Jump to content

Recommended Posts

I’ve seen Year of the Rabbit, I liked that one too. His two most recent works- Principia and Easy- were a little disappointing though so this was a nice surprise.

Share this post


Link to post

My favorite Peck works are Rodeo, Times Are Racing, and In Creases. Also like Belles Lettres and Pulcinella Variations.

Any of his collaborations with Sufjan Stevens are IMO pretty bland. I simply don't respond to Sufjan Stevens music.

Share this post


Link to post
Posted (edited)

Just some quick notes on Wed 4/24/19

The program:
HALLELUJAH JUNCTION: Hyltin, Stanley, Ulbricht [Solo Pianos: Grant, Moverman]
HERMAN SCHMERMAN: Mearns, Pollack, Phelan, LeCrone (replaces T. Peck), Ball, Alberda, Sanz (replaces T. Angle)
THE EXCHANGE: Kowroski, Phelan, Dutton-O’Hara, Wellington, *Pereira (replaces T. Peck), Gerrity, Hutsell, Kretzschmar, *Danchig-Waring, Scordato, Applebaum, Huxley, Gordon, *Alberda, Henson, Hoxha [Solo Violins: Delmoni, Kuo; Solo Viola: Kang; Solo Cello: Zlotkin]
CONCERTO DSCH: Mearns, T. Angle, Bouder, Garcia, Huxley [Solo Piano: Gosling]

I had to skip Hallelujah Junction, and while my life wasn't materially altered for the worse, I'm sorry I didn't get to see Hyltin and Stanley dance since they are two of my NYCB favorites.

As far as I'm concerned, Devin Alberda was the star of the evening, or at least the MVP. He looked terrific in his featured roles in Herman Schmerman and The Exchange and was eye-catching in the corps of Concerto DSCH, too. He's been a beautiful dancer since day one, but he was on absolutely fire on Wednesday evening. His take on Forsythe's choreography was particularly fluent and on point. No matter how knotty, extreme, or off-balance the steps were he made them look logical and even beautiful. Bravo. 

This was my second viewing of The Exchange, and much to my surprise, I liked it a lot more that I did the first time around. I wouldn't rush to the theater just to see it, but I won't mind seeing it again. I wish the company could ditch the costumes for the second phalanx of women (led by a much improved Pereira on Wednesday) though: they look like big red tablecloths draped with no particular skill, and flatter no one. It was really good to see Danchig-Waring back on stage and dancing at what looked to be full strength and also good to see Pereira tear into Peck's role with a purpose. 

Over the past few seasons it's seemed like Mearns has been hell-bent on dialing everything up to eleven whether the choreography called for it or not, and, to my eyes at least, her dancing was starting to look forced, effortful, and drained of nuance. So it was a delight to see her blaze through Herman Schmerman and then promptly turn down the heat and soften her attack in Concerto DSCH. She looked really good in both.

Garcia looked great in Concerto DSCH, too; his role required him to match Bouder and Huxley step-for-step, and he did not suffer by comparison. I was sorry to read above that he might have been injured. 

If the new regime is giving dancers like Alberda, Pereira, and Garcia new leases on their careers, then please let's have more!

Edited by Kathleen O'Connell

Share this post


Link to post

I was happy to be in attendance this Saturday afternoon for “21st Century Choreographers II” mostly because I’d never seen any of the pieces before and was eager to experience them.  Also very happy that I did NOT read the critique of the program in the New York Times prior to the show; while the journalist and I saw a different performances, I thought it was mostly nasty piece and unnecessarily irrelevant to what was happening on stage.  While “Hallelujah Junction” certainly was the weakest piece, there was no “inherent evil” emanating from the ballet simply because it was choreographed by Peter Martins.  The three leads were Megan LeCrone, Aaron Sanz, and Roman Mejia.  All were fine, and as someone else here has noted, it was nice to see LeCrone looking pleasant and engaged, instead of another one of her robotic turns as Coffee in Balanchine’s Nutcracker.  LeCrone and Sanz also partnered in pas de deux in the second piece, “Herman Schmerman,” and here, her shortcomings in a leading role were more readily apparent.  She did nothing wrong, and her technical skills are excellent, but she lacks the verve, the attack, the precision of movement that make principals like Mearns, Peck and Hyltin a cut above (especially with Mearns dancing in the first half of the ballet).  

