Spring 2006, Weeks 1 & 2 (April 25-30, May 2, 4, 6)

[carbro]

Who's been? How was it?

[Michael]

Darci Kistler had a fine performance opening night. The new cast generally looked good. Jennie Somogyi's Hermia was very strong dance wise, she was the most "Ballerina" of anyone on stage all evening in fact, which was good to see as to her -- she seems to be far along the road to being 100% -- but a little out of balance for the production as a whole. Perhaps the Hermia/Helena -- Lysander/Demetrius quartet could have been a little more tongue in cheek, a little less Stanislavky method. In Act II Somogyi dominated the pas de deuxs in the Wedding March with Reichlen not far behind. I thought the Divertissement a little flat (Whelan and Hubbe).

Kistler's Fairy Attendants -- the senior girls corps such as now they are -- were very lovely in Act I.

The Bottom pas de deux, with Danchig Waring as Bottom and Kistler in Act I was not the strongest moment in the evening -- There was some trouble with the orchestra there. Quinn's tempi were generally quite strong and moderate all evening, but at that point something seemed to happen.

Danny Ulbricht's Puck is growing on me. His grotesque presentation of it is not inappropriate. The part suits him.

[Leigh Witchel]

I probably don't need to do this, so apologies in advance for over-moderating, or putting words in Michael's mouth - but. . .

To prevent advance confusion, Michael is using the word "grotesque" as a referral to a genre of dancing, not to Ulbricht being grotesque. It's not a backhanded insult, but a description of a hearty, almost folk-like style of character work.

That said, I would have loved to see the performance. Titania is a role that Kistler will probably be able to do until she decides to give it up. How was her Oberon? I saw the ballet last week in Philadelphia - what's interesting is the ballet is not cast for height; they don't have a large enough company to insist on tall-short mismatchings.

[Michael]

I probably don't need to do this, so apologies in advance for over-moderating, or putting words in Michael's mouth - but. . .

To prevent advance confusion, Michael is using the word "grotesque" as a referral to a genre of dancing, not to Ulbricht being grotesque. It's not a backhanded insult, but a description of a hearty, almost folk-like style of character work.

That said, I would have loved to see the performance. Titania is a role that Kistler will probably be able to do until she decides to give it up. How was her Oberon? I saw the ballet last week in Philadelphia - what's interesting is the ballet is not cast for height; they don't have a large enough company to insist on tall-short mismatchings.

Yes, I meant "Grotesque" as in Noble/Demi-Caracter/Grotesque employment -- Danny does the role very much in the latter emploi which would, in fact, be that of Puck in principle.

De Luz replaced Millepied as Darci's Oberon. He acted and danced the role very nicely -- Good speed, elevation, attack. He's naturally a very fine dramatic dancer, having seen him do Alain in Fille Mal Gardee in his ABT days I should have remembered that.

[Dale]

But let's remember that Arthur Mitchell was the first puck. When he asked Balanchine what he should look like, Mr. B said "expensive." Over the years the part has become less mysterious and magical and more comic relief. Lobenthal in the NY Sun writes today about the transformation of the role.

[Leigh Witchel]

It's what's happened to every role at NYCB that doesn't require partnering. They've turned into roles for the short virtuoso dancers that Balanchine didn't make roles for. Second case in point - the gigue in Mozartiana.

[Helene]

But let's remember that Arthur Mitchell was the first puck. When he asked Balanchine what he should look like, Mr. B said "expensive."

I had never heard that!

Over the years the part has become less mysterious and magical and more comic relief.

In the movie, "mysterious and magical" are the exact words I'd used to describe Mitchell's performance in the role.

[carbro]

Over the years the part has become less mysterious and magical and more comic relief.

So what explains Albert Evans' magic? His interpretation maybe isn't terribly mysterious, but its humor is subtle, organic and touching. His absence from this role this season is glaringly conspicuous and very disappointing.

It's what's happened to every role at NYCB that doesn't require partnering. They've turned into roles for the short virtuoso dancers that Balanchine didn't make roles for. Second case in point - the gigue in Mozartiana.

And that didn't even originate on a short dancer. Chris d'Amboise was a bit taller than average and Vic Castelli a little taller than that. It was Gen Horiuchi who turned the aristocrat into an outright jester, and the aura of those first years hasn't been seen since. At least not at NYCB or ABT.

[Leigh Witchel]

Arthur Mitchell wasn't short either, so the situation is similar with Puck.

[Helene]

They've turned into roles for the short virtuoso dancers that Balanchine didn't make roles for. Second case in point - the gigue in Mozartiana.

And that didn't even originate on a short dancer. Chris d'Amboise was a bit taller than average and Vic Castelli a little taller than that.

The role was made for Castelli, who was injured before the premiere. Christopher d'Amboise was the substitute and danced the premiere. This was noted in Robert Maiorano's book, Balanchine's Mozartiana: The Making of a Masterpiece.

