Jump to content

Recommended Posts

Well the last time I saw Tyler Angle do Mozartiana he also struggled with the fast footwork of the Theme and Variations. That role is really evil and IMO works better with shorter men who can do that fast footwork. Since Mozartiana's partnering does not involve any fancy lifts and is mostly side by side partnering I do wonder why they don't cast a shorter male with Sara who is tall but not that tall. For instance Joseph Gordon could probably do it well.

Share this post


Link to post

It occurred to me that Harrison Ball could be really good in the role too. Not sure whether with Sara though. 

Share this post


Link to post
12 minutes ago, cobweb said:

Agree that Mira Nadon looked lovely, elegant and serene with a noble carriage. Very very promising  

And Russell Janzen is miscast in Mozartiana. MHO. I know there must be reasons for casting that I don’t know about but why not let Tyler Angle dance with Mearns in Mozartiana and give Ballet Imperial to Janzen. Seems like a much better fit. I missed Anthony Huxley like crazy. And I like Sara a whole lot better in Serenade than Mozartiana. Romanticism is a better match with her style of dancing. 

I saw Sara dance Mozartiana last spring and it was just magnificent. When she started the Preghira it was like silence and simplicity itself. I thought she was going to bourree right into my heart. I have no idea who her partner was, but I can't imagine it was Finlay. if it was I must have blocked it out. Tyler Angle was great in Mozartiana with Maria last week. Crisp footwork and everything. T. Angle can't partner everyone, though I would love to see Janzen in Ballet Imperial.

Share this post


Link to post

PS. Mr Cobweb, who had no idea of the BA discussion about the new Serenade outfits, queried me about the purpose of the “yellow stripe” in the women’s skirts. In vain did I try to explain it’s not a “stripe.” He felt it distracted from their legs. So, definitely not having the intended purpose. 

Edited by cobweb

Share this post


Link to post

I went to the Inside NYCB event on Serenade last night. I hadn't realized that the skirts are attached on an angle with the right hip slightly higher than the left. As Happel said, it gives the appearance of longer legs on one side and a longer torso on the other, and prevents the skirt from being attached at the widest part of the womens' hips. They're quite beautiful, and the yellow stripe does seem to be fading.

Happel also said that Karinska was against dyeing fabric on principle and bought fabric in whatever colors she needed. He said they have to dye alot themselves these days because the fabrics are no longer made in those colors.

It's one of the few ballets where the women principals, soloists and corps de ballet wear exactly the same costume. I hope they NEVER change them. 

Edited by BalanchineFan

Share this post


Link to post

Very very Interesting, thank you BalanchineFan. I noticed that the skirts looked uneven, that is with the “stripes” so visible you can always tell that one side is higher than the other. Thought that was a bug, but hearing it’s a feature puts it in perspective. Hope those panels continue to fade...

Share this post


Link to post

Isaacs is back in a pointe role (as Ruby on the Sat. mat.)

Share this post


Link to post

So many debuts during the variations! Glad to see Dutton-O'Hara getting more opportunities.

Share this post


Link to post
14 hours ago, canbelto said:

I was very disappointed with Sara Mearns' Mozartiana tonight. I thought her footwork look labored and this most daring of dancers seemed like she was holding back. I'm willing to chalk it up to a bad night since I;ve seen her dance this much better. I really enjoyed Harrison Ball in the Gigue. Russell Janzen did look awkward in the theme and variations solos. 

How did Reichlen fair in her second outing of Piano Concerto No. 2 last night? Any more oomph to her dancing?

Share this post


Link to post

What are people's thoughts/impressions of Lovette's Aurora from past performances? Seeing her for the first time in it; was hoping for Peck or Bouder, but curious to hear anyone's thoughts.

Share this post


Link to post
7 minutes ago, fondoffouettes said:

How did Reichlen fair in her second outing of Piano Concerto No. 2 last night? Any more oomph to her dancing?

She was better than Saturday night but seemed to tire towards the end. But the corps was very sloppy last night. Arms and legs in totally different positions. I was frankly shocked at how sloppy they looked.

Share this post


Link to post
1 hour ago, canbelto said:

She was better than Saturday night but seemed to tire towards the end. But the corps was very sloppy last night. Arms and legs in totally different positions. I was frankly shocked at how sloppy they looked.

I can't speak to whether Reichlen was better than she was on Saturday, but she certainly didn't dance the role with the kind of take-no-prisoners attack, authority, and musicality that I've come to expect from her in this ballet (Tchaikovsky Piano Concerto No. 2). I actually thought she looked a bit better by the third movement simply because she appeared more relaxed and happy than she had in the first movement — she finished the ballet smiling what appeared to be a real smile, not a stage smile. 

And yes, the corps was a mess, although they did seem fully charged. 

Re the costumes: I know Marc Happel built them around the beautiful blue brocade he fell in love with, and in general there's nothing wrong with following one's passion wherever it may lead one, but I do think the lead ballerina at least deserved her own color, even if it meant that she didn't get to wear that particular brocade. That said, the new costumes are an improvement, especially for the corps women. I like the dusty blue, but agree that the hue of the cyclorama now needs to be adjusted to accommodate it.

Share this post


Link to post
2 hours ago, fondoffouettes said:

How did Reichlen fair in her second outing of Piano Concerto No. 2 last night? Any more oomph to her dancing?

She looked a lot better last night than she did on Saturday. More secure and in control overall, although there was still a problem with the fouettes. 

Share this post


Link to post
16 hours ago, canbelto said:

I was very disappointed with Sara Mearns' Mozartiana tonight. I thought her footwork look labored and this most daring of dancers seemed like she was holding back. I'm willing to chalk it up to a bad night since I;ve seen her dance this much better. I really enjoyed Harrison Ball in the Gigue. Russell Janzen did look awkward in the theme and variations solos. 

