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I like the Huxley, Woodward pairing, but I can't imagine LeCrone as Lilac. 

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4 minutes ago, abatt said:

I like the Huxley, Woodward pairing, but I can't imagine LeCrone as Lilac. 

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

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It’s strange that Mearns isn’t doing Lilac. I think she said on Instagram that she was doing both that and Carabosse.

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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?  

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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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Just now, canbelto said:

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

Oh I didn't realize she was tall.  I'm seeing her dance for the first time on the 15th (courage fairy I think?).  Looking forward to it!

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One of the PNB Auroras making her debut this run is Laura Tisserand, who I'd 5'11".

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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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I was at last night's program, and it was the most exciting evening I've had at NYCB in awhile.

I specifically purchased a single ticket to this program after seeing In Vento in the fall; I loved it so much then that immediately I wanted to see it a second time. There's something about Bigonzetti's choreography that leaves me so moved and breathless. I have tickets to see Oltremare in the spring and I'm looking forward to it, and I'll be on the look out for the other two pieces he's done for NYCB next seasons.

(Side note: does anyone know how I can get my hands on the Moretti music? I searched in vain back in the fall and my searches now have been similarly fruitless.)

I was absolutely blown away by Variations pour Une Porte et Un Soupir. Do you ever find yourself watching a piece for the first time and smiling so hard in constant wonderment and bewilderment that your face hurts after? Mine did after this piece; I was beside myself with delight at intermission. This was the most unusual Balanchine piece I’ve ever seen and it’s absolutely my new favorite. (It also drives home that he had a much greater “range” as a choreographer than I formerly gave him credit for—I know, shame on me.) Kowrowski deserves a medal for not slipping or getting caught in that train; the techs deserve a round of applause for the fabric moves. The whole thing was, in turns, both hilarious and breathtaking. Are there other Balanchine works like this one? I’d see them in a heartbeat.

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29 minutes ago, vendangeuse said:

(Side note: does anyone know how I can get my hands on the Moretti music? I searched in vain back in the fall and my searches now have been similarly fruitless.)
 

 

I've looked for the music to In Vento extensively and have always come up short. It was a commissioned score, so I don't believe it's been recorded and released.

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6 minutes ago, DC Export said:

 

I've looked for the music to In Vento extensively and have always come up short. It was a commissioned score, so I don't believe it's been recorded and released.

Argh—what a shame. It really is lovely. 

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18 minutes ago, vendangeuse said:

Argh—what a shame. It really is lovely. 

I'm not a big fan of Bigonzetti, but will give him full props for his making sure that we get to listen to Bruno Moretti's music now and again.

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4 hours ago, cobweb said:

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). 

I think her eyebrows can give her a stern or angry look.

 

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Vendangeuse, I was also at last night's performance, and was similarly blown away. I've never seen any of Bigonzetti's ballets at NYCB, and was traveling for work during the New Combinations program this fall, so missed In Vento then. Harrison Ball was breathtaking, and I was on the edge of my seat through the entire performance. Ball's solo parts were strong but light, and really stood out against the corps work that brought to mind a combination of the Barocco's daisy chain, Keith Haring's dancers and "partnered" figures, and something else that I can't put my finger on. Maria Kowroski's performance reminded of elements of Stravinsky Violin Concerto and the Cage that I love seeing her perform while watching, and all of the women in the cast had a seductive quality that I wasn't expecting. I've never seen any Balanchine like Variations pour Une Porte et Un Soupir, and was thrilled throughout. Kowroski's performance in the Sleeping Beauty trailer was hilarious, and this ballet showed a similar nuance. 

Sara Mearns was beautiful in After the Rain, and brought to life the memory of the piece to me, which I had not been expecting from the cast. Jared Angle seemed to lag next to her, and her never-ending lines reinforced where his could have reached further.   

Sterling Hyltin and Anthony Huxley are a lovely pair, I think, and I enjoyed their performance of Duo Concertant, though my non-ballet-going friend who came with me mentioned that the pink tights felt out of place on this program. 

The Times Are Racing brought down the house, though I noticed a few older couples seated around me duck out before it. I was glad to see Ashly Issacs on stage—she was captivating and really carried the piece. I'm sorry to say that I missed Amar Ramasar in the PDD with Tiler Peck. Watching the two of them, particularly with the turn into the suspended/rotated handstand sequence, was magical.   

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23 hours ago, vendangeuse said:

I was absolutely blown away by Variations pour Une Porte et Un Soupir.

Thanks to those of you who have been posting about this piece. I have never seen it, and I wasn't necessarily going to see this program, but after reading your reactions, I'm going to try to make it to the last performance, on Feb. 6. I looked up the score (or should I say "score") on youtube, and while I was a little befuddled and Mr. Cobweb groaned, it got me intrigued to see something different. 

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Saw this afternoon’s program of Herman Schmerman, Principia, and The Runaway. 

