Kennedy Center Engagement, 2005

[Ari]

Half-price tickets are available for tomorrow night's (Wednesday's) performance at TICKETplace, 407 Seventh Street, NW (between D and E Streets), which is located between the Gallery Place (Red Line) and Archives (Green/Yellow Lines) metro stations. Hours are 11:00 am to 6:00 pm, and only credit, debit, and ATM cards are accepted. The tickets are $35.35.

[Annemd]

Can't wait to see NYCB this week in DC...will comment on performances later in the week.

[Ari]

Opening program of the company's 2005 season was designed to fit into the Kennedy Center's 1940s theme: two ballets from that period (Theme & Variations and The Four Temperaments) and one from the 80s that was inspired by a film from the 40s (I'm Old Fashioned).

When I saw that Andrea Quinn was down to conduct T&V and 4Ts, I was apprehensive, but both scores were taken at a very reasonable pace. (The third theme in Four Ts was actually too slow.) This, for me, is one of Quinn's most maddening qualities -- her unpredictabilty. The chances are she'll conduct at a teeth-chattering clip, but then again, she may not. How are the dancers to know what to expect? Some surprise is healthy, it keeps dancers alert and responsive, but Quinn takes it to extremes.

I was happy to see T&V shorn of the first three movements of Tchaikovsky's third orchestral suite, which Balanchine added in 1969 to the ballet he originally made for Ballet Theater in 1947. Unlike many people, I find these first three movements a self-indulgent (on Balanchine's part) bore, and so radically different from T&V as to make them and the final movement two separate ballets. (Yes, I'm aware of a theory that would reconcile this contrast, but sorry, I don't buy it. )

T&V came across pretty well -- a bit stolid and lacking in zip, but a respectable performance. Miranda Weese is now back to full ballerina form; when I saw her do this at Saratoga last summer she was still shaky. I can't think of another ballerina today who can match her in this killer role. She gives every step its full power while shaping them, musically and intelligently, into nuanced sentences that make sense and create illusion.

I am a very critical watcher of Four Ts, that Balanchine ballet supremo, and for better or worse I have a memory bank loaded with bits and pieces that are very hard to improve on. Nonetheless, Peter Boal is the only Melancholic I've ever seen who can make me forget Bart Cook. They're different -- Boal doesn't have Cook's elasticity, but he brings a sculptural quality to the movement that Cook didn't have. According to the program, this was Boal's farewell to Washington; he is not scheduled for the rest of the week. Although I hate to see him retire, I'm glad this is the last memory of him that Washington will have.

Owing to injury, Sofiane Sylve was replaced in Sanguinic by Alexandra Ansanelli. Although she danced it well, she was forced to dance with Sylve's scheduled partner, Charles Askegard, and the pairing almost sank their performance. It was a mismatch not so much of height as of weight. The Sanguinic ballerina is supposed to be the dominant partner in this duet, but when she looks as though the man could slip her into his pocket, it doesn't work. The low lifts, for instance, are supposed to look weighty, just barely skimming the ground, but Ansanelli looked instead like a sparrow whom Askegard could have picked up with one hand and let loose to fly about the theater. I was rather puzzled by the casting of Glenn Keenan in the second theme. The choreography's emphasis on long legs and arms usually results in the casting of a tall girl, but Keenan is short. She danced it well, but would probably have been more appropriately cast in the first or third theme. Jennifer Tinsley's ropy line and lack of strength (compared to others who have danced this) were disappointing. I wasn't too impressed with Albert Evans as Phlegmatic, and was surprised when he got more cheers during the curtain calls than Boal. Teresa Reichlen continues to gain in authority as Choleric.

I don't have much to say about I'm Old Fashioned. It's not one of Robbins's better or more substantial works, although the cast looked charming.

[paolo]

Theme and Variations was more than a bit stolid and lacking in zip, it was almost lifeless. In all three pieces during the evening, the men, with the exception of Peter Boal and one other in Four T's, were horrid. The women were not much better, but for Ansanelli and Jennifer Tinsley, I believe, who was extraordinary.

While I was raised on City Ballet in NY in the early 1960s, being in DC, I have not had much opportunity to see them. I just don't get it. I guess I have a problem with Balanchine in general, the excessive ducking under arms, the robotic dancers, devoid of any emotion. And, because of their complexity, I always thought only NYCB could really do Balanchine ballets justice. Obviously, that is no longer the case. Maybe they are tired after the NY season.

