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Season Opening. TPC#2. Concerto Barocco.


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This upcoming Friday the company opens the season with a ballet they really know and cherish: TPC#2. Interestingly...when Villella was still on board he called the work "Ballet Imperial". Reasons unknown to me, given that the version he staged is the "no-tutu/no- backdrops" one, but with the old name.

Concerto Barocco is also in, as well as Taylor's Company B.

And our beloved Jeanette Delgado is back from her one season hiatus!!!🤗🤗🤗

 

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"Tchaikovsky Piano Concerto Number Two"?  What are they trying to do, get the classical-music crowd interested in ballet?  Here I thought ballet marketing was all about getting people to like what nice kids dancers are in their private lives, or not so private...  Like, they go on the beach like ordinary young people.  Will wonders never cease?

But the reason Villella gave - I think someone asked him about that at one of his pre-performance talks - was that "Ballet Imperial" was an easier name to sell.

But this is a nice bit of programming, on paper, better than the one announced for here in Chicago next month.

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On 10/8/2018 at 9:47 PM, Jack Reed said:

"Tchaikovsky Piano Concerto Number Two"?  What are they trying to do, get the classical-music crowd interested in ballet?  Here I thought ballet marketing was all about getting people to like what nice kids dancers are in their private lives, or not so private...  Like, they go on the beach like ordinary young people.  Will wonders never cease?

But the reason Villella gave - I think someone asked him about that at one of his pre-performance talks - was that "Ballet Imperial" was an easier name to sell.

But this is a nice bit of programming, on paper, better than the one announced for here in Chicago next month.

I am excited to see this ballet again. I love Balanchine the most when he's all over Tchaikovsky. His leotard stuff I don't care too much I must confess. But Ballet Imperial is one of those that  really ilustrates what he knew about tsarist balletic splendor. I will miss seeing Mary Carnen Catoya on it tough...

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Great night at the ballet! Full house, Lourdes Lopez on stage announcing a new Executive Director, and a wonderful program.

Concerto Barocco opened the program. So elegant...so structured...so pure.  The leads were the very handsome, tall Jovanni Furlan, with Ashley Knox and Simone Messmer as 1st and 2nd violins.  It was role debut for the three of them...and they  were right on spot.  I haven't really clicked too much with Messmer's dancing ever since she joined the company, but here she looked beautiful.  Being a tall, elegant ballerina, and being this role one that doesn't rely in pyrotechnics-( which is not her strength)-, she was very pleasant to the eye.  

Company B.  When I first saw this Taylor's piece, I really didn't warm up to it-(never been too much of a fan of non-pointes works)- but this time it really "showed me" its multiple complex subtleties, and moreover...its darkened "impending doom" that floats all over its apparently happy, carefree dances.  War, sexuality, taboos...I saw it all tonight. A particular wink to our wonderful Kleber Rebello's "Tico-Tico:. Bravo.

And then...there is Ballet Imperial.  I always welcome such exuberant displays of grand ballet in the way only Balanchine was capable to do.  Along the romantic notes of Tchaikosky's piano, the gliding dancers keep reminding us of Mr B's respectful but, at the same time, playful homage to his Imperial balletic past.  MCB knows very well this piece, and it shows.  Petite Nathalia Arja was delightful , and when she first showed onstage running around the circle of dancers, I knew I was up for a beautiful performance, And beautiful it was. Topping it all there was the return of our beloved Jeannette Delgado, after her one season hiatus in Spain.  She 's back and she's back as strong and commanding as ever.  She and Renato Panteado gave us old school MCB all the way. BIENVENIDA A CASA!

Will be back tomorrow.  😉

Edited by cubanmiamiboy
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I went back last night for more of Barocco and Ballet Imperial. Interestingly...I ended up liking "Company B" even more this time. Kuddos to Corps member  Eric Trope for his cocky "Oh Johnny, oh Johnny", and to fiery redhead Alexander Peters for his sassy "Boogie Woogie Bugle Boy"-( which I noted is a character that always gets the "all American look" type of dancer). Simone Mesmmer did a dreamy "I can dream, can't I..?", which, silly me, got me all teary. Quite an intense suggested backstory there.