Number three was “The Exchange,” and I found it crazy and enjoyable.  The costumes are by Gareth Pugh, a very young and in-your-face British designer who revels in outrage and cultural and political anarchy.  Interestingly, his current collection for spring-summer 2019 seems as if it had been inspired by themes from this ballet, and features face masks, full hair cauls, red and black geometric designs, and deconstructed gowns and trousers.  Both Joseph Gordon and Erica Pereira were wonderful in this piece, but the real standout was Adrian Danchig-Waring, singly and while partnering Maria Kowroski.  In fact, he was the real star of the final piece as well, the fantastic “Concerto DSCH,” where he partnered Sterling Hyltin (the couple in green).  Even with Joseph Gordon and Harrison Ball setting the stage on fire with Brittany Pollack (the blue trio), Danchig-Waring’s charismatic presence almost made you forget them.  Technically brilliant, and combining a lyrical skill coupled with athletic strength, I found myself looking only for him throughout the performance.  Here’s hoping he remains healthy and uninjured for the rest of the year!  He is much needed indeed.

It’s a gorgeous spring double-header for me today; I’ll be returning to Lincoln Center later for this evening’s show!  Hope to report at some point tomorrow.  Cheers to all! 

Share this post


Link to post

Saturday evening.

Sara Mearns posted on her Instagram stories tonight that she is saying goodbye to her role in “Pictures at an Exhibition” for a while, and that she was not happy with her performance.  Frankly, I don’t think that anyone who saw her dance tonight would agree with her.  She gave an intensely physical performance, literally throwing herself into the choreography, which is so difficult and complex, though she did seem to be pushing herself toward the ballet’s end - and this followed her great performance this afternoon in “Herman Schmerman.”  I’m not surprised to hear she is tired and in pain, and I hope she gets some recovery time after today.  You can always tell from her Instagram posts when she’s feeling better.  I love how committed she is to her art.  The entire cast of the ballet performed at a very high level (with Taylor Stanley replacing Gonzalo Garcia). 

This was my first viewing of “Oltremare,” and despite the bad things I’d heard about it I still looked forward to seeing it.  It started off well, but unfortunately it was all downhill from the moment a chime sounded, and Maria Kowroski began to walk, then crawl over Tyler Angle (at one point she was upside down and standing on her head; I heard someone in the row behind me laughing).  The choreography, forced and insistent on displaying suffering and loss, simply was not good.  

Thankfully, the evening closed with the superb choreography of Justin Peck’s wonderful “Rodeo” and tonight’s performance was great.  Brittany Pollack was excellent, especially in the third episode (pas de deux) with Taylor Stanley.  I love the formality and structure of the ballet; the choreography is like the music, clean and beautiful.  It’s one of those ballets I could sit through every year and never tire of seeing. 

Spotted in the audience during the second intermission:  Wendy Whelan, chatting with a young admirer.  They took a photo together, then Whelan sat down and autographed a pair of pointe shoes for her.  It was a kind and gracious moment, quietly done, and wonderful to see.

Share this post


Link to post

It’s concerning that Sara Mearns seems to be giving up a few roles now, she just did so with Lilac Fairy and I feel like one or two more recently? I thought she was great on Thursday.

I disagree about Oltremare, I enjoyed the kooky choreography and liked that the ballet didn’t turn out to be the melodramatic Broadway-esque piece I expected going in. I do think from viewing both this ballet and In Vento that Bigonzetti’s choreography is a love or hate kind of thing. I personally love it and hope to see more but I can understand why others don’t.

Share this post


Link to post

Ask La Cour has published why he will be out this week. Condolences to him and his family. 

 

 

Share this post


Link to post

I thought Mearns was on fire last night. I was also surprised to read that self-deprecating Instagram story. I thought everyone danced wonderfully throughout the whole evening -- the whole cast of Pictures at an Exhibition, Veyette in Oltremare, and Ulbright and Stanley in Rodeo were particular standouts. Pollack was great standing in for Tiler Peck. Oltremare is undeniably not on the same level as the other pieces on the program (some of the ensemble moments in particular were laughably bad), but the excellent dancing -- especially Kowroski's elastic-like extensions in the acrobatic partnering -- still made it enjoyable. 

Share this post


Link to post
9 hours ago, laurel said:

 

Spotted in the audience during the second intermission:  Wendy Whelan, chatting with a young admirer.  They took a photo together, then Whelan sat down and autographed a pair of pointe shoes for her.  It was a kind and gracious moment, quietly done, and wonderful to see.

Whelan was also at the two shows I attended during the week. I think she now attends almost every performance.