And, I do not understand the talents of Miranda Weese. To me, she was thoroughly unimpressive. I agree with Ari that Anasanelli and Askegard not the ideal partners. And the conducting was rather uneven.

I'm So Old Fashioned was cute, but what was with those ridiculous costumes for the men? Cummerbunds made all look like they had pot bellies and the colors of the pants were distracting. Finale of this piece very nice.

Where's Kowroski?

[Ari]

Half-price tickets for tonight's (Thursday's) performance are available at TICKETplace (see info in post upthread) for $35.35.

[perky]

While I was raised on City Ballet in NY in the early 1960s, being in DC, I have not had much opportunity to see them.  I just don't get it.  I guess I have a problem with Balanchine in general, the excessive ducking under arms, the robotic dancers, devoid of any emotion.

Them's fighting words, Paolo!!

Sorry you didn't like much of what you saw. Try catching Ashley Bouder in Stars and Stripes and any of the performances of Polyphonia. I remember some of the posters thought the company looked a little sluggish at last year Kennedy Center's performances. But this is after The Nutcracker and 8 weeks of repetory in NY.

[kfw]

I remember some of the posters thought the company looked a little sluggish at last year Kennedy Center's performances. But this is after The Nutcracker and 8 weeks of repetory in NY.

<{POST_SNAPBACK}>

But orchestra tickets are $78 and $82. I hope they get their pep back by the time I get to D.C. this weekend.

[Natalia]

I'll add my few tidbits to the above impressions of the opening night. These are simply my jottings on the playbill, as I have limited time today, compared to other days.

THEME & VARIATIONS: (grade of B-minus...towards a C-plus)

Overall impression: Bit ragged and lacking in energy but, overall, OK.

Interesting differences with the ABT version, esp. in the corps ladies' presentation of feet, during the seconds before they go up on pointe.

Despite his excellent high entrechats, Benjamin Millepied appeared VERY tired and worn down. Face lacked sparkle.

Miranda Weese is a beautifully proportioned & gracious ballerina but I was troubled by her floppy hands and 'too soft' port-de-bras throughout, as well as a certain tension in her neck. It was distracting, even in her lovely solo that precedes the pdd-adagio.

I was absolutely bowled over by the sparkle and beauty of Pauline Golbin as one of the four demi-solo ladies. In general, those four ladies showed the most energy during this work. [p.s. - I could swear that the unannounced Jennifer Tinsley danced among those four ladies. Abergel, Beskow, & Hanson were supposed to be the other three but none of them really looks like Tinsley & I know Tinsley's face & 'All-American smile' well. ]

FOUR TTs (grade: A-minus)

I would give this performance an A or A-plus were it not for the odd 'Sanguinic' of Ansanelli & Askegard, for much of the same rationale cited above. Too, I was a little taken aback by the somewhat menacing -- almost Myrtha-like predatory -- glare that Ansanelli kept flashing towards the audience. In my recollection of seeing this ballet 'live' and my videotapes, I never remember this pdd being so played 'to the audience.' Rather, the dancers should be in their own world, IMO.

The three 'theme' couples impressed me, especially the 3rd pairing of Jennifer Tinsley and Seth Ortha, who made my heart sing with joy, as they brought back memories of the perfection of Stephanie Saland & Kipling Houston years gone by! (only the dancing...as the two couples don't physically resemble one another)

What a treat it was to savor the beauty of Peter Boal's 'Melancholic' one more time!

I've already mentioned my problems with Ansanelli's 'Sanguinic' in this particular pairing...although I suspect that her menacing face appears with any partner, not just Askegard.

Albert Evans was a noble 'Phlegmatic.' The four 'background girls' in this section were crisp and sharp...and I loved the elegant Saskia Beskow in the 'spot' that used to be danced by the equally-alluring Nina Fedorova in years past. [Anybody else remember Nina?]

THE ABSOLUTE HIGHLIGHT OF THIS BALLET &, INDEED, OF THE ENTIRE NIGHT, for me: Teresa Reichlen's 'Choleric' is spectacular - gorgeous - magnificent!!!! This tall thoroughbred of a blonde beauty is the best I've ever seen in this role, with the exception of Coleen Neary who is very hard to replace in anyone's memory.

