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3 hours ago, ABT Fan said:

 

I found the end-note a little troubling. City Ballet in jeopardy of losing a major talent because of the lack of clarity on the artistic vision? Could be author commentary.... but what if it isn't?

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I prefer Kim's costume to the bow.  Post 1980's blouses...   Kim has instagram posts with Tch pdd - one is a grey vest with white tights - see compliments inc Mack- who is himself a  "devour" the stage.    https://www.instagram.com/p/BmMTQiNFtWC/ . The other [CC?] looks like white with dove grey.   

 

Edited by maps

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2 hours ago, DC Export said:

 

I found the end-note a little troubling. City Ballet in jeopardy of losing a major talent because of the lack of clarity on the artistic vision? Could be author commentary.... but what if it isn't?

I just read the article.  It is a little disturbing to think that Taylor Stanley might eventually leave the company to seek artistic fulfillment elsewhere.  Frankly when they lost Ramasar, Stanley was my only consolation among the principal men.  Not happy with the Angle brothers... 

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2 hours ago, DC Export said:

 

I found the end-note a little troubling. City Ballet in jeopardy of losing a major talent because of the lack of clarity on the artistic vision? Could be author commentary.... but what if it isn't?

I didn't read it that way at all. I thought it was more a comment on ballet in general than anything specific about the NYCB. I feel a change in that direction might be a good move for him. 

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Stanley is currently my favorite dancer on the male roster. From the first time I saw him, I couldn't take my eyes off him.

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57 minutes ago, nanran3 said:

I just read the article.  It is a little disturbing to think that Taylor Stanley might eventually leave the company to seek artistic fulfillment elsewhere.  Frankly when they lost Ramasar, Stanley was my only consolation among the principal men.  Not happy with the Angle brothers... 

I love, LOVE, Taylor Stanley's dancing. Glad they're giving him new opportunities. He seems like he ruminates on lots of things. He could be talking more about taking outside artistic projects than leaving NYCB. Most of the dancers seem to have something else going on (even historically), whether it's school, modeling, guest gigs, or working with other choreographers. There's a long Nutcracker season where NYCB sells out regardless of casting. Principals often take side gigs. I'd really miss Taylor Stanley if he left.

And I still wish Amar could come back.

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I no longer have a subscription to the NYT. Could anyone summarize generally the gist of the interview and the comment that hints Stanley could potentially leave?

I find Taylor Stanley absolutely incredible... and I miss Amar a lot too. 

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I guess I'm in the minority in that I don't find Stanley incredible. I like him in some things but find him a bit light weight in others. The NYCB is still adjusting to the loss of Ramasar and Catazaro, as well the retirement of DeLuz and the technical decline (in solo, white tights works) of the Angles and Veyette. There is also the injury of Adrian D-W. It's a strange time for the male ranks in NYCB. 

As far as leaving for fulfillment, maybe Stanley will. Some dancers look at the rep of Balanchine, Robbins and new works that NYCB offers and want to eat all of it up. Others find more fulfillment in a constant diet of new works. That's the way it goes. Dancer's leave companies. I loved Ana Sofia Scheller, but San Francisco Ballet seems a better match for her.

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6 minutes ago, vipa said:

I guess I'm in the minority in that I don't find Stanley incredible. I like him in some things but find him a bit light weight in others. The NYCB is still adjusting to the loss of Ramasar and Catazaro, as well the retirement of DeLuz and the technical decline (in solo, white tights works) of the Angles and Veyette. There is also the injury of Adrian D-W. It's a strange time for the male ranks in NYCB. 

As far as leaving for fulfillment, maybe Stanley will. Some dancers look at the rep of Balanchine, Robbins and new works that NYCB offers and want to eat all of it up. Others find more fulfillment in a constant diet of new works. That's the way it goes. Dancer's leave companies. I loved Ana Sofia Scheller, but San Francisco Ballet seems a better match for her.

