Week 4 Spring 2005

[carbro]

The season continues . . .

[oberon]

Tuesday 5/17

When Andrew Veyette & Faye Arthurs stepped onstage at the start of 4 TEMPS last night, they seemed emblematic of the whole Balanchine black & white world. What a masterpiece this is, and how fortunate I feel whenever I see it, especially in a performance such as this where one magnificent display of dance follows another. After Veyette & Arthurs finished their cool, polished duet, Carrie Lee Riggins and Amar Ramasar brought a sexier edge to their dance. And then Jared Angle and Rebecca Krohn seemed a bit romantic - yes, even in an abstract ballet. Krohn seems to me such a very appealing dancer, her slender yet womanly figure, her sense of line and her expressive face always draw me to watch her. Unless there are unexpected changes in the next week, this will be my last Peter Boal Melancholic - what a role this has been for him! I can't count the number of times I've seen him do it and it remains as perfect an expression of the human body in motion as any I can think of. Bravo & thank you, Peter Boal!! Sylve was replaced by Ansanelli; watching Alexandra grow up at NYCB has been a total joy. Her parents were there, as they so often are, and I was thinking they must be not just proud but deeply grateful that she recovered from that injury and resumed her trajectory in the dance world. She is a beautiful, strong but ultra-feminine dancer with a huge range (COPPPELIA to MUSAGETE - just think of it!) a virtuoso technician who has become a forceful actress and can be a charming comedienne as well. She and Charles Askegard might seem a bit mismatched but they brought off the pas de deux with striking clarity. Albert Evans in Phlegmatic brought sex appeal and strength to the role; Albert's a big man but his dancing is so "quiet"; his landings like velvet, his extension generous. Reichlin repeated her very fine Choleric. Special kudos to Golbin & Edge who hovered gorgeously around Boal, and to Ana Sophia Scheller as one of the high-kicking girls. Excellent guest conductor Carolyn Kuan gave the score a wonderful layered feeling.

Wow, I wrote all that about one ballet? Sorry...I'll try to restrain myself. But POLYPHONIA was equally stimulating, again Alexandra was captivating making her solo a high point in his mysterious ballet. Craig Hall is a strong & charismatic partner for her. Veyette & Weese also made a good match; she has such a fluent technique and Veyette always looks cool & calmly takes care of his ballerina. Tinsley is a dancer I always like and she & Amar Ramasar seemed to enjoy dancing together. Wendy & Jock have made their second duet one of those memorable moments one anticipates at NYCB. Last night it held the audience enthralled.

SUITE #3: Ask LaCour gave a perfect interpretation of the sad, dreamy man in the abandoned ballroom. He is an accomplished dancer with a big jump, a very astute partner and best of all a real presence not just physically but emotionally. He was able to express his joy at the fleeting pleasure of finding his ideal in a subtle and striking way. The entire ELEGIE had a wonderful windswept feeling; Ellen Bar follows beautifully in the footsteps of Karin, Monique & Helene in this role. Rachel Rutherford in the Waltz reminded me a bit of Darci in her depth of lyricism. Rachel seemed to me a woman with a burning passion just below the surface; very intriguing. Fayette is, as ever, the ideal partner and his eyes express everything. Tom Gold brought a sprightly energy to the Scherzo where Ashley Bouder simply gave an astonishing performance. Her speed, boldness and clarity left me feeling dazzled - her dancing is so vivid. Remarkable. After all this, THEME was a letdown. Fairchild got the steps but seemed stiff to me, and de Luz

ended his series of multiple pirouettes a beat too soon and was on his knee in the final pose already when the punctuating chord sounded. At the end, he hoisted Fairchild to his shoulder with some effort but could not produce the "hands off" effect that gives the moment its ultimate thrill. Fairchild is small but she may be a bit too big for de Luz; I would like to see him dance with Scheller. Luckily I had four dreamy demi-solistes to admire: those luscious beauties Golbin & Abergel, and the Dresden pretttiness of Sarah Ricard. Hanson being out, she was replaced unannounced by Abi Stafford. Abi is such a sincere dancer and it's so good having her back. And good that she's taking it slow. In the back row, Vincent Paradiso made me think he'll be in the front row pretty soon.

