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Emma

2016 Winter Season

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OMG. You are right. I'll be on tenterhooks till casting comes out.

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I have one orchestra ticket to each of the Balanchine Celebration performances on Sat. that I will not be able to use due to the impending weather in DC. I would be willing to sell them at a 50% discount. If anyone is interested, please send me an e-mail at ashmckean@gmail.com.

Ashley

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Question: how tall is Mearns?

I think 5'7"... not positive and if accurate no idea where I read it

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I saw last night's performance as well. One personal note about Liebeslieder Walzer. I am a former professional ballet dancer, teacher and long, long time fan. I came to appreciate Liebeslieder late as did my husband who is also a former dancer. About 4 years ago we decided to give it one more try and got tickets that were in the orchestra pretty close to the stage. We fell in love with the ballet. For us it needed that intimacy to convey all it's wonders. Now we see it whenever we can and even though we sit further away, it's magic still works.

I agree with another poster that last night's performance was in many ways a work in progress. Witnessing that has it's privileges too. Everyone had moments that touched my heart and it's something to know I've seen these dancers at the beginning of their journeys into the ballet. Krohn's honesty - not a fake move, Tiler Peck's extraordinary musicality, Lovett's lush beauty and Megan Fairchild's precision and openness were all on display. The men were all fine and will go deeper with more experience. All, men and women, knew they were part of something special. I enjoyed it start to finish. One last thing the singers were wonderful - the tenor magnificent.

Glass Pieces is a work I go in and out of liking but I always appreciate the craftsmanship. In the pas Danching-Waring looked great and was a wonderful partner. I liked Mearns too. She doesn't have the angularity often displayed by dancers in this role but she can move fast and is musical and I enjoyed seeing what her lush movement quality brought to the role.

I enjoy seeing dancers cast off type occasionally. Even if it's not 100% successful I like seeing the different qualities that can be brought out in a piece and it's great for a dancer's development. At NYCB where dancers are not allowed to alter tempos to suit them I usually find it satisfying.

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Hi, new to the forum here, but have been following it for some time...I agree that it really excites me when dancers go out of their comfort zone.

I was particularly excited that megan fairchild was going to debut in justin peck's New work but realized she was replaced by Tiler peck for the originally scheduled 2/6 debut....but I can understand because she has a very busy schedule this season ....I'm really excited to see her in all the other featured dances this season! I know she suffers a bit because her rep is very similar to Tiler peck and Ashley bouder's and because of that she is often overshadowed but I really appreciate Megan's honest, and open style and I think her talent adds a lot to the company. I just wanted to give her a shoutout because I think her modesty sometimes gets in the way of her shining as brightly as the others....

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I was at the opening night performance and thought that Fancy Free needs to be re-coached. I've only seen ABT do it and by comparison the NYCB guys are so aggressive and even menacing towards purse girl that the thing became uncomfortable to watch. ABT makes it a lighter, more flirtatious gesture. This ballet is supposed to be light and fun, and last night it wasn't that at all.

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I attended Thursday evening. Another brilliant performance from Tiler Peck in T&V. She has such strong technique and musicality. It was a triumph. Her partner, Andy Veyette, had a good night, but not a perfect one. There were some noticeable bobbles in his solo passages. I also have to mention DeLuz's excellent performance in Ballo. He has more elevation and ballon than guys half his age. A performance to treasure. Megan Fairchild did a very good job, but there was little sparkle. I thought she also sometimes blurred the choreography/steps in order to keep up with the music. The four soloist ladies in Ballo were terrific- especially A. Isaacs. I found myself fantasizing about Isaacs taking over the lead in Ballo. Her attack is so bold and her movements so perfectly crisp and clean that I think she would be a perfect candidate for the role.

I was hoping for a miraculous transformation of Abi Stafford upon her return, but no such luck. A very bland account of the second movement of Tchai Suite 3. Krohn and Catazaro were romantic and passionate in the first movement. (Catazaro replaced Ask LaCour). Third movement was Ulbricht and Paz, both pretty wonderful.

No comment on Kammermusik. Not really my cup of tea. It seems to go on and on for way too long.

Nice to see Catazaro back, albeit in a barefooted role.

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I have an extra ticket for the Liebeslider Walzer/Glass Pieces program next Friday, January 29. Orchestra, Row B. $21. PM me if interested.

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the audience was light for the Liebeslieder/ Glass Pieces program during the snow. It felt special to be there!

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I was at the opening night performance and thought that Fancy Free needs to be re-coached. I've only seen ABT do it and by comparison the NYCB guys are so aggressive and even menacing towards purse girl that the thing became uncomfortable to watch. ABT makes it a lighter, more flirtatious gesture. This ballet is supposed to be light and fun, and last night it wasn't that at all.

I wonder who coaches. I thought Jean-Pierre Frolich coached both companies but I could be wrong. Anyone know? In any event that is a very tricky part of the ballet and times have changed.

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Is a cancellation really necessary??!! Many disgruntled disappointed unhappy audience members here at half an hour before the performance.