WOW-WOW-WOW, Tess Reichlen!!!! You made my night!!! BRAVA!!!!

finally:

I'M OLD FASHIONED (grade: B+)

This was my first viewing of this ballet ever...never seen it before, either 'live' or on film, although I had read about its clever use of an old Fred Astaire-Rita Hayworth film, with real-life dancers paralleling the movements in front of the screen. Nice. Romantic. The socko finale (with this dancers-and-film effect) brought tears to my eyes & I could hear some ladies sitting behind me also crying. My 'romantic' Russian husband was so impressed, too. He gave it an 'A-plus-plus'!!!!!

I give the work 'only' a B+ because, I'm sorry to say, it has some hokey moments, especially that thigh-slapping male solo. Then again, my husband loved the slapping solo because it reminded him of the 'Yablochko' Russian Sailors Dance!

My all-time favorite NYCB ballerina -- among so many! -- did not disappoint. Jenifer Ringer will always epitomize 'glamour' for me. That doesn't take away from the beauty & charm of the other female soloists, Carla Korbes and Rachel Rutherford. [This was my first look at Korbes...so *this* is who some state is a 'plumpish' ballerina? They have to be joking. Korbes is just fine in looks and spectacular in timing and musicality.]

Sorry for the sporadic delivery of the notes. I did not want to delay giving all of you my impressions of this mostly-wonderful night. Looking forward to tonight (Glass Pieces/Thou Swell/Stars & Stripes).

Natalia Nabatova

[oberon]

Thanks to everyone for the reviews...keep them coming, please!

Yes, it would be nice if the Company could have had a little break after the NY season before embarking on their touring.

I appreciate the comments on Golbin, Tinsley and Reichlin; I would imagine that even under the best of circumstances, Ansanelli & Askegard would not pair up very convincingly. Obviously injuries and the recent spate of flu continue to take their toll on the casting.

Natalia, Korbes is almost back to "fighting weight" at this point...before her recent long absence from the stage she was somewhat heavier. But gorgeous...always!!

And then there's Ringer...well, reading all this just makes me wish they were back in NYC!

[Ari]

[p.s. - I could swear that the unannounced Jennifer Tinsley danced among those four ladies. Abergel, Beskow, & Hanson were supposed to be the other three but none of them really looks like Tinsley & I know Tinsley's face & 'All-American smile' well. ]

<{POST_SNAPBACK}>

You're right, Natalia. Bescow and Hanson weren't there. Tinsley replaced one of them, but I don't know who the other replacement was. Anyone?

[Natalia]

Bescow and Hanson weren't there. 

<{POST_SNAPBACK}>

Now I'm wondering if the Grace Kelly-ish blonde who danced in the "Nina Fedorova" spot in Phlegmatic of Four TTs was indeed Beskow? Whoever that corps lady was -- she was strikingly good!

[Ari]

Bescow was indeed in Phlegmatic, but she wasn't in T&V.

[richard53dog]

I was happy to see T&V shorn of the first three movements of Tchaikovsky's third orchestral suite, which Balanchine added in 1969 to the ballet he originally made for Ballet Theater in 1947.  Unlike many people, I find these first three movements a self-indulgent (on Balanchine's part) bore, and so radically different from T&V as to make them and the final movement two separate ballets.  (Yes, I'm aware of a theory that would reconcile this contrast, but sorry, I don't buy it.  )

<{POST_SNAPBACK}>

Oh, I'm so glad to hear someone else say that.

Richard

[Ari]

When Stars & Stripes is the most substantial work on the program, you know it was a lightweight evening.

Don't get me wrong. I love Stars. That is, when it's danced as it should be, as a grand classical ballet with the full force of a great company brought to bear on it. Tonight's performance fell well short of that ideal.

