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Fall Digital Season


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Haha, that’s a pet peeve of mine too! They must have heard it that way early on at SAB and it stuck. ¯\_(ツ)_/¯ 

11 hours ago, Marta said:

Also: P.S. I hate it when dancers pronounce "pas de deux" as "pas de duh."   Why do they do it?  It seems almost every NYCB dancer says this!

 

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2 hours ago, Barbara said:

Haha, that’s a pet peeve of mine too! They must have heard it that way early on at SAB and it stuck. ¯\_(ツ)_/¯ 

 

I've heard the French pronounce it and it's actually more like "pas de dyoo." "Pas de duh" just sounds so ... uninspired. 

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14 hours ago, canbelto said:

I've heard the French pronounce it and it's actually more like "pas de dyoo." "Pas de duh" just sounds so ... uninspired. 

Hm, is it really? I am French and definitely do not pronounce it "dyoo". 😅

Edited to add: this is how I say it:

 

Edited by sohalia
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Final Schedule for the NYCB Digital Fall Season '20.  (So pleased Abreu is being featured in Water Rite.  I have very much enjoyed his dancing.)  

Schedule

Tuesday 27 October at 8pm

NEW WORK BY SIDRA BELL
pixelation in a wave (Within Wires)
Original score by Dennis Bell (pixelation in a wave (Within Wires)) (Commissioned by New York City Ballet)
Choreography by Sidra Bell
Directed by Ezra Hurwitz
Director of Photography Jon Chema
Costumes styled by Caitlin Taylor

“The exquisitely tenuous correspondence between structural and human forms.”
 

Dancers Ghaleb Kayali, Emily Kikta, Mira Nadon, Peter Walker

Violin Michael Roth, Violin Lydia Hong, Viola Katharina Kang, Cello Eugene Moye

Wednesday 28 October at 8pm

NEW WORK BY PAM TANOWITZ
Solo for Russell: Sites 1-5
Music by Alfred Schnittke (Klingende Buchstaben For Solo Cello)
Choreography by Pam Tanowitz with Russell Janzen
Directed by Ezra Hurwitz
Director of Photography Jon Chema
Costumes by Reid Bartleme and Harriet Jung

Dancer Russell Janzen
Cello Ann Kim

Thursday 29 October at 8pm

NEW WORK BY ANDREA MILLER
new song
Music by Victor Jara (“Manifesto”)
Choreography by Andrea Miller
Directed by Ezra Hurwitz
Director of Photography Jon Chema
 

Dancers Harrison Coll, Unity Phelan, Indiana Woodward, Sebastian Villarini-Velez

Friday 30 October at 8pm

NEW WORK BY JAMAR ROBERTS
Water Rite
Music by Ambrose Akinmusire (“Inflatedbyspinning”)
Choreography by Jamar Roberts
Directed by Ezra Hurwitz
Director of Photography Jon Chema

Dancer Victor Abreu
Violin Michael Roth, Violin Lydia Hong, Viola Katharina Kang, Cello Eugene Moye, Bass Ron Wasserman, Flute Scott Kemsley

Saturday 31 October at 8pm

NEW WORK BY JUSTIN PECK
Thank You, New York
Music by Chris Thile (“Thank You, New York”)
Directed and choreographed by Justin Peck
Director of Photography Jody Lee Lipes
Costumes styled by LaJeromeny Brown

Dancers Christopher Grant, Sara Mearns, Georgina Pazcoguin, Taylor Stanley

Edited by meunier fan
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I'm delighted to see that NYCB has been able to pull off a program of new works during a lockdown. 

PS: I don't know the work of Jamar Roberts, but I do know the work of Bell, Miller, and Tanowitz, and I'm eager to see what they've been able to do given the constraints they've had to work under.

Edited by Kathleen O'Connell
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I look forward to seeing all my favorite dancers in real time, that is, current performances rather than from years ago. I especially look forward to the solo for Russell Janzen. Glad to see that Harrison Coll is dancing again, he was out for what seemed like a long, long time. The number with Ghaleb Kayali, Emily Kikta, Mira Nadon, and Peter Walker is going to be very, very tall. Looking forward!