Leaving the theatre, Peter Martins kindly held the door for us.

[bobbi]

Wednesday, May 18 - The first Jewels of the season

Well, I am happy to report that it was an exhilerating Rubies last night. There was a roar of approval (from an oft-times subdued partially gala audience) as the curtain descended on Miranda and Damian in the lead with Teresa Reichlen in the supporting role. The special excitement came not just from an excellent Miranda and Damian but from the well-danced corps and also from Teresa Reichlen with Kyle Froman, Adam Hendrickson, Aaron Severini and Danny Ulbricht as her four cavaliers. (I hope I got all the names right.) You cannot take your eyes off Teresa; she has incredible stage presence and such an easy jump with an otherwise excellent technique that those sustained exiting arabesques are not white-knuckle experiences but just plain awe-inspiring delights. And with four such strong cavaliers, she stayed right on the money musically. (That is my only quarrel with Theresa, but then again there are a few top-tier singers who sometimes stray from pitch.) In any event, do not miss her Rubies. It's one of the highlights of the season so far!!

The Emeralds was also very nicely danced by the corps, and the trio was well done indeed by Amanda Edge (particularly terrific in her solo), Carrie Lee Riggins and Antonio Carmena. (Note to Antonio: tone down the smile in this ballet. Although I always enjoy how you convey your joy in dancing, in this particular ballet you should use a sort of mysterious smile -- if such a thing exists.) However, Antonio's solo was very cleanly danced, and I hope to see him get more roles. Mr. and Mrs. Fayette did a superb job in the walking section. I find their performance together adds an aura of romance here; it was beautifully danced. Jeny's lyrical gifts just shine here. (I'd better not comment on last night's leads, as I am so much looking forward to next Thursday and Friday; I've already got my Row A, Second Ring seats for what I expect will be one of the highlights of the season.)

[Michael]

Bobbi -- I totally agree. Last night was the best of all five performances of Jewels in the Winter AND the Spring.

The corps de ballet was great in Rubies. Rubies is a great corps role because each of the girls has a lot of room to move -- the space of a demi soloist for each of them – and because they are partnered. There are four boys and eight girls so each girl gets partnered by turns. The choreography mirrors and simplifies the motifs danced by both of the principal girls: first the circular sinuous phrase of Miranda’s (jazzy action from leg to leg and arm to arm) and then the big partnered extensions of Reichlen. ( Balanchine’s method of composition in all his work is consistently to explore and repeat phrases from one dancer and group of dancers to the next, changing the emphasis and the context of the particular phrases).

Everyone was superb in this. Did you see in particular how striking Genevieve Labean looked when presented by her partner – the huge spacious and sensual extensions in arabesque and even bigger stretchs into allongee? Genevieve is coming back very strong from last Winter’s absence but it requires something like this to show an aspect of her you might not otherwise see – Gosh does she benefit from space on the stage and from from partnering to show the big extension and the arabesque.

Also notice Jamie Wolf who has become in a way a 2d generation Elizabeth Walker in her meaning and importance to the company, the way she secures each performance and anchors the corps de ballet in literally everything night after night. She does everything so well, there appears to be nothing Jamie cannot dance. She and Ana Sophia Scheller danced both Emeralds and Rubies last night.

And yeah, it will be something to see Bouder go into the first role in Emeralds next week. It’s particularly good because it’s such a lyrical role and there was a time when I thought Ashley wouldn’t be cast in anything that didn’t have hops on point. Very very good that they are exploring this other very powerful aspect of her dancing.

[oberon]

Great RUBIES reports, Bobbi and Michael...and thanks! Was DIAMONDS really all that bad??

Michael, I share you admiration for Genevieve LaBean...and am very glad to be seeing her onstage again. Aside from her technical gifts, she is a very attractive young lady.

[Dale]

Great RUBIES reports, Bobbi and Michael...and thanks! Was DIAMONDS really all that bad??

<{POST_SNAPBACK}>

I add my thanks to Oberon's. But what about Diamonds?