Is it that the company is tired after a long New York season? In that case, schedule their Kennedy Center seasons at a different time -- before the winter or spring NY seasons. Whatever the reason for it, tonight's performance seemed tired and perfunctory. Sterling Hyltin made a good debut as leader of the Corcoran Cadets, and Damien Woetzel was his dependable self in the pas de deux, but there wasn't much else to recommend it. The men's regiment looked brittle and overextended, and no one had the joy this ballet needs in order to succeed. Perhaps Ashley Bouder sensed the company's blahs; she certainly pushed hard to liven up the proceedings. Unfortunately she pushed too hard, and came across as hard-edged in a role that needs sweetness to make it work. As the pas de deux went on her anxiety seemed to increase -- perhaps accelerated by a slip in her solo in which she almost lost her footing -- and even her jumps lacked their usual bouyancy. The audience seemed to enjoy it, though, which I credit to Balanchine.

This was my first view of Thou Swell, and I liked the idea of the ballet more than the finished product. As a lover of Richard Rodgers's songs, especially those he wrote with Lorenz Hart (which formed the bulk of the selection here), I could have just closed my eyes and enjoyed Debbie Gravitte's and Jonathan Dukochitz's performance of the music, but I felt duty bound to watch the ballet. What was maddening about it was Martins's relentlessly hyperactive choreography. He's watched, and danced in, scores of Balanchine ballets, yet he's failed to absorb the fact that one of the Master's greatest gifts was simplicity. He could put a dozen girls onstage dancing to Sousa and have them do little more than strut about on pointe, and still make it musical, witty, and fun. But Martins never trusts himself to do that, it all has to be frantic flailing about. It gets tiring to watch after a while, and it all begins to look alike.

From a structural standpoint, I thought the small ensemble of four couples was not only extraneous but stylistically inconsistent, since they were obviously 20s flappers (at least the girls were), whereas the four principal couples were pure 30s.

Jock Soto looked very handsome and could probably have had a flourishing career in 30s movies as band leaders, Latin lovers, and the like. But the most interesting of the principals to me was Faye Arthurs. She not only looked very 30s -- kind of Myrna Loy crossed with Carole Lombard -- but danced beautifully and created a character, which the other women did not.

I don't have much to say about Glass Pieces (awful name -- it always brings to mind bloody feet) beyond that it shows Robbins's talent for capturing a moment in time without adding anything of his own to it. I suppose that has a certain historical value, but not an artistic one.

[Natalia]

As before, I'll offer just some quick jottings from my playbill, on last night's (Mar. 3) program at the Kennedy Center.

GLASS PIECES (grade: A-plus)

This turned out to be the highlight of the night, by a mile. What a spectacular, energetic, crisp rendition of the first and third movements (Philip Glass' 'Rubric' and 'Akhnaten,' respectively) by the corps de ballet!!!! WOW! WOW! WOW! I've seen this ballet just once before sitting in an Orchestra seat. Last night, sitting up in 2nd Tier, I gained a greater appreciation for Robbins' sophisticated, mathematical groupings of 'mini clusters' of dancers who criss-crossed the stage, intersecting one another, yet all moving as one well-oiled machine. I adore this ballet! BRAVO!!!!

Wendy Whelan and Philip Neal were athletic, yet poetic, in the central pdd section, 'Facades.'

The sophisticated-looking Rebecca Krohn was a standout among the six fine soloists of the first movement.

Unfortunately, the night went downhill from there...

THOU SWELL (grade: C-minus)

"Thou Swell"? Thou LONG!!!!!

What boring trash, with the exception of one or two of the ballroom-dance duets ('cause it sure 'ain't' balletic pas de deux!) danced by Jenifer Ringer and James Fayette, who truly conveyed a couple in love, rather than the 'acting' by the rest.

As for the overall impression of the work, I did not think that it would end, it was so repetitious, without building to any sort of climax (as Robbins did in "I'm Old Fashioned," shown the previous night).

The placement of the big tilted mirror in the background just reminded us how Balanchine had used this trick to far greater effect in 'Vienna Waltzes.'

I loved the small ensemble ( to song 'Thou Swell') of four waitresses and waiters. Heck, it was the only true-ballet segment with pointe shoes! Besides, the ensemble included the fan-ta-bulous pixie Alina Dromova, who stood out among the corps ladies in all three ballets today.

Darci Kistler & Jock Soto. What can I say? They tried their best, to no avail. Advice to Kistler: a spaghetti-strapped, torso-hugging top is NOT your style!

The singers were, frankly, amateurish compared with the two fabulous on-stage singers at last week's Washington Ballet performance of a Wheeldon work. I could barely understand last night's singers' words and there was minimal vocal inflection & nuance.

