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New York City Ballet Fall Season


Helene

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3 minutes ago, canbelto said:

Oops my bad. Am I imagining things or was it originally supposed to be another ballet?

On June 25, in the 2018-19 season thread, I did a comparison between the schedule at that point and as originally announced, and here's what I found:

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I just did a comparison with the printouts I had from the original season announcement, and the three changes I found are all in spring:

  • Tchaikovsky Suite 3 instead of Union Jack
  • Diamonds instead of Brandenburg
  • Dances at a Gathering instead of Liebeslieder Walzer

(The "Classic NYCB II" program was originally two different programs, one with DaaGStars and Stripes and the new Fall 2018 ballet, the other with Liebeslieder instead of DaaG. Now they're both the same.)

 

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I was looking at the online program listings (not the casting sheets), and the Allegro Brilliante entry for Oct 2 reads as follows:

 

Music by: Peter Ilyitch Tschaikovsky

Choreography by: George Balanchine

Principal Casting: SEPT 29 mat, 30 mat: Sara Mearns, Tyler Angle
SEPT 29 eve, OCT 7: Tiler Peck, Roman Mejia* (*first time in role)
OCT 2: Erica Pereira, Anthony Huxley (*first time in role)

 

Since Allegro Brilliante was never scheduled for October 7, is this a typo?  I would be thrilled to see Allegro on Oct 7, so I hope this is not a typo error.

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Abatt, it seems like that must be a typo, but it's an odd one. Maybe all the injuries are necessitating a change in programming. That's rare, but I guess it does happen. Last time I can think of was a couple of years ago when Claire von Enck was suddenly thrown into Tarantella (although I can't remember what it replaced, or why). 

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4 minutes ago, abatt said:

I was looking at the online program listings (not the casting sheets), and the Allegro Brilliante entry for Oct 2 reads as follows:

 

Music by: Peter Ilyitch Tschaikovsky

Choreography by: George Balanchine

Principal Casting: SEPT 29 mat, 30 mat: Sara Mearns, Tyler Angle
SEPT 29 eve, OCT 7: Tiler Peck, Roman Mejia* (*first time in role)
OCT 2: Erica Pereira, Anthony Huxley (*first time in role)

 

Since Allegro Brilliante was never scheduled for October 7, is this a typo?  I would be thrilled to see Allegro on Oct 7, so I hope this is not a typo error.

The casting sheet (as of 9/28)  has 

SUNDAY MATINEE, OCTOBER 7, 3:00 PM

(Conductor: Sill)
PULCINELLA VARIATIONS: Hyltin, Miller, T. Peck, Gerrity, Woodward, Janzen, Scordato, Garcia, Huxley

pause
THIS BITTER EARTH: *Lovette, *Danchig-Waring

CONCERTO DSCH: Mearns, T. Angle, Bouder, Garcia, De Luz [Solo Piano: Walters] [Solo Piano: McDill; Solo Violin: Danielson]

FEARFUL SYMMETRIES: Kretzschmar, Phelan, Woodward, Sanz, Walker, Ball, Hoxha, Villarini-Velez, Henson

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59 minutes ago, abatt said:

I was looking at the online program listings (not the casting sheets), and the Allegro Brilliante entry for Oct 2 reads as follows:

 

Music by: Peter Ilyitch Tschaikovsky

Choreography by: George Balanchine

Principal Casting: SEPT 29 mat, 30 mat: Sara Mearns, Tyler Angle
SEPT 29 eve, OCT 7: Tiler Peck, Roman Mejia* (*first time in role)
OCT 2: Erica Pereira, Anthony Huxley (*first time in role)

 

Since Allegro Brilliante was never scheduled for October 7, is this a typo?  I would be thrilled to see Allegro on Oct 7, so I hope this is not a typo error.

It looks like they meant to say October 3, not October 7.  

 

Edited by NinaFan
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The casting sheets have yet to be updated for next week. However, on his Instagram, Adrian Danchig-Waring posted that Joseph Gordon would replace him in Afternoon of a Faun, debuting October 11. I expect that will be the case for the other performances that week (I have tickets for the Saturday matinee with Afternoon of a Faun as well as the DeLuz farewell that weekend).

(Sorry for the lack of link, I can't figure out how to embed it)

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IMG_4448.jpg

Brittany Pollack is back. I guess her "reporting relationship" with Jonathan Stafford isn't an issue, despite NYCB's policy, or she's reporting to one of the other interim leaders. All the more reason that NYCB needs a new AD in place. Is it a great idea to have J. Stafford potentially involved in casting (and supervising) both his wife and his sister? There was enough nepotism in the Martins era. 

Edited by fondoffouettes
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I was at last night's performance. It was a very long program. It was also Joaquin's last James. Sterling Hyltin was exquisite as the Sylph, and Joaquin clearly was enjoying dancing James for the last time. Only thing was Lauren King was so much taller than Joaquin, Sterling, and Daniel Ulbricht that she towered over all of them. Odd casting choice. NYCB currently has a whole bunch of shorter, sweet-faced girls who could have danced Effie.