Janzen is a vast improvement over Finlay, who absolutely butchered the role when I saw him dance it last year, so I enjoyed watching him tackle it even if he hasn't quite nailed the whole thing yet. Although Mearns looked better last night than she did last year (partnered by Finlay), I still don't think the ballet flatters her.  I know Mozartiana is a plum role that's generally given to the company's senior ballerinas, but it just doesn't suit Mearns' particular gifts. She! Tends! To! Put! An! Exclamation! Point! after every one of the ballerina's telling little throwaway gestures and it just ruins the effect. Mearns shines in a role like Walpurgisnacht, where being bigger than life is the whole point.

Share this post


Link to post
19 hours ago, Susu_nyc said:

Tuesday 1/29 performance:  Corps member, Mira Nadon, replaced Isabella LaFreniere tonight in the Mozartiana corps.  She was the standout of the four women.  Beautiful carriage and length.  I hope to see more of her.   

I've been admiring Mira Nadon too! So glad I'm not the only one. She has an elegance to her dancing (and also her dramatic pale skin/dark hair combination) that makes her stick out to me. I was very happy when she was taken into the corps; I hope to see more featured roles for her!

Share this post


Link to post

Without dancers there would be no ballet! At its best, however, ballet has never been about just the dancers. Choreography and music (and how felicitously they complement each other) are paramount! There are all sorts of reasons why an individual may not enjoy a performance of Serenade, including those not having anything to do with what is occurring on the stage. This ballet, nonetheless, remains a wondrous achievement whose provenance as a work created for the students of the School of American Ballet boggles the mind. Although dancers have their unique strengths and characteristics, and are of course not interchangeable, its capacity to enthrall when performed by different casts provides the ultimate validation of a great ballet. Considering its origin, this is especially true of Serenade. As someone thrilled to the core by two performances with Sara Mearns as the Waltz Girl and Tiler Peck as the Russian Girl during the first week of the season, I found last night's rendition of the ballet with Lauren Lovette, Ashley Bouder and Emilie Gerrity as the Dark Angel also deeply powerful and moving. In fact, Serenade is always a tough act to follow on a program, and has proven so compelling—after its absence—on this run that I had difficulty fully appreciating the other two items of the evening (even the grand Tschaikovsky Piano Concerto No. 2). There were a few issues with the corps as well as the soloists at each performance, but they did not substantively detract from the overarching power and beauty of this sublime work.

 

Share this post


Link to post

Wow Huxley and Mearns ... can't really picture that pairing.

Share this post


Link to post
1 hour ago, fondoffouettes said:

It appears Huxley went on for Janzen this evening.

Yes, indeed. After last night's performance, I was thrilled when I heard Huxley would be dancing. He and Mearns did great together, and now that I think about it, I'm pretty sure I've seen them dance this together before. My old programs are a total jumble (I hope to get them organized one day; if anyone has a good system, I'd love to hear it), so I can't check this out. Does anyone else recall? Anyway, they had a good rapport and both did extremely well. I get the feeling Huxley likes dancing this; he knows he's good at it. He makes it look totally effortless and barely looks winded after those killer variations. I liked Mearns better tonight than last night; less sloppy. 

Re the Sleeping Beauty casting, I was hoping to see Lauren King as Aurora... but I guess if she's debuting Lilac Fairy, that's not happening. 

Share this post


Link to post
9 hours ago, cobweb said:

He and Mearns did great together, and now that I think about it, I'm pretty sure I've seen them dance this together before.

Sara's IG stories definitely make it sound like they've never danced this before — and even, perhaps, that she's never danced with him before in anything. It sounds like Janzen had to pull out last minute and Huxley stepped in so that Sara wouldn't have to be replaced as well.

Quote

I will always remember this show...wear [sic] I got to dance with THE @anthonyhuxley

Quote

Ive always been a huge fan of Anthony , in awe of his talent. I am so grateful to Anthony for taking on the challenge so I didn't have to cancel. Wishing such a speedy recovery to my partner @rustlegj.

 

Edited by nanushka

Share this post


Link to post

Thanks, nanushka. I guess my mind is playing tricks on me. In any case, while there aren't many ballets where this pairing would work, I was very glad to see this performance. 

As another note on the past two night's performance's, Emilie Gerrity's turning "Dark Angel arabesque" was truly stunning. 

Share this post


Link to post
17 hours ago, canbelto said:

Wow Huxley and Mearns ... can't really picture that pairing.

The partnering was surprisingly well done, but of course Mozartiana isn't particularly heavy on partnering. And I was so glad to see Huxley dance that part! Really the cleanest technique and execution. 

The last Tchaikovsky program last night was probably one of the flattest evenings I've witnessed at NYCB. Everything was done with competency but no spark, aura, fragrance. Orchestra sounded tired throughout. Much of Serenade looked like a student work; The male solo role in Mozartiana felt so sleeply (and with that awful period costume), Sara Mearns was all steps and no interior depth, and the use of children just puzzling. Piano Concerto, with the reliably reticent and cold Reichlen felt like it dragged on forever. Three men were the stars Huxley--never a foot wrong plus the partnering, Sanz--noble and elegant line adding much needed poetry to Serenade, TAngle--although he's losing hair and can look out of shape sometimes, his beats were clear and jumps had ample elevation last night, with his usual reliable, self-effacing partnering. 

First time seeing this "new" Serenade costumes. They look like they have two stripes of yellow stain in the front. New costumes for Piano Concertno No.2 don't work. They look muted and dusty as if they've been used for ten years. Awful, shallow art installation in the hall---silly messages and the white surface already showing tracks of people's winter boots. 

 

 

Edited by bcash

Share this post


Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.

×
×
  • Create New...