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Winter 2018

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3 hours ago, nicolc said:

Even within that training, there is great diversity of style and technique!!!  How can you notice bodies to comment on "one pound or five pounds" and not notice the diversity of style and technique within the company????  Seems like we emphasize too much on body weight and less on dancing.  

There is a difference in skill level in executing the choreography among individual dancers, which refers to quality of technique and abilities of different individuals.  But differences in the level of skill  or quality of technique is not the same thing as a different style.  Everyone at NYCB has learned the same style at SAB.  It's not like ABT, for example, where the dancers come from all different schools, and there is no uniformity or consistency of style within the company.

Edited by abatt

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Although I would like to have attended the Saturday evening performance for various reasons, the only difference in casting was the absence of Unity Phelan on Sunday. Since I witnessed the debut of Ashley Hod and Phelan in the same roles a while back, it would have been intriguing to watch the pair now in Agon

Divertimento from 'Le Baiser de la Fée' is on no account top drawer Balanchine; however, it is still an attractive and moving ballet. It should not be surprising that the De Luz-Fairchild performance earlier in the week was more touching. Nevertheless, the ballet on Sunday with Tiler Peck and Anthony Huxley was delightful. Towards its conclusion, an abrupt change in tenor occurs in the piece: it afforded Ms. Peck another opportunity to imprint—through her poignant change in expression—a hauntingly beautiful image in my mind. 

Partnering issues have always bedeviled Teresa Reichlen due to her height and body type. An understandable caution and reserve, therefore, characterizes her work during pas de deux. By the same token, her amplitude as well as her beauty—in tandem, of course, with her formidable skills as a ballerina—make her stand out favorably from other women on stage. No obtrusive partnering mishaps marred Sunday's Agon. This, along with an imposing performance by Ashly Isaacs in the “Second Pas de Trois” made watching it especially gratifying. 

A work which NYCB finds convenient to program often, Duo Concertant poses no difficulty for the company’s accomplished female principals. Associated more with brilliant and fast footwork, Ashley Bouder displayed endearing sensitivity in the ballet's quieter segments last week. To be sure, Megan Fairchild and Russell Jansen were a winsome couple, although the enormous discrepancy in height between the two is awkward. 

Before Agon, there was an informative "See the Music ..." talk. However, it was during the last ballet of the program—Symphony in Three Movements—that I veritably “saw" the music. 

Imponderable elements in varying costumes can alter sharply the appearance of a dancer in different outfits. One cannot deny that Sterling Hyltin has a thin body frame and that certain costumes accentuate her thinness. In addition, however, Hyltin possesses a dignified bearing, and a distinguished countenance when straight-faced which make her highly credible in a part such as (for example) that of a would-be Queen during the finale of The Sleeping Beauty. On Sunday, she was tremendous in Symphony: the authority, dynamism, skill, rapidity, fearlessness with which she executed the steps and motions of her role were breathtaking. Imagining her that afternoon being a “general” in charge of the "troops" on stage did not seem farfetched: the menace and military associations in Stravinsky's music were palpable. With her dazzling performance on the occasion, Sterling Hyltin almost single-handedly brought NYCB’s winter season to a triumphant conclusion.

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