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Is a cancellation really necessary??!! Many disgruntled disappointed unhappy audience members here at half an hour before the performance.

I looked at the NYCB site a few hours ago and they said this would be a snow day, with exchange privileges, but the shows would all go on. Their Twitter feed also gave that impression. I wonder how many devoted fans read that and slogged through the snow to get there. It would have been better to take the Kennedy Center approach and just cancel everything yesterday. (So glad I decided to skip Balanchine's birthday weekend this year!)

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People continue to arrive - as I stand here watching the scene. Slogging through the snow with vigor, then looking disbelieving and disappointed when they find out.

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Yeah, Megan Fairchild posted the shows were cancelled about an hour ago on Instagram, so I checked the NYCB website and it still said the show was going on. NYCB should have just cancelled this morning. I'd be more than a little annoyed if I traveled there and found out it was cancelled.

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Well, when the mayor called for a travel ban in and out of the city for 230pm, they had little choice.

The Broadway League called for all shows to be cancelled a little before 100pm. So lots of people

in town for a show are disappointed. If they had jumped the gun earlier, it still wouldn't have had an

ideal outcome. Safety first. Mother Nature flexing her muscles.

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Yeah, poor Gonzalo, his debut in Symphony in C delayed due to Mother Nature! Still, good to see the company celebrating.

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The casting for all the ballets tonight was changed so Gonzalo got his debut this evening. I have to say I was kind of bummed not to see Tiller Peck in the 1st movement (replaced by Megan Fairchild). Maybe she'll do it on Jan. 30.

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Basically what they did was to move everyone who was supposed to be in the Saturday cast into the Tuesday cast. You can see alll the casting info on the website, whcih was updated. There were so many cast changes that they placed an insert of the changes into the programs - something they stopped doing years ago. The only change announced from the stage was that Erica Pereira replaced Lovette in the soloist role for Walpurgisnacht.

I was bummed about seeing Reichlin in the second movement of Symphony in C instead of Mearns. The consolation, however, was that I got to see Mearns as the lead in Walpurgisnacht instead - one of her best roles. I thought Tiler Peck and J. DeLuz made the relatively minor ballet Sonatine look like something very special. Still tryimg to get used to Hyltin as the lead in Mozartiana. So far, I'm not convinced that this is a good role for her. I was blown away by Huxley as the lead in Mozartiana. I haven't seen such crisp, clean and fast footwork in the male solo variations since Damian Woetzel left. No fudging or blurring of the choreography here. Every step was crystalline. However, Huxley and Hyltin are a mis-matched couple. Every time she went on pointe the height difference between her and Huxley became a distraction. I wasn't overly impressed by any of the casting in Symphony in C. It wasn't bad, but it wasn't excellent either. Reichlin is making progress in her role, but she lacks the mystery and grandeur for the role. Being super tall isn't enough. Her fully stretched positions, however, were appreciated.

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Basically what they did was to move everyone who was supposed to be in the Saturday cast into the Tuesday cast. You can see alll the casting info on the website, whcih was updated. There were so many cast changes that they placed an insert of the changes into the programs - something they stopped doing years ago. The only change announced from the stage was that Erica Pereira replaced Lovette in the soloist role for Walpurgisnacht.

I was bummed about seeing Reichlin in the second movement of Symphony in C instead of Mearns. The consolation, however, was that I got to see Mearns as the lead in Walpurgisnacht instead - one of her best roles. I thought Tiler Peck and J. DeLuz made the relatively minor ballet Sonatine look like something very special. Still tryimg to get used to Hyltin as the lead in Mozartiana. So far, I'm not convinced that this is a good role for her. I was blown away by Huxley as the lead in Mozartiana. I haven't seen such crisp, clean and fast footwork in the male solo variations since Damian Woetzel left. No fudging or blurring of the choreography here. Every step was crystalline. However, Huxley and Hyltin are a mis-matched couple. Every time she went on pointe the height difference between her and Huxley became a distraction. I wasn't overly impressed by any of the casting in Symphony in C. It wasn't bad, but it wasn't excellent either. Reichlin is making progress in her role, but she lacks the mystery and grandeur for the role. Being super tall isn't enough. Her fully stretched positions, however, were appreciated.

Lauren posted on her IG that she tweaked her knee and was getting an MRI. I hope it's not too bad, but that is why she couldn't dance last night.

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Online casting sheet for this week has been updated. Lovette is out for the rest of the week. Hyltin is taking her role in Liebeslieder, and Tiler Peck is taking her role in Who Cares. Additionally Megan LeCrone is out of Who Cares. Her role is going to Lowery.

No doubt this injury to Lovette throws off the potential casting for Sylphide. They already have lost one Sylphide (Bouder) to maternity leave. No casting info yet for the Sylphide performances. I hope Lovette can return for the Sylphide performances.

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Casting is up for Week 4. No debut Sylphs. Mearns gets a debut in Tschai Piano Concerto.

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Those are good casts. I'm excited i have tickets for the Lovette/Huxley performance, the one cast I missed last year.

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