Share this post


Link to post

I noticed a young corps member, Jonathan Fahoury, last night in both Oltremare and Rodeo. He did a little duet with Pollack in Oltremare and caught my attention with his fluid, natural, musical movements. He then danced Taylor Stanley's old part in Rodeo, and again was a standout for me. He has a movement quality that I can see taking him places in this company in the future. I look forward to seeing him grow more, and is definitely someone to keep an eye on!

Share this post


Link to post
4 hours ago, NYCgirl said:

I noticed a young corps member, Jonathan Fahoury, last night in both Oltremare and Rodeo. He did a little duet with Pollack in Oltremare and caught my attention with his fluid, natural, musical movements. He then danced Taylor Stanley's old part in Rodeo, and again was a standout for me. He has a movement quality that I can see taking him places in this company in the future. I look forward to seeing him grow more, and is definitely someone to keep an eye on!

Saw Fahoury on Friday night in the same role, and share your sentiments. While nobody can match Taylor Stanley in the role he created, Fahoury is fantastic.

Another corps standout: Rachel Hutsell in Oltremare. She’s got an amazing movement quality and sense of phrasing, even in the unison passages, and I couldn’t take my eyes off her.

It was my first time seeing Oltremare, and for me, it worked — maybe because the subject matter is close to my heart. Interesting to others’ reactions, though.

Share this post


Link to post

What do people think of Baily Jones? She's debuting the Scotch Symphony soloist role (I'm assuming — she's listed third), and I don't recall her dancing from any times I may have seen her.

Share this post


Link to post
Posted (edited)
On 4/23/2019 at 3:39 PM, rg said:

the following from NYCB's press dept:

<<due to injury, Tiler Peck and Abi Stafford will be both be replaced in their performances this week. (We’re not sure beyond this week.)  Tonight, in Pictures at an Exhibition, Lauren King will make her debut (originally scheduled for Thursday, and replacing Stafford) and Indiana Woodward will replace Tiler Peck. In Oltremare, Brittany Pollack will debut, replacing Tiler Peck.>>

I saw the show.  Lauren King did a great job in Stafford's part, and Woodward also, though no one can match Tiler Peck in that role, in my view.  She is a phenomenon.

Edited by nanran3

Share this post


Link to post
12 hours ago, nanushka said:

What do people think of Baily Jones? She's debuting the Scotch Symphony soloist role (I'm assuming — she's listed third), and I don't recall her dancing from any times I may have seen her.

I've seen Baily Jones in two featured roles recently—the Fairy of Courage (Sleeping Beauty) and the Waltz of the Golden Hours (Coppelia)—and based on those performances I expect she'll do well. 

Share this post


Link to post
14 hours ago, nanushka said:

What do people think of Baily Jones? She's debuting the Scotch Symphony soloist role (I'm assuming — she's listed third), and I don't recall her dancing from any times I may have seen her.

 

She was cast in the third movement of Symphony in C at the Kennedy Center last month and I really enjoyed her dancing. She has a very warm and lighthearted presence and her movement is very clean and springy.

Share this post


Link to post
Posted (edited)
On 4/28/2019 at 3:39 AM, Leah said:

It’s concerning that Sara Mearns seems to be giving up a few roles now, she just did so with Lilac Fairy and I feel like one or two more recently? I thought she was great on Thursday.

Perhaps wishful thinking, but I interpreted her "goodbye for awhile" to just be referencing the fact that NYCB isn't performing Pictures through at least Spring 2020.

Edited by mille-feuille

Share this post


Link to post

Excited to see Ramasar and Mearns re-united onstage, they are fabulous together! Also interested to see Huxley in Theme, his technique will shine bright in that no doubt.

Share this post


Link to post

Wow. I am excited for all these debuts. And very looking forward to seeing Ramasar back on the stage!

Share this post


Link to post
Posted (edited)

It was my first time seeing Scotch Symphony this evening, and Bouder/Gordon’s performance was a bit of a mixed bag (more to come later). I’m mostly familiar with the ballet’s adagio from the Bell Telephone Hour clip of Maria Tallchief, which includes those thrilling tosses of her through the air. Tonight, there were no tosses. Is that standard nowadays? Are the tosses ever done? Tonight the corps boys just lifted Bouder, and then Gordon took her in his arms and lowered her. I must admit I was disappointed not to see them, and I figured Bouder, more than anyone, would be game to be tossed!  

Edited by fondoffouettes

Share this post


Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.

×
×
  • Create New...