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54 minutes ago, canbelto said:

I was at last night's performance. It was a very long program. It was also Joaquin's last James. Sterling Hyltin was exquisite as the Sylph, and Joaquin clearly was enjoying dancing James for the last time. Only thing was Lauren King was so much taller than Joaquin, Sterling, and Daniel Ulbricht that she towered over all of them. Odd casting choice. NYCB currently has a whole bunch of shorter, sweet-faced girls who could have danced Effie.

I saw the same cast on Saturday and thought the performance was danced beautifully.   My only complaint is the height issue you mentioned.  I thought King did a great job as Effie, but it looked odd to have her towering over the two men.   And that little heel on her shoes didn't help.

 

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Major program change, folks.  For the Sat Oct 6 matinee, they have replaced the Ratmansky masterpiece Concerto DSCH with the decidedly NON-masterpiece New Kyle Abraham work.  The Concerto DSCH was the main  draw on that program.  (See updated casting sheet posted today.) 

I assume this was necessitated by the firings/resignation/injuries.  It's having a ripple effect.  You can see that the Angle brothers are once again being drafted into additional performances due to lack of available principal men. They still have not figured out yet who will replace Adrian at the DeLuz farewell in Todos Buenos Aires.

Oh, and the casting for This Bitter Earth on that same program is changed from Tiler & Tyler to Reichlin and LaCour.  Glad I decided to skip the Oct 6 matinee.

Edited by abatt
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1 hour ago, abatt said:

Major program change, folks.  For the Sat Oct 6 matinee, they have replaced the Ratmansky masterpiece Concerto DSCH with the decidedly NON-masterpiece New Kyle Abraham work.  The Concerto DSCH was the main  draw on that program.  (See updated casting sheet posted today.) 

I assume this was necessitated by the firings/resignation/injuries.  It's having a ripple effect.  You can see that the Angle brothers are once again being drafted into additional performances due to lack of available principal men. They still have not figured out yet who will replace Adrian at the DeLuz farewell in Todos Buenos Aires.

Oh, and the casting for This Bitter Earth on that same program is changed from Tiler & Tyler to Reichlin and LaCour.  Glad I decided to skip the Oct 6 matinee.

Arghhhhhhhhhhh!  I have tickets for Oct 6, and Concerto DSCH was definitely the draw for me on that program.   I have never seen so many program changes.  Yes, it does happen once in a long while, but not on this scale.

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7 minutes ago, NinaFan said:

Arghhhhhhhhhhh!  I have tickets for Oct 6, and Concerto DSCH was definitely the draw for me on that program.   I have never seen so many program changes.  Yes, it does happen once in a long while, but not on this scale.

Perhaps you can exchange the ticket?

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1 hour ago, abatt said:

Major program change, folks.  For the Sat Oct 6 matinee, they have replaced the Ratmansky masterpiece Concerto DSCH with the decidedly NON-masterpiece New Kyle Abraham work.  The Concerto DSCH was the main  draw on that program.  (See updated casting sheet posted today.) 

I actually liked the new Abraham work a lot, although of course your mileage may vary! It's worth the price of admission just to see Taylor Stanley, but I think it flatters the rest of the cast, too, especially the men. I love the ruffs; I love the headpieces. The only costume I'm iffy on is Ashley Bouder's; it makes her look just a little too much like a fuzzy caterpillar.  

One thing I liked  was the way Abraham interleaved a phrase of not-ballet with a phrase of most-definitely ballet, rather than trying to atom-smash them together into some kind of new dance compound. When the dancers were given ballet steps to do, they by and large got them in complete phrases and did them the way ballet dancers would. And they got real steps: like Pam Tanowitz, Abraham seems to have more respect for the possibilities of petite allegro than Christopher Wheeldon does. The dancers' movement had a different inflection in the not-ballet passages, of course, although it was fun to see a characteristic bit of Abraham resolve into a beautiful, poised croisé. 

Check out the samples on the work's repertory page on the NYCB website: https://www.nycballet.com/season-tickets/18-19-season/winter/feb-10-2019-new-combinations/new-abraham.aspx

They appear to have taken down one of my favorite bits of "flash footage" wherein Roman Mejia unleashes a demented barrage of petite allegro to the equally demented "I Love Kanye."

ETA: I will make every effort to see The Runaway again, although I probably won't get a chance this season, alas. 

Edited by Kathleen O'Connell
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7 minutes ago, Kathleen O'Connell said:

I actually liked the new Abraham work a lot, although of course your mileage may vary! It's worth the price of admission just to see Taylor Stanley, but I think it flatters the rest of the cast, too, especially the men. I love the ruffs; I love the headpieces. The only costume I'm iffy on is Ashley Bouder's; it makes her look just a little too much like a fuzzy caterpillar.  