Barocco and BI were, of course, wonderful. You CAN'T go wrong with those two, and MCB knows them well. Barocco had veterans Katia Carranza and Reyneris Reyes plus up and coming Principal Jennifer Lauren in the solo parts. Ballet Imperial had also veteran Tricia Albertson plus Ashley Knox and Rainer Krenstetter in their role debuts.  Lots of "bravi" from the whole sold out house!

https://m.facebook.com/story.php?story_fbid=10156181540634191&id=647664190

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On 10/21/2018 at 8:48 PM, Juliet said:

Alas, Simone Messmer did not dance Saturday or Sunday.  Lauren Fadeley did the Company B “I can dream...” role for all three performances.

You are right. My mom just told me. On Saturday I sat upstairs to better appreciate the patterns of Barocco and BI and couldn't really distinguish the faces. It was Fadeley in Company B.

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I saw this program at the Kravis this weekend. I actually wasn’t planning to go down south for this but have the week off and visited a friend. Saturday night had Simone Messmer, Ashley Knox, and Jovani Furlan in Concerto Barocco. It has taken me time to warm up to Messmer. She was hired and immediately treated like the star of the company getting all major roles and all Opening Nights when there were dancers who I felt were better still not getting major roles. However, last season I enjoyed Messmer a lot more, and in Concerto Barocco I really loved what she was doing especially in the elegant 2nd movement. She now seems to be a solid member of the company who is hardworking and fitting in on stage as part of the ensemble. She no longer exudes a diva attitude on stage and seems humble and committed to the choreography. Jovani Furlan partnered her well too. There are so many lifts and he did them well. Ashley Knox was also great. 

Company B is fun, and even moving at times, as CubanMiamiBoy says above. The standouts were Jovani Furlan’s “Oh Johnny, Oh Johnny, Oh!” And Alexander Peters in “Boogie Woogie Bugle Boy”...

Tchaikovsky Piano Concerto No. 2 is one of my favorite Balanchine ballets, and MCB did it justice and some. I saw multiple performances last time they did it so was glad I got to see it again with it’s intricate patterns of people weaving in and around (and not just when the main male moves the corps). It was nice to see Jeanette Delgado back with the company with her megawatt smile. She toned the smile down for this elegant and serious work but it came through at times. My favorite moment is how she did the chaine turns, sped them up, and ended in arabesque near the wings. She would fit in at NYCB...my favorite moment in Diamonds is when the female does almost the same thing (chaine turns that suddenly go at breakneck speed....my experiences at NYCB is that this is how they dance it whereas MCB disappointed me a little in that moment when they did Diamonds). Anyway, Delgado did the turns great! Renato Penteado was replaced by Rainer Krenstetter who did well. He is always elegant. Nathalie Arja brought her unending supply of energy to the 2nd female. She is actually the most exciting dancer at MCB because she seems full of love for the dance.

I returned for Sunday’s matinee. In Concerto Barocco Katia Carranza was replaced by Simone Messmer. Jennifer Lauren also danced. Reyneris Reyes was replaced with Jovani Furlan. All did wonderfully just like the night before. 

Company B had basically the same cast with Furlan and Peters being the standouts again, although this time I liked Ellen Grocki’s sexy “Rum and Coca-Cola” more than the previous night. Helen Ruiz was also very moving in “There Will Never Be Another You.”

Tchaikovsky Piano Concerto No. 2 featured Tricia Albertson, Renato Cerdeiro (who was in the audience the previous night), and Ashley Knox. This cast was great too. My only little quibble was that Albertson didn’t speed up the chaine turns the way I like, but she was wonderful in everything else.

I actually thought I was going to miss this show but glad I went. The simple, yet elegant Concerto Barocco and breathtaking Tchaikovsky Piano Concerto No. 2 with a fun Company B sandwiched in between was a great programming idea. 

As I left I got out on the wrong floor in the parking garage, realized it, turned quickly around and started walking back to the stairs forgetting I had just walked over a wide curb thing in the middle of the garage, so I tripped on it and went flying flat on my face. I am okay but scraped lip, palms, and knees. Basically, a reminder to watch where you are walking in the Kravis parking lot!!! They did have the sides painted yellow, but I was literally right beside it and had just stepped off but confused that I didn’t see my car so my mind was elsewhere. If you know the Kravis you know how crazy the parking garage can be as everyone leaves (older people can’t move except when leaving the ballet for their cars...then suddenly they are 20 years old), but take your time!!!! Don’t get hurt!

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3 hours ago, Jayne said:

Oh Birdsall, I hope you're feeling better today!  Were you the BAer who was mugged a few years ago in Saint Petersburg too??? 

Yes! It is strange how I suffer for this art, and I am just a $&@ing spectator!!!! LOL We expect dancers to have injuries from time to time, not audience members!!!

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