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Winter 2019


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11 hours ago, vipa said:

I've said this before, but I wish NYCB didn't make us choose between all Balanchine and newer works. I've seen some of Peck, like some but not others, and would like to see more Forsythe but a program of all new works doesn't appeal to me. I've done that in the past and ended up not remembering which piece was which. Does NYCB really see an audience divide between old and new? 

I think it's been proven that mixed repertory programs with tags or names sell better. It gives people something to identify with. It's why most companies have adopted block programming. Even before block programming, the NYCB had All-Balanchine, or All-Balanchine/Stravinsky, or Balanchine Black-and-White programs. Do you miss repertory programs vipa? You'd find ballets presented with different other ballets on each program. Many thought it was stimulating, and often showed ballets to better advantage. But it didn't sell as well as block programs, and it's gone. 

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In the spring there are several mixed programs:

Slaughter on Tenth Ave/Barber Violin Concerto/Diamonds

Valse Fantasie/Suite of Dances/New Peck/New Portner/Western Symphony

Judah/DAAG/Stars and Stripes

Principia/Symphony in Three Movements/The Times Are Racing

Stars and Stripes/Slaughter on 10th Ave/Tarantella/Times Are Racing

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17 hours ago, canbelto said:

My thoughts on the new combinations program, including Justin Peck's Principia and Kyle Abraham's The Runaway:

https://humbledandoverwhelmed.blogspot.com/2019/02/nycb-winter-diaries-justin-pecks.html

I've never been able to pinpoint specifically what it is I find unsatisfying about much of Peck's work, but your review described it so succinctly and clearly—thank you!

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I have a $35 orchestra seat for this Wednesday, February 6.  I cannot go.  Does anyone want to buy this ticket from me?  $39 with facility fee.

In Vento, After the Rain pas, Variations pour une porte et un soupir, Duo concertant, The times are racing

 

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54 minutes ago, DC Export said:

Has anyone seen video footage of Porte et un Soupir? I'm so intrigued from what I've read about it, but I have no idea what it looks like. 

I saw this ballet a few years ago with Kowroski and Ulbricht.  It was spectacular!  They were perfect in this work, as they are in most ballets.  It was on a program with newer and very new ballets, but it was the most radical and most creative work in the whole performance.  It is quite static spatially and some think it's related to Agon or The Cage.  I don't see that, other than the movements are very angular  Really you can't take your eyes off it for a second.  Go see it! 

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5 minutes ago, nanran3 said:

Kind of a weird non-sequitur but I was wondering if perhaps Robbie Fairchild could come back and bolster the principal male ranks at NYCB?  Or is it a no-go because of his break up with Tiler Peck?

For the moment no. He's in London filming CATS. 

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Do the principal male ranks at NYCB need bolstering? I'm not reading many complaints.

 

As to Porte et Soupir, she's the door, he's the sigh and it's nothing like Agon or The Cage. It's not like anything else. Go see it, you won't be sorry DC Export.

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10 hours ago, Rock said:

As to Porte et Soupir, she's the door, he's the sigh and it's nothing like Agon or The Cage. It's not like anything else. Go see it, you won't be sorry DC Export.

I second Rock! And I highly recommend seeing Porte et Soupir while Kowroski is still dancing it. She is droll without being jokey, which is absolutely what this ballet requires. I've seen it danced by other ballerinas, and Kowroski is the only one, IMO, that made the ballet more than the sum of its decor and its rather literal response to the music. 

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NYCB has not updated the casting page, but if you click on tonight's performance you can see that  Janzen is replaced tonight in In Vento.  Peter Walker will be dancing in place of Janzen. 

Edited by abatt
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1 hour ago, Balletwannabe said:

If Mira Nadon is as talented as people say...why don't they give her a crack at Aurora?  Didn't most of these now 30-somethings dance Aurora in their teens?  

Nadon is rather tall. More of a Lilac Fairy type than an Aurora type. 

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On 2/4/2019 at 10:40 AM, canbelto said:

In the spring there are several mixed programs:

Slaughter on Tenth Ave/Barber Violin Concerto/Diamonds

Valse Fantasie/Suite of Dances/New Peck/New Portner/Western Symphony

Judah/DAAG/Stars and Stripes

Principia/Symphony in Three Movements/The Times Are Racing

Stars and Stripes/Slaughter on 10th Ave/Tarantella/Times Are Racing

Thanks for pointing that out Canbelto. I didn't include spring in my subscription and didn't take a careful look. 

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5 hours ago, cobweb said:

So true, but thank god she's not doing Aurora! I had my worries. 

I find LeCrone an interesting dancer. Sometimes I don't know what to make of her and other times I enjoy her, particularly in leotard ballets. I also liked her as the soloist in Tchai Piano Concerto. Frankly I believe that her look works against her. She has a very angular face that doesn't have a lot of softness to it. This has nothing to do with her dancing, but impacts how she reads on stage. She has a lot of technique and I believe if she dances expansively she could pull off Lilac. 

I don't know if the dancers know who the next director will be, but whether or not they do, I feel that some of them have to feel like they are auditioning to demonstrate their usefulness. Soloists like LeCrone and Pereira fall into that category IMO

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10 hours ago, vipa said:

She has a very angular face that doesn't have a lot of softness to it. This has nothing to do with her dancing, but impacts how she reads on stage.

I don't know that the issue is just the angular facial structure. She rarely smiles, and when she does it doesn't look relaxed or genuine. She looks good technically, especially this season where she seems very solid, but her facial expression makes her look tense and not happy (let alone conveying joy or radiance, as one would hope to see in Lilac and Sugarplum). 

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