[jimmattimore]

To Tewsley watchers:

He danced tonight as a guest artist.

I like Sterling Hyltin a lot.

Wendy is incredible; she danced two pieces and appears to be about 21.

I love that woman, but : How does she do it? still? She dazzles me.

Jock is dancing again; it'll be sad when both he and Peter will not be with us in 2006.

Bouder danced magnificently in "Polyphonia," another Wheeldon piece I do not love, but oh how I love what those dancers can do with their bodies.

Monday, my wife and I will start walking and going to our condo's gym. These dancers have inspired me.

Best to all, and thanks for teaching me with every one of your posts.

JIM

[oberon]

Thursday 5/19

Waiting for the programme to start, I was thinking, why am I here tonight? I just saw 2 of the 3 ballets with identical casts and Bouder's BALLO is still fresh in my mind from the Winter season. The answer came when the curtain rose: why would I be anyplace else? Those girls in BALLO all looking so fresh and lovely; Bouder & Benjamin M put on an airy and dazzling display of virtuosity. The audience was a bit smaller in numbers than at recent performances but more expressive of their enjoyment: both dancers reaped applause as they swept through the tricky combinations. And: three calls at the end - something of a rarity these days. They deserved every bit of it. Ben is the epitome of "tall, dark & handsome" and his breezy footwork is balanced by astute partnering. Anyone who needs their passion for dance refreshed just needs to go see Ashley Bouder. She'll perk you up! And the four soloists: can you find any prettier girls anywhere? One lovelier than the next...Sterling Hyltin has a touch of Darci in her looks and a clear, crisp style; Amanda Edge with her fluent dancing and radiant joy; Carrie Lee Riggins, her smile & eyes would captivate anyone - and then there's her legs; and the jewel-like brilliance of the diminutive Ana Sophia Scheller.

Tuesday's POLYPHONIA was magnificent but it looked like a dress rehersal compared to tonight. Everyone was notched up another level (seemingly impossible) and the audience was drawn in; during Alexandra's solo the feeling of pure silence in the house was almost eerie. If I say that it was probably the finest dancing I have seen from Alexandra that would be saying alot about the level of this performance. Her balance was unreal, her line hypnotic and she seemed to dance in her own private world. Unforgettable. Craig Hall is one of those corps dancers who would be a principal anywhere else: massive star quality, immaculate partnering and radiating a sense of calm control. Weese and Veyette look other-worldly with their alabaster complexion, but there is nothing pallid about their dancing which is commited and beautiful. Tinsley and Ramasar jazzed up the scherzo and played off one another to fine effect. Jock and Wendy have simply gone beyond...can't say any more about them; the second pas de deux is just - there are no words that suffice. Audience was so tuned-in to the piece and enthusiastically demanded a third call.

Wendy & Robert Tewsley were wonderful in GLASS PIECES, dancing with a great sense of mystery; as if they had beamed in from some distant galaxy. Great!

Ethan Stiefel and Gillian Murphy were there, looking elegant.

[jimmattimore]

WOW. Oberon what a review. I agree 1000 %.

Never never did AA look and dance better.

Wendy, Jock: No words.

You are right in every word.

And three curtain calls. Brava.

JIM

[hbl]

This is getting monotonous..... I completely agree with the previous posts. AA was just unbelievable. Last week in Harlequenade she was just magnificent. The best I had ever seen her dance. Just about the only redeeming quality of that silly ballet. Then last night she just blew me away. I always thought of her a very professional and talented dancer. But she never inspired me or blew me away like she has these past few weeks.

[Balanchinomane]

End of week 4 already?

Highlights were the great casts for 4 Temps, Rubies, Emeralds, Glass Pieces

and Polyphonia.

Polyphonia is clearly inspired by Balanchine. It was interesting to see it on Tues

following 4 Temps and Sat following Stravinsky VC - both pared down masterworks. It does not copy, but the choreography pushes the dancers to do things we haven't seen before and lets us "see the music" in Balanchine tradition. How else can you describe Ansanelli's quiet solo and make a simple off-balance waltz seem hypnotic. The duets for Jock and Wendy are sublime. They move together as one body. She could fall from the sky and he would catch her softly in the palms of his hands. It is mesmerizing to watch them. And how about the lights casting the dancers shadows on the back wall in the 1st and last movements.