Newest first: I found Principia really uneven. As an earlier poster said, the group choreography is the highlight. There is a repeated motif in which dancers clustered into tight circles around a single dancer, who breaks free and then touches another circle, starting the chain of movements over again—beautiful and engaging. But the pas de deux are really flat and choreographically repetitive. The work didn’t sustain my attention, which I found flagged outside of the group dances. I liked the music as music, but felt like it lacked momentum and was pretty scattered. The choreography felt this way too, a bit all over the place. Though the closing minutes of group dancing are strong, and the final position of dancers holding hands in one long chain at the very front of the stage with heads raised up is arresting, I was left wanting more from the work overall. 

Not so with the Runaway, which I loved. Very positive audience response, including a much-deserved standing ovation for Taylor Stanley. His dancing in this piece is the most exciting male dancing I’ve seen in a long while. He was able to instantly shift from the convulsive, shuddering movements that open the ballet into the most incredible, perfectly controlled balances. I didn’t want to take my eyes off him for even a moment, every gesture was so fully realized and captivating. 

The Runaway had great performances all around—a thrilling manege from Sara, especially. And I was glad to see Georgina dancing with all her wit and spark. I really hope NYCB commissions more work from Kyle Abraham. He definitely brought out the best in the dancers and created a unique, thought-provoking, and exciting work.

Herman Schmerman—as others have said, the structure is rather odd leaving you feeling like it’s really two ballets with two separate casts (the pas de deux was choreographed later). I enjoyed both (liked not loved), though I disliked the music and felt like it was really dated and kind of grating. 

On to Sleeping Beauty! 

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I was at Sunday's matinee as well, and completely agree with Marzipan's comments regarding the score of Peck's new work. It felt like music that I'd choose to listen to when I wanted to get work done, and though various instrumental accents were interesting (the accents corresponding with the cluster/fountain motif, the sections corresponding with the female dancer's hands coming together first with their palms facing themselves, then turning to the audience), the score didn't seem to give the choreography much of a direction and, though the group choreography at the end was definitely the highlight of the piece, it wasn't reflected in the music. I was happy to see it, and really love Justin Peck's ability to create formations in group choreography that are as visually intriguing to me as those of Balanchine, but if I came back for this program, it would be to revisit the Runaway (though Claire Kretzschmar's performance was truly lovely). 

I didn't see the Runaway this fall, and was initially hesitant, wondering how Kyle Abraham would incorporate the music I'd seen was in the score, and especially after seeing photographs of the costumes after the debut. Though the more excessive costume elements didn't add anything for me, as soon as the dancing began, I wasn't thinking about them. Taylor Stanley deserves every bit of attention he's received for this roll. I've always heard that Stanley is incredibly introspective and serious as a dancer, and I hope that working with Abraham was as rewarding for him as it seems to be based on the output. The impeccable control of his first solo brought a unexpected gravity to his second, and his performance made me think back to the NYT profile earlier in January—I can only hope that he stays with NYCB! I agree with Marzipan—I also hope that NYCB continues to work with Kyle Abraham. I saw an interview with him a few years ago (I think it was part of a PBS special) where he spoke about the difficulties of choreographing quickly enough to keep up with his demand post Genius grant receipt, and how it had led him to debut some pieces he didn't really feel were finished. I don't remember exactly, but I felt like the press surrounding the Runaway mentioned the timeframe, and I wonder how he felt about it. It felt realized, but I'd be interested to hear his thoughts. I was impressed by Ashley Bouder (a side of her that I didn't know existed!), and Sara Mearns and Georgina Pazcoguin both had wonderful performances as well. 

I'd held out on seeing this program because I was hoping to see Sterling Hyltin in Herman Schmerman, and was sorry to re-check the cast list to see that she was not dancing. However, I enjoyed watching Naomi Corti, and thought that she, Emilie Gerrity, and Unity Phelan's dancing was the highlight of that piece. Tyler Angle looked good in the PDD, conscious of matching Tiler Peck's energy and bringing a presence that I haven't noticed the last few times I've seen him perform. 

I'm attending the open Sleeping Beauty rehearsal tonight, and am looking forward to seeing who's dancing and a "preview" of what's to come! 

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Casting up for week 6. Does anyone know in what order the couples in Liebeslieder are listed? 

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2 hours ago, Leah said:

Casting up for week 6. Does anyone know in what order the couples in Liebeslieder are listed? 

I think the ballerina roles are listed as follows:

1 = Diana Adams' role
2 = Melissa Hayden's role
3 = Violette Verdy's role
4 = Jillana's role

But don't bet the ranch on it.

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Ashley Laracey’s thoughts on not being cast for the first four weeks of the winter season. Unless she’s been dealing with an injury, I find it puzzling that she has been so underutilized. I’d happily see more of Laracey and less of dancers like Stafford and LeCrone.

 

Edited by fondoffouettes

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That's really sad that she wasn't cast for a whole month.  Seems like a failure on the part of the interim team.  

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Re: Laracey not being cast. That makes no sense. She would have been gorgeous in Serenade, among others.

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