[Abby918]

Just returned from this evening's performance...I was so delighted to see Kowroski back on stage! She seemed a bit tentaitve at first but looked more comfortable and relaxed as the night progressed. Her extensions are just superb.

Many enjoyable debuts tonite as well...I particularly liked Stafford as Hermia, Dronova as the lead Butterfly and Sloan has always stood out to me in corps roles and did a great job as Helena.

Borree's performance on the other hand was a different story. I am always so uncomfortable while watching her. She looked very unsure and wobbled often through the entire pdd which felt endless. Such a different experience from Whelan's performance in this role. I wish I would have seen Tuesday's show for this reason alone.

And of course the children from SAB added that extra bit of magic to the night.

[jimmattimore]

I just saw the 4/27 performance and I thought Maria looked wonderful, and I am elated to have her back.

I am a big fan of Kristin Sloan, and she was a vibrant Helena.

And yes, those long lovely Kowroskian legs do extend.

A very light crowd tonight in the fourth ring.

I'll be seeing Kyra Saturday, and we look foward to that,

I love those SAB kids, and I can find not one moment when this ballet does not work for me.

[zerbinetta]

We also attended tonight to welcome back Kowroski. This is such a great role for her. I realized just how much I've missed that amazing arabesque. Fowler (debut) made a good partner for her & elegant in his little bit of solo. Suozzi was quite good in his Puck debut, more elegant than Carmena's Oberon. Carmena's feet tend to be lazy/sloppy which cannot be hidden in this role. Dronova (debut) was lovely.

Didn't stay for II.

Helene, if memory serves (which it doesn't always), Jock Soto danced the Gigue before Castelli finally got to do it - late first or early second season of Mozartianas. He was the tallest of all.

[jimmattimore]

At "MND" this afternoon, my wife and I were gasping at the beauty of Miranda Weese's dancing in the divertissment: Those arms, the smoothness of all of her moves. A Wow performance for us, and we also loved seeing Kyra whom I think did not dance at all this winter.

We love daffoils, cherry trees, forsythia and NYCB; that's how we celebrate spring in NY.

JIM

[justafan]

I too saw Midsummer's matinee on Saturday and would agree that Miranda Weese danced as well as I've seen her in years. She had none of the brittleness that she sometimes evidences and danced with quite a lyrical quality. She is in fine form indeed.

On the other hand, although I'm always happy to see Kyra's gentle smile and warm precense, I think the role of Titania no longer works for her. She seemed quite leaden at times and it seemed as if her neck was bothering her.

Joaquin DeLuz and Adam Hendrickson were terrific. DeLuz put on an electrifying display as Oberon and he made me think that this is how the role must have been performed in Villella's day. Hendrickson as Puck has made the role his own -- and I thought no one would ever come close to Evans' portrayal. But he does.

A lovely way to spend a gorgeous Saturday.

[bobbi]

Tuesday's May 2 Midsummer featured no fewer than nine (count 'em) debuts. Whether it was the enthusiastic conducting of Mr. Dunner or just the freshness of so many new faces, it turned out to be an exhilerating performance by all hands. Of the old hands in the cast -- Sofiane as Titania and Danny Ulbricht as Puck -- both were superb. I had not liked Sofiane's first outing in this role, but last night she found the lightness and the "fairy-ness" the role called for and made magic. Her cavalier, Jason Brown (substituting for Hanna) was as elegant as ever, danced beautifully in his own right. More roles for Jason please!!!

Taking it from the top, Andrew Veyette was an excellent Oberon. He had all the requisite beats down pat. He didn't have the wonderful soft landings of Eddie, Helgi or Ib, but we can always hope that will come. I would also like to see him be a little more aristocratic in his acting. That too may come. But an A- for a first outing in a major role.

All the lovers were new: Melissa Barak as Helena, Sterling Hyltin as Hermia, Seth Orza as Lysander and Omar Ramasar as Demetrius. The men danced and acted very well; both Melissa and Sterling turned out to be good actresses too. Melissa danced this role strongly, but it was the acting that impressed as well. I was especially happy with Sterling as Hermia, as this is one of my favorite roles. It requires a dancer who is very musical. (Judy Fugate used to do a fabulous Hermia). Sterling provided all the requisite seemless musicality and flow: the audience saw lots of flowing, swirling blue dress.

Tiler Peck made a superb, superb Butterfly. This dancer is definitely going to go the distance. And the height difference between her and Danny was not that obvious. Maybe we have a partnership here.

Gwyneth Muller's Hippolyta is a work in progress. Although she did okay in the Act I pyrotechnics, she -- like many another Hippolyta before her -- almost came to ground (literally) in the Act II coda. She was saved by her cavalier, but that Act II can be trecherous if you miss just one turn. She'll do fine the next outing I'm sure.

The Act II divertissement is one of the greatest of the Balanchine opus. Jeny Ringer and Chuck Askegard were delightful in the pas but not as ethereal as other past interpreters. (I always sigh when thinking of Suzanne and Peter in this part, not to mention Patty and Helgi.)

Delightful evening.