This is a Wheeldon ballet that will last. Not the over-budgeted, over-produced pieces like American in Paris.

I predict in 10 years we will be reminiscing about this Ballet with this cast.

[oberon]

...hopefully in ten years we'll still be seeing POLYPHONIA with people who are at present in the corps or the School dancing the leading roles! Saw it twice this season and it is a wonderful piece to watch and - I imagine - to dance.

[charlieloki]

...hopefully in ten years we'll still be seeing POLYPHONIA with people who are at present in the corps or the School dancing the leading roles! Saw it twice this season and it is a wonderful piece to watch and - I imagine - to dance.

<{POST_SNAPBACK}>

the company has twenty-six principals at present

i expect there will be some movement soon

we will be seeing retirement of more principals -- are there soloists ready to move up, or will there be people coming in from the outside, such as sylve?

certainly, senior corps members will be leaving, and this must happen soon -- not enough of the other corps members are being given featured corps roles -- seems as if their development is somewhat inhibited

ten years is a long time -- will we see anyone of the caliber of wendy or jock again?

life is strange -- save those memories -- these are the old days of tomorrow

[carbro]

A belated (sorry ) summation of my many ups and few downs during NYCB Week 4.

Tuesday: An overall outstanding 4T's. My one complaint is the casting of the Sanguinic section. Alexandra has pared the role down to its essence, and she danced it with beautiful clarity. However, she still doesn't -- perhaps never will -- have the weight this role needs. Charles Askegard gave a blurred reading. Otherwise, I would add to the posts above, special praise for Rebecca Krohn and Jared Angle for the subtlety of their sensuality in the Third Theme. Teresa Reichlen has blossomed before our eyes in Choleric -- a fully realized performance. Like Oberon, this was my last Peter Boal 4Ts, and it was one to savor. I got the feeling that he -- Peter -- felt the same. An quietly impassioned challenge of space and gravity, filled with vivid shapes.

Beyond the work of the principals, I was struck by the work of the entire cast. For the first time in a long time I became aware of how the company has allowed ballets to fray at the center. In this performance, though, the relationship of the corps and the principals was solid and integrated. It did not look like the two groups met for the first time during that performance, but that each was a part of the other. A rare and welcome unity of effort.

This was also true later, in Suite 3, if less strongly. With good physical and dramatic support from LaCour, Bar sweeeeeeps through the role, accentuating its otherworldliness. Local debuts in Theme may have suffered due to manic tempos from the pit. All in all, both Fairchild and deLuz had the technical mastery and musicality. More promising than fully realized, I look forward to Megan's progress as she gains experience and confidence (the only missing elements) -- and more sympathetic conducting. Oh, and I am a member of that faction that believes -- at least in this work -- deLuz is too small for her.

Saturday Night: Just a few nits to pick about Bouder in Ballo. First, I really missed the "picture" we should get in the pas de chat voles. She was too eager to bring those ankes together. Also, sometimes the use of the head was a bit too much, verging on mannerism. When, during a step, the eye is fixed on the dancer's head (as mine was several times during this), something's not right. Disclaimer: Ashley is such a talented and likable dancer, and my expectations so high, that these criticisms should not indicate that she gave less than a terrific performance with many satisfactions and a couple of thrills.

Sunday: Rutherford, poetic and tender, tinged lightly with sadness in the Verdy role, has etched a still-vivid image of her bending backwards in my mind. Her minute coordination as the impulse rose up her spine, through her shoulders and arms, neck and head, couldn't have been grander or more private at the same time. I never saw Verdy in this role, but I have seen probably all of her NYCB successors, and this was perhaps the most beautiful I (a Stephanie Saland fan) have seen.

Miranda Weese, IMO, just doesn't have what Rubies needs -- brash extroversion. She is a lovely, cerebral dancer who just doesn't belong here. (Diamonds, maybe?) Even Damian couldn't rouse earthier qualities from her. Another triumph, though, for Reichlen as the Tall Girl!