One thing I liked  was the way Abraham interleaved a phrase of not-ballet with a phrase of most-definitely ballet, rather than trying to atom-smash them together into some kind of new dance compound. When the dancers were given ballet steps to do, they by and large got them in complete phrases and did them the way ballet dancers would. And they got real steps: like Pam Tanowitz, Abraham seems to have more respect for the possibilities of petite allegro than Christopher Wheeldon does. The dancers' movement had a different inflection in the not-ballet passages, of course, although it was fun to see a characteristic bit of Abraham resolve into a beautiful, poised croisé. 

Check out the samples on the work's repertory page on the NYCB website: https://www.nycballet.com/season-tickets/18-19-season/winter/feb-10-2019-new-combinations/new-abraham.aspx

They appear to have taken down one of my favorite bits of "flash footage" wherein Roman Mejia unleashes a demented barrage of petite allegro to the equally demented "I Love Kanye."

ETA: I will make every effort to see The Runaway again, although I probably won't get a chance this season, alas. 

Kathleen - Thank you so much for the great review and links!  You convinced me to keep the tickets for Saturday!

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10 minutes ago, NinaFan said:

Kathleen - Thank you so much for the great review and links!  You convinced me to keep the tickets for Saturday!

I'll feel just awful if you regret it! I think Runaway is the real keeper from the Fall Gala ballets, although Gianna Reisen's new work "Judah" confirms every bit of promise in "Composer's Holiday." I had to keep reminding myself that she's just 19. 

From what I've seen touring the reviews, critical opinion is split on the new Abraham. Marina Harss was mostly positive: http://dancetabs.com/2018/09/new-york-city-ballet-fall-gala-the-exchange-judah-the-runaway-new-york/ It may depend on one's ability to tolerate Kanye.

ETA: I'm not a huge fan of Fearful Symmetries, but the mostly all-debut cast listed for the 10/6 matinee looks mighty interesting.

Edited by Kathleen O'Connell
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15 minutes ago, Kathleen O'Connell said:

I actually liked the new Abraham work a lot, although of course your mileage may vary! It's worth the price of admission just to see Taylor Stanley, but I think it flatters the rest of the cast, too, especially the men. I love the ruffs; I love the headpieces. The only costume I'm iffy on is Ashley Bouder's; it makes her look just a little too much like a fuzzy caterpillar.  

One thing I liked  was the way Abraham interleaved a phrase of not-ballet with a phrase of most-definitely ballet, rather than trying to atom-smash them together into some kind of new dance compound. When the dancers were given ballet steps to do, they by and large got them in complete phrases and did them the way ballet dancers would. And they got real steps: like Pam Tanowitz, Abraham seems to have more respect for the possibilities of petite allegro than Christopher Wheeldon does. The dancers' movement had a different inflection in the not-ballet passages, of course, although it was fun to see a characteristic bit of Abraham resolve into a beautiful, poised croisé. 

Check out the samples on the work's repertory page on the NYCB website: https://www.nycballet.com/season-tickets/18-19-season/winter/feb-10-2019-new-combinations/new-abraham.aspx

They appear to have taken down one of my favorite bits of "flash footage" wherein Roman Mejia unleashes a demented barrage of petite allegro to the equally demented "I Love Kanye."

ETA: I will make every effort to see The Runaway again, although I probably won't get a chance this season, alas. 

Thanks for this awesome review and for the link; I'd seen the footage of Taylor Stanley but not the others. Love Ashley Bouder's exit in the second. Will be at the Armory for Keersmaeker's Brandenburg Concertos on Saturday, unfortunately, so I'm very happy to see that The Runaway is returning this spring!

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32 minutes ago, Kathleen O'Connell said:

I'll feel just awful if you regret it! I think Runaway is the real keeper from the Fall Gala ballets, although Gianna Reisen's new work "Judah" confirms every bit of promise in "Composer's Holiday." I had to keep reminding myself that she's just 19. 

From what I've seen touring the reviews, critical opinion is split on the new Abraham. Marina Harss was mostly positive: http://dancetabs.com/2018/09/new-york-city-ballet-fall-gala-the-exchange-judah-the-runaway-new-york/ It may depend on one's ability to tolerate Kanye.

ETA: I'm not a huge fan of Fearful Symmetries, but the mostly all-debut cast listed for the 10/6 matinee looks mighty interesting.

I promise not to hold you responsible!  TBH, it's easier to go on Saturday rather than figure out an exchange date.  Like many on here, we've already bought our tickets through May.  That being said, I'm sure there is something we could slip in should we need to swap. 

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Just now, yukionna4869 said:

Megan Mann is retiring. Based on the hashtags, she might be teaching at SAB?

Nooooooo! She's been one of my corps favorites for a long time and I'd always hoped she'd get promoted; whenever she got a solo opportunity she looked just terrific. 

Well, I wish her the best, of course, and I certainly hope she can pass on the qualities that made her a bright spot in the crowd.

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