Thursday 02/23

[jimmattimore]

I am delighted to say that I saw our Jenny Somogyi dancing tonight, and she looked great.

The Brahms-Schoenberg had Somogyi, Weese, Sloan and Sylvie; this is a ballet I love, and The dancing was great.

Jenny, Welcome back.

Next, I want to see the return Of Janie Taylor.

I just arrived home, and I am exhausted, but the new Peter Ballet (Is it Frisandes?) was good for five of the maybe twenty-five minutes. I found myself thinking about appetizers for my Sunday birthday dinner and the Poe stories I have to read for my lit classes on monday.

Ulbricht, Reichlen, Lowery were superb.

To bed.

Jim

[ViolinConcerto]

I made a last-minute decision to go to the performance last night, so that I could see BRAHMS SCHOENBERG and SONATAS AND INTERLUDES. I was curious about FRIANDIES, since even many confirmed Martins-bashers seemed to like it.

FRIANDIES was a very pleasant surprise, in terms of the choreography, but especially the dancing. The music was interesting, but "too much" for me -- not a technical term, it just got too long, too loud and too chaotic at times. But I think it was a very successful piece for Martins in terms of its design and structure, footwork and originality, but most especially it's wonderful use of and respect for the dancers. He used each dancer (or couple) in ways that highlighted that particular dancer's strengths to best advantage. I was blown away not just by Ulbricht and Peck, but Craig Hall (whose solos showed off his perfect classical form), Amar Ramasar and Sara Mearns as standouts. Tiler Peck (who suddenly reminded me of Jennie Somogyi) defied physics and gravity in her turns.

I preferred the last third of the ballet, and Jimmattimore is right in saying it was waaaay too long, but I'd happily see it a few more times, and I haven't said that about any Martins piece since CALCIUM LIGHT NIGHT, and THE WALTZ PROJECT.

BRAHMS SCHOENBERG was performed beautifully, and I felt conducted wonderfully by the guest conductor, John Morris Russell (when he took his bow, I thought that he was a perfect "central casting" conductor). Finally -- Albert Evans in a "Romantic" role! Too bad he's been so underused for so many years. (I did feel his costume was too tight.) Carrie Lee Riggins carried the Andante for me -- Benjamin Millepied seemed only half-there, and I've never cared for Yvonne Borree, although she did come alive after the kiss in R&J.