A bit better but not great was....

STARS & STRIPES (grade: B-minus)

Basically good corps work, especially from the 2nd movement's 'blue-skirted tall girls.' Still, there were too many little slips and skids....was there a problem with the floor...or did someone forget to put a rosin box in the wings?

Sterling Hyltin was appropriately cute as the batton twirling leader of the 1st group. Ellen Bar glamorously led the 2nd group & Tom Gold finally exploded into action towards the end of 3rd group after an unusually bland start. [Those guys were TIRED.]

Then came the pdd. Woetzel - fine. More than fine, actually. BUT...Ashley Bouder was one of the most unattractive, un-feminine, mighty-mite Liberty Belles on record. What the heck was that all about? She slam-punched every movement. I expected her to sock poor El Capitan-Woetzel in the face at any minute, she had such an angry, brusque aura about her. Sorry, but it really ruined the rest of the ballet for me.

Well, at least we have one more program to go (Div 15/Polyphonia/West Side Story), to erase the negative memories of last night.

Natalia Nabatova

[Ari]

Half-price tickets for tonight's performance (Divertimento #15, Polyphonia, West Side Story Suite) are available for $41.55 at TICKETplace (see futher info upthread).

[samba38]

What are we in DC, chopped liver? We get ABT before their NY season and a significant amount of the time they are underrehearsed (including the really uneven changed-before-NYC-Swan Lake opening a few years ago). The excuse is that they are warming up for NYC.

And now we should make excuses for a sluggish corps and off-the-music dead dancing by Millipied (sp?) in T & V because NYCB comes here after NYC season?

Excuse me but the Kennedy Center isn't a school gym in nowheresville. Maybe this is why so many DC dance fans enjoy companies like Miami or PNB or San Francisco which treat a stint in the national capital as a big deal and bring it on.

(eek, I'm starting to sound like Bush or a bad cheerleader movie)

That said, I do think the company woke up for 4Ts and did fine on Wednesday night in my favorite ballet. Askegard can't help being tall (although he could get a haircut or at least comb the mop which was a distracting mess). I can't assess the quality of "I'm Old Fashioned" since it's so blandly pretty it made me a tad sleepy at the end of a long work day. I like Robbins more edgy. work

[Natalia]

What are we in DC, chopped liver?

<{POST_SNAPBACK}>

Either that or the KC programmers think that its audiences are simpletons. From so intellectual & classical a troupe as is NYCB, the KC folks have selected mostly 'lite' fare.

What is my favorite, Jenifer Ringer, dancing in five days of performances? 'Old Fashioned,' 'Thou Swell' and 'West Side Story Suite." Nice but c'mon. Where are the 'Serenades,' 'La Sources,' 'Concerto Baroccos'?

Ahhhh...but we must remember they're paying tribute to the 1940s. Yeah, OK.

Let's see how many '40's Connections to this year's repertoire-on-tour we can dream up. Here's my contribution:

Glass Pieces - music by Philip Glass, a composer who graduated high school during the '40s!

Stars and Stripes - tribute to the winning side of World War II, which took place in the '40s!

West Side Story Suite - a ballet about Puerto Rican kids whose parents immigrated to New York during the '40s!

[Ari]

BUT...Ashley Bouder was one of the most unattractive, un-feminine, mighty-mite Liberty Belles on record. What the heck was that all about? She slam-punched every movement. I expected her to sock poor El Capitan-Woetzel in the face at any minute, she had such an angry, brusque aura about her. Sorry, but it really ruined the rest of the ballet for me.

<{POST_SNAPBACK}>

Bouder isn't usually like this, Natalia. She's forceful, but normally relaxed and joyous, and shows a greater range of emotion than she did last night. I think she realized the company was tired and not giving its best, and was trying to make up for it. Which is touching in someone so young -- she knows that being a ballerina means taking responsibility for the success of the performance. Unfortunately it didn't come off.

