Jump to content
cubanmiamiboy

MCB Program I.

Recommended Posts

The season opened with a very depleted company.  Just three female Principals-(Albertson, Lauren and Karranza) and three males-(Cerdeiro, Rebello and Krenstetter). Gone are Renato Panteado, Reyneris Reyes, the Delgado sisters, Simone Messmer etc.

The program included a new for me work: Stravinsky Violin Concerto, which didn't really left a strong imprint on my mind. If anything, it felt like a prolongation of Agon, with the recurrent formula of Stravinsky/black and white leotards/contortions... or even The Four Temperaments...or EVEN Apollo-( am I quoting a certain choreographer...?🤔)

Then there was Paul Taylor's "Mercuric Tidings", which drew lots of cheering from the audience, and left me exhausted just by looking at it. Quite enjoyable, given its gorgeous music and high energy. The dancers were sweating profusely by the end. I wish it could had been created on pointes though....

Last, we had Slaughter on Tenth Avenue, which my mom loved-( she's a fan of everything "vintage-Americana", 40's-50's musicals etc), but I found quite a bit dated. I saw two casts on it, soloist Jordan Elizabeth Long and soloist Kathryn Morgan, in what was to be her come back to the professional world of ballet after the longest hiatus that has ever taken place-( that I'm aware of). I'll write a little thing about it on her own thread. 

 

Edited by cubanmiamiboy

Share this post


Link to post

Thanks for the report! I'm only just now getting into Paul Taylor (I don't know how, but I somehow usually miss his pieces when they're presented) but will have to put Mercuric Tidings on my "to-seek-out" list. 

I'm curious to hear what you thought of Morgan in Slaughter. Also, what did you find dated about the piece? Just the subject matter? Or was the the choreography, costumes, etc...?

Share this post


Link to post
15 hours ago, cubanmiamiboy said:

The season opened with a very depleted company.  Just three female Principals-(Albertson, Lauren and Karranza) and three males-(Cerdeiro, Rebello and Krenstetter). Gone are Renato Panteado, Reyneris Reyes, the Delgado sisters, Simone Messmer etc.

The program included a new for me work: Stravinsky Violin Concerto, which didn't really left a strong imprint on my mind. If anything, it felt like a prolongation of Agon, with the recurrent formula of Stravinsky/black and white leotards/contortions... or even The Four Temperaments...or EVEN Apollo-( am I quoting a certain choreographer...?🤔)

Then there was Paul Taylor's "Mercuric Tidings", which drew lots of cheering from the audience, and left me exhausted just by looking at it. Quite enjoyable, given its gorgeous music and high energy. The dancer were sweating profusely by the end.

Last, we had Slaughter on Tenth Avenue, which my mom loved-( she's a fan of everything "vintage-Americana", 40's-50's musicals etc), but I found quite a bit dated. I saw two casts on it, soloist Jordan Elizabeth Long and soloist Kathryn Morgan, in what was to be her come back to the professional world of ballet after the longest hiatus that has ever taken place-( that I'm aware of). I'll write a little thing about it on her own thread. 

There are certainly shared choreographic techniques and approaches between The 4 T's, Agon and SVC. But if the SVC performance didn't leave a much of an impression on you, there was likely something wrong. SVC is one of the strongest works in Balanchine's oeuvre (and even though it is physically challenging, SVC remains popular with both ballet companies and dancers). It's possible that the present day cast needs more coaching, and more time spent with the music and steps to really absorb the techniques and spirit of the piece.

As you mentioned, MCB is suffering from a dearth of experienced principals right now, and something will have to be done about that, but sometimes the retirements simply outnumber the new hires and promotions within ranks. SFB went through the same thing, and appeared to be hemorrhaging all the reliable veteran dancers. But Tomasson promoted from within, and hired a few from the outside, and within a couple years the company looked just as strong as before.

Share this post


Link to post
17 hours ago, cubanmiamiboy said:

The season opened with a very depleted company.  Just three female Principals-(Albertson, Lauren and Karranza) and three males-(Cerdeiro, Rebello and Krenstetter). Gone are Renato Panteado, Reyneris Reyes, the Delgado sisters, Simone Messmer etc.

 

Thank you for the review!  I did not realize Simone Messmer had left the company.  Do you know why or where she went?

Share this post


Link to post
1 hour ago, ECat said:

Thank you for the review!  I did not realize Simone Messmer had left the company.  Do you know why or where she went?

Not really. She never seemed to click down here..  

Share this post


Link to post
3 hours ago, pherank said:

But if the SVC performance didn't leave a much of an impression on you, there was likely something wrong. It's possible that the present day cast needs more coaching, and more time spent with the music and steps to really absorb the techniques and spirit of the piece.

 

Truthfully, there was nothing wrong with the company. They danced passionately, they seemed to really enjoy the piece, and the energy onstage was wonderful. The "problem"-(is there one..? maybe not)- is me and what I enjoy from ballet, what I like and what I don't. Atonality, Stravinsky, contorsions and overall contemporary movements do not appeal to me at all. I have enjoyed Apollo in the past, but not that much in its 70's form..(I had known the ballet from Cuba, but with its 40's aura).

So no....it is not the company at fault. It is more about my preferences in ballet enjoyment.

Share this post


Link to post
59 minutes ago, cubanmiamiboy said:

So no....it is not the company at fault. It is more about my preferences in ballet enjoyment.

Well that's OK too. It's just part of the fun - for me - to try to further develop my interests. It does take work though...

Share this post


Link to post
4 hours ago, pherank said:

Well that's OK too. It's just part of the fun - for me - to try to further develop my interests. It does take work though...

I have my exceptions, though. The Cage, for instance...🐜

Share this post


Link to post
9 hours ago, Syzygy said:

Also, what did you find dated about the piece? Just the subject matter? Or was the the choreography, costumes, etc...?

It is about the whole concept of the piece as a light comedy probably better suited for audiences in the 40's/50's. I have the same feeling with "Fancy Free", "Company B" or "West Side Story"....

Edited by cubanmiamiboy

Share this post


Link to post

 

15 hours ago, cubanmiamiboy said:

Truthfully, there was nothing wrong with the company. They danced passionately, they seemed to really enjoy the piece, and the energy onstage was wonderful. The "problem"-(is there one..? maybe not)...

So no....it is not the company at fault. It is more about my preferences in ballet enjoyment.

I love MCB and last saw them in this: https://www.kennedy-center.org/calendar/event/BTBSI#tickets

3 with corps and soloists.  Everyone I chatted with would have preferred more mix on the mixed bill with a sub on 1 of the 3 that simply didn't have the quality of the other.  Could have replaced with Midsummers PDD.  Variety. Carousel guy Swatosh carried that work.  Any updates on that Ratmansky SL for MCB?

 

Edited by maps

Share this post


Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.

×
×
  • Create New...