I think Taylor Stanley is a fine dancer. I  have to say I haven't found him incredible, although I'm very happy to be seeing him in Apollo instead of Garcia.  Garcia has never moved me in any role.  Agree that the decline of the Angles and Veyette is quite glaring.  While I liked Catazaro, I was underwhelmed by his Apollo last year.  I think Joseph Gordon is terrific!

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For me what's coming is very exciting: Gordon, Ball, Coll, Chamblee, Sanz, Mejia - lots of very unusual men and quite different from each other. Who am I forgetting? Seems to be a lot of them. 

I will admit it's upsetting that Danchig-Waring isn't doing Apollo.

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Agreed that in the male soloist ranks there are definite potential stars, as well as Mejia in the corps.  Let's see what happens.  Also agree that while Segin is an appealing and perhaps dependable corps member, not sure why she would get an award particularly.  I had thought she would probably stay in the corps for her career but who knows?

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A couple of years back, i found Segin just terrific in Martins’ Hallelujah Junction, and always imagined I would read/hear more about her in other featured roles. Anyway, I’m delighted to read about her receiving recognition. Congratulations to her! 

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16 hours ago, DC Export said:

 

I found the end-note a little troubling. City Ballet in jeopardy of losing a major talent because of the lack of clarity on the artistic vision? Could be author commentary.... but what if it isn't?

I definitely found that worrying too, although I think the reasoning Taylor gave for his consideration of leaving didn't point to lack of clarity in the artistic direction as the main element. It sounds to me his internal probing has more to do with ballet itself. It would be a major loss  (graver than the loss of Finlay of late, Catazaro, on par with Ramasar) if he leaves. He's certainly the most well-rounded and articulate dancer among the male principals of now.

 

 

Edited by bcash

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11 hours ago, Rock said:

For me what's coming is very exciting: Gordon, Ball, Coll, Chamblee, Sanz, Mejia - lots of very unusual men and quite different from each other. Who am I forgetting? Seems to be a lot of them. 

I will admit it's upsetting that Danchig-Waring isn't doing Apollo.

Sebastian Villarini-Velez and a new corps member Davide Ricardo. 

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I found it interesting that Craig Hall, who danced the role of Apollo only once, is coaching Stanley.  How much detailed knowledge could Hall possibly have regarding the role if he only performed it once?  Why didn't they call in someone with vast knowledge of the role to do the coaching?

Edited by abatt

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Just now, abatt said:

I found it interesting that Craig Hall, who danced the role of Apollo only once, is coaching Stanley.  How much detailed knowledge could Hall possibly have regarding the role if he only performed it once?  Why didn't they call in someone with vast knowledge of the role to do the coaching?

I'm a little worried about that too, because I remember Craig Hall coached/talked about a Balanchine role (maybe Apollo) at one of those rehearsal/demonstration events last year, and a long-time City Ballet goers who attended later said to me, referring to Hall: "He had no idea what he was talking about." 

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Hmm, that bodice for the lead ballerina (not the one on the left in the post above but the one Bouder had on her IG) looks rather heavy and ornate for the skirt it's attached to — especially in the video story itself, where you can see Tess moving. I'm also not crazy about the male dancer's vest; looks like senior prom.

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59 minutes ago, nanushka said:

I'm also not crazy about the male dancer's vest; looks like senior prom.

Oh dear. Not at all nice. I thought of hotel bartenders. :pinch:

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I understand the points about the new bodices and vests, but I’m thinking they might look very different on stage. I guess we’ll see soon enough. I do like the one Reichlen is wearing.

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It seems like we're discussing the whole season now, not just opening night, so I'm reviving this thread. Re abatt's question on the other thread - it's great to see Isabella LaFreniere and Emily Kikta back in action, and I'm pretty sure I saw Alston Macgill in the background in Orpheus on opening night. 

The Serenade, Mozartiana, and Tschai Piano Concerto No. 2 (why can't we go with the shorter, more felicitous "Ballet Imperial"?) program is a crowd pleaser. I plan to be at probably every performance of this program, mainly because I don't want to miss any opportunity to see the last listed, which I have seen far less than the others. I thought all received lovely performances last night.