[Natalia]

Ari, I've seen Bouder 'live' before, most recently in 'Ballo della Regina' in early January. My goodness, of course what we saw last night is not the norm. However, I found her 'Ballo' a tad too aggressive, too. She reminds me a lot of long-time-competitor/now Birmingham Royal Ballet's Molly Smolen...or Olga Chenchikova when she blasted away at her fouettes. Very sharp attacks. Somehow, some other technically-brilliant ballerinas (the Merrill Ashleys, Diana Vishevas, Maria Alexandrovas, Michele Wiles) temper their might with a certain elegant softness. It's a tough tightrope to walk -- how to be dynamic, yet a 'ballerina,' emitting the feminine airs implied in that title.

It's just a matter of personal preferences. Nobody's right or wrong!

[kfw]

Natalia, they gave us Serenade and Barocco last year. The latter was, well, not fully itself.

[justafan]

Here in NY, we often get a pretty tired NYCB crew at the end of the winter season. After all, the 8 week winter season is preceded by 5 or 6 weeks of the Nutcracker. Add injuries -- or like this year a pretty nasty flu -- and those left standing sometimes look like they could drop.

Of course, this really shouldn't be an excuse. A few years ago, even the magnificent Wendy looked beat by the end of the season and the corps was just ragged. I told my companion, a chauvinistic Russian, to recognize that the corps was pretty tired on the last afternoon of the winter season. She huffed and said something along the lines of "these are professionals, this is supposed to be a world class company -- we wouldn't accept that as an excuse in Russia!"

Maybe the Kennedy Center should rethink where they place NYCB on the schedule? Even a few days rest might help.

[Natalia]

... a chauvinistic Russian, to recognize that the corps was pretty tired on the last afternoon of the winter season. She huffed and said something along the lines of "these are professionals, this is supposed to be a world class company -- we wouldn't accept that as an excuse in Russia!" ....

<{POST_SNAPBACK}>

They say exactly that, justafan....then they turn around and complain about the Mariinsky's grueling tour schedule taking its toll on the company!

Unfortunately, the Kennedy Center Opera House gives preferential treatment to its big-buck$ tenant, the Washington National Opera (Placido's group). They get the 'pick' of the prime months of fall & spring, precisely when NYCB dancers would be most rested! What few weeks are left on the calendar for other offerings are bunched-up in the Dec-Jan-Feb period & early-summer months, when the theater prefers to book national road companies of 'Phantom of the Opera' and the like. The MIRACLE is that they've booked the Kirov 'Corsaire' in early July (that due to the unfortunate circumstance of Dance Th. of Harlem's cancellation of its January '05 week). Otherwise we'd be seeing the 28th annual road-show of 'Guys & Dolls' -- or something like it -- during the entire July & August 'tourist stretch'.

[Michael]

I'm not sure they're all that tired. Why make excuses for them? You are seeing the company with different eyes, in a different context, and on a different stage. Any company can, and all companies do, have streaks.

From here, I looked at the programming and casting with trepidation. Miranda hasn't been able to dance Theme with high energy for a while. It was very flat here last Spring until Sylve revived it this Winter.

You in DC have high expectations. The DC posters have been savage to ABT, the Bolshoi and the Kirov too on a regular basis. Remember when the Bolshoi left all of their major players at home and Lunkina was on Maternithy leave? And remember when the posters lit into the Kirov's men? It's quite instructive and even positive in a way -- We see our own companies with such inbred affection. They are like family. We overlook the faults. We even become fond of them. Others have no such bias.

Natalia, I do notice that you spare the Ballerinas you've always loved. Jenny Ringer, however, has been a little out of shape all year. Not everyone will have loved her in that Astaire piece either here or there. I thought she was pretty heavy footed in it myself last winter and over-emoting to make up for it. Oddly enough, Maria Kowroski -- who you are not seeing -- had some of her best performances of the season in this. Korbes has replaced her and has also been quite good and God Knows its a pleasure to see Carla.

A question. What has been the audience reaction in the house? Has it been fully as negative?

[art076]

Re: NYCB's tiredness at the end of a long winter season

Are they the only major company to perform seasons on a 7-shows-a-week schedule, a la the schedule for plays and musicals? If so, this must be a much more grueling schedule than major companies like the Royal or Kirov, who perform at home in repertory and not every day (therefore getting breaks)... they must be understandably tired at the end of a season! Then add travel, compressed touring schedules and a theatre that is not home...

I'm not making excuses I'm just saying I understand why they might look exhausted. Unfortunate that the scheduling has to work out this way for the KC tour.