen it now. That’s enough for me. When the performance ended I cued up the Astaire playlist on my iPod and went home humming happy tunes.

[lampwick]

I went Saturday night (8th) .

I thought 4Ts in general was rather weak. Either Sean Suozzi was over his head, or else he wasn’t prepared. He stumbled out of a not-so-difficult jete entrelace and looked as though he doesn’t have the flexibility in the back to adequately exectute the steps, never mind adding any type of artistry. Just my opinion. Teresa Reichlin was the highlight of the ballet. She looked very “on” this evening and was the only one who really embodied the music. She’s a very good dancer. I also enjoyed Sofiane Sylve’s performance.

I thought Todo Buenos Aires was fantastic. I’m always mesmerized by Wendy’s arms. She looks like she’s weaving the music with them. Juliio Bocca’s turning sequences were amazing. The first one included attitude turn en dehors and he just looked stuck on one little spot. Didn’t move at all. It was great. The audience seemed to react most strongly to this piece out of the three that evening. It seemed very successful from where I was seated. I usually am not a big fan of Martin’s ballets, but this one was witty, sexy, and fun. I liked it!

I thought I’m Old Fashioned was a bit boring and flat. Not my favorite type of music anyway. Maybe was tired by the end of the evening too. I usually really enjoy Robbins ballets. The dancers looked fine, there just wasn’t a big amount of energy.

[AmandaNYC]

Did anybody see Fairchild's debut in Square Dance? If so, care to comment?

thanks.

-amanda