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NYCB Spring 2012 Season

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I saw Midsummer Night's Dream on Tues and Wed evenings. Titania is one of Maria K.'s best roles, and she was captivating on Tues. Her long legs and forever extensions are perfect for Titania. She also has a great sense of comic timing. I liked Reichlin in the same role,but not nearly as much as Maria. DeLuz showed off his incredible technique, speed and elevation as Oberon. Garcia, in my opinion, is not a virtuoso dancer, and his Oberon looked effortful and too small in scale. Reichlin (on Tues) and Scheller (on Wed) were both excellent Hypolitas. I'm not sure why Ulbricht has not been cast as Oberon, but I certainly enjoyed him as Puck. The star crossed lovers in both performances were wonderful. I especially liked R. Krohn's long lines and expansive sweep.

Wendy Whelan, w. Jared Angle as her partner, was sublime and ethereal in the Act II divert. She had a few shaky moments in the most technically demanding passages, but they were very minor. I had not seen her do the role for a number of years, so I had my worries going in as to whether she could still do this role. My worries were unfounded. Whelan has been very smart in choosing her roles. The audience's response at the end of the pdd was rapturous. Wendy is a treasure. Megan Fairchild and S. Marcovici are, in my opinion, miscast as the leads in the Act II divert. (on Wed.)

The little kids on stage were delightful.

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I just saw tonight's MNSD. I'd add: STOP DOING WHATEVER YOU'RE DOING RIGHT NOW and buy a ticket for this revival. It's the best I've seen the NYCB dance this in years. Absolutely amazing work, from Maria K. to Tiler Peck to the SAB students. Magical.

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Just saw Tiler Peck's debut in the Act II Divertissement of Misdsummer Night's Dream. Stop whatever you are doing and buy a ticket RIGHT NOW for the Sunday matinee, when she's scheduled to dance it again. She was glorious.

Just adding my agreement. This Divertissement pas is IMO a great work, and as stated, Tiler Peck was glorious. If you can get a ticket go. The atrium was selling half priced tickets for the rear of the 4th ring for tonight's performance, in case anyone is interested.

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I went to this afternoon's performance as well, and in my opinion it didn't have the magic of last night's performance. Reichlen doesn't have Maria K.'s comic timing or voluptuous persona -- her Titania is strangely reserved. The lovers were better this afternoon -- Sterling Hyltin and Rebecca Krohn both standouts as Hermia and Helena. The second act divertissement pdd had Megan Fairchild and Sebastian Marcovici and I agree they were somewhat miscast. Garcia as Oberon I found to be a pleasant surprise, and Adam Hendrickson was terrific as Puck.

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Tiler and Tyler were magnificent in the Act II divert. on Sunday. An excellent way to end the NYCB season. TIler Peck is, in many ways, the most versatile principal at ABT. She can easily perform both adagio and allegro, and she is great in both. That's a rare talent, I think. She reminds me of Kyra Nichols in her lyricism and musicality.

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I was disppointed without a Dancer's Choice too. I guess the surplus from the program was too little to justify all the time and effort. It's expensive to stage the program; musicians, stage hands, ushers... need to be paid, while the house's full but the prices were cheap. It's a great way to get people into the theater, that alone it's worth the time and effort.

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Here´s a section of the recap (I kept looking for a second page of it).

It’s fair to say that New York City Ballet has begun a renaissance. The recent season at the David H. Koch Theater kept supplying evidence of this, not least at Sunday’s closing performance of George Balanchine’s two-act “Midsummer Night’s Dream,” led by Teresa Reichlen as Titania and, even better, with Tiler Peck in the Act II divertissement.


Paradoxically, it’s also fair to say that the company’s doldrums, so evident in the 1990s and well into this century, show no sign of abating. The company still fields in prima roles a number of women who dance as twinkle-toed soubrettes, devoid of adult decisiveness, musicianly phrasing or linear beauty.

They have their male counterparts too: men who are amiably, efficiently and dully blank. Such dancers have reduced the company’s founding choreographers to Balanchine and Robbins Lite.

And yet such dancers have been consistently promoted by the company’s ballet master in chief, Peter Martins, for over two decades. Who can solve this conundrum in chief? ...

It does not help to look to Mr. Martins’s taste in new choreography.

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