It felt like it's been ages since I've seen Serenade; that's probably not true, but it's just so beautiful I felt a rush of joy. Only issue I saw was that Aaron Sanz (I think a debut, subbing for the debut of Preston Chamblee) needs to develop more confidence being center stage. Up there all alone, partnering three grand ballerinas and a slew of other women flying through, he didn't convey serenity and command. Hard to believe, but it made me miss Ask LaCour, at least I have confidence in him to get through complex partnering. Sanz has the talent, IMHO, and the magnetism, but needs more confidence when he's out there all alone.  

Mozartiana was particularly beautiful, especially the commanding presence and clear phrasing of Maria Kowroski. I found it extremely moving. I also liked Daniel Ulbricht way more than I usually do, and I've seen him in this role a lot. He's always amazing technically, but this time he seemed more flexible, more human, more interesting and nuanced than usual. I am eager to see him again later in the week. I also can't wait to see Huxley in this role. 

Finally, Ballet Imperial. I'm much less familiar with this piece, but I absolutely loved it, and it puts me in the mind of other pieces I've seen only too rarely, such as Ballo della Regina and Divertimento No. 15. When are they coming back?? Joseph Gordon looked great, appealing, elegant, crisp yet oh so airy. The partnering was unfortunately awkward at times, but he keeps on going with an air of command and serenity, and honestly, something intangible about him just makes me love him. 

I have tonight off, then on to a marathon of performances. Can't wait!

Edited by cobweb

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4 minutes ago, cobweb said:

It seems like we're discussing the whole season now, not just opening night, so I'm reviving this thread. Re abatt's question on the other thread - it's great to see Isabella LaFreniere and Emily Kikta back in action, and I'm pretty sure I saw Alston Macgill in the background in Orpheus on opening night. 

The Serenade, Mozartiana, and Tschai Piano Concerto No. 2 (why can't we go with the shorter, more felicitous "Ballet Imperial"?) program is a crowd pleaser. I plan to be at probably every performance of this program, mainly because I don't want to miss any opportunity to see the last listed, which I have seen far less than the others. I thought all received lovely performances last night.

It felt like it's been ages since I've seen Serenade; that's probably not true, but it's just so beautiful I felt a rush of joy. Only issue I saw was that Aaron Sanz (I think a debut, subbing for the debut of Preston Chamblee) needs to develop more confidence being center stage. Up there all alone, partnering three grand ballerinas and a slew of other women flying through, he didn't convey serenity and command. Hard to believe, but it made me miss Ask LaCour, at least I have confidence in him to get through complex partnering. Sanz has the talent, IMHO, and the magnetism, but needs more confidence when he's out there all alone.  

Mozartiana was particularly beautiful, especially the commanding presence and clear phrasing of Maria Kowroski. I found it extremely moving. I also liked Daniel Ulbricht way more than I usually do, and I've seen him in this role a lot. He's always amazing technically, but this time he seemed more flexible, more human, more interesting and nuanced than usual. I am eager to see him again later in the week. I also can't wait to see Huxley in this role. 

Finally, Ballet Imperial. I'm much less familiar with this piece, but I absolutely loved it, and it puts me in the mind of other pieces I've seen only too rarely, such as Ballo della Regina and Divertimento No. 15. When are they coming back?? Joseph Gordon looked great, appealing, elegant, crisp yet oh so airy. The partnering was unfortunately awkward at times, but he keeps on going with an air of command and serenity, and honestly, something intangible about him just makes me love him. 

I have tonight off, then on to a marathon of performances. Can't wait!

I absolutely loved "Ballet Imperial" too!  I had never seen it and was captivated.  And Serenade, for me, often moves into the realm of the mystical.  

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Forgot to add that it was a "See the Music" night. Usually I hate these. But, I have to say that Andrew Litton was a very entertaining speaker. I'd still rather take those 10 minutes and be able to get home earlier on a weeknight, but Litton, with his casual, heartfelt love for the music was very funny.

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