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Reasons to celebrate the 21st Century (in so many ways on temporary global hold just now it seems) are certainly here.  Nowhere else do Ratmansky, Wheeldon and Peck do better work.  Nowhere.  There are also embedded within these 54 minutes (and 33 seconds) some glorious performances to savour.  For a moment in Mercurial Movements when the ever exquisite Tiler Peck dashed on I thought it was Patricia McBride reborn in dance.  Entirely enervating.  The eternally evocative Taylor Stanley - those eyes; those eyes - is mesmeric in 'X' from Ratmansky's witty Russian Dances and how wonderful to be able to see the choreographer himself (i.e., Justin Peck) proudly revel in the PDD and final movement of his thrilling Rodeo, encapsulating the very definition of 'Community' such as Balanchine and Robbins would see (and hear) define NYCB every bit as much as Shakespeare did his best plays.  Happily - and gloriously - it still does.  It reigns.  This is - IMHO at least - a feast.  Enjoy.  

Edited by meunier fan
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On 10/20/2020 at 1:41 PM, Kathleen O'Connell said:

I'm delighted to see that NYCB has been able to pull off a program of new works during a lockdown. 

PS: I don't know the work of Jamar Roberts, but I do know the work of Bell, Miller, and Tanowitz, and I'm eager to see what they've been able to do given the constraints they've had to work under.

I saw a Jamar Roberts piece last night as part of City Center's Fall for Dance. It's a solo, on the same program as the Wheeldon duet for Sara Mearns and David Hallberg. Nice work all around. IMO, Roberts' music choices improve (and get  more classical) as the solo goes on. I love the Wheeldon duet and have already watched it twice. Very poignant.

Fall for Dance is charging $15 for each of two programs. I thought the format was something that might interest NYCB. They don't have anyone in the audience, but they filmed the dances live. I would imagine one might eventually invite a small audience (25% capacity) to socially distance in the large theater, like they're doing with the World Series in baseball. Of course, baseball stadiums have the added advantage of being outside.

Check Fall for Dance out if you're interested.

https://www.nycitycenter.org/FallforDance

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39 minutes ago, canbelto said:

I enjoyed this afternoon's offering. The Steadfast Tin Soldier is a ballet I don't think I've seen very often live and I've been attending performances for many years. 

They showed Steadfast Tin Soldier on television in the 1980's (those 18 months or so when Baryshnikov was at NYCB) with Patricia McBride and Mikhail Baryshnikov, so there's tape somewhere.

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The DVD appears to be out of print, but used copies are available. It was originally issued on VHS. According to the liner notes, it was recorded in Nashville in 1977 and was broadcast the next year, as I remember, in the Dance in America series. It includes the complete Prodigal, Steadfast Tin Soldier, and Tchaikovsky PdD with Baryshnikov. The complete Ballo della Regina and excerpts from Chaconne are also included.

https://www.amazon.com/Choreography-Balanchine-Chaconne-Steadfast-Tchaikovsky/dp/B000228SX2/ref=pd_sbs_74_1/130-6725273-5109219?_encoding=UTF8&pd_rd_i=B000228SX2&pd_rd_r=50bf7b55-5707-456d-992d-31f9e1653695&pd_rd_w=ZQdOZ&pd_rd_wg=27lev&pf_rd_p=b65ee94e-1282-43fc-a8b1-8bf931f6dfab&pf_rd_r=DXZDCC0X95P1F35FK22M&psc=1&refRID=DXZDCC0X95P1F35FK22M

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It was made for McBride, except for the woman's variation, which, according to the Balanchine Catalogue, was a carryover from the 1955 Jeux d'Enfants.  The Catalogue entry credits the choreography to Balanchine, Francisco Moncion, and Barbara Mllberg.  There are 12 musical pieces listed, the first being the Overture.  There isn't an indication of who choreographed what in 1955, and Milberg isn't listed as a dancer.  There's a note to say that when the ballet was re-staged in 1959, #2-8 was credited to Moncion, and #9-12 to Balanchine.  When Balanchine made The Steadfast Tin Soldier, he used two musical pieces that Moncion choreographed in the larger, earlier work, and two that he had choreographed to before, one of which would have been the pas de deux with the woman's variation called out.

Peter Schaufuss danced the male role in the premiere, which was a few years before Baryshnikov joined the Company, and according to the linked entry, the performance with Baryshnikov was released on video.

There was a season in the '80's where it subbed in for something else due to a cascading injury issue, according to the casting insert.  Stacey Caddell danced the McBride role in all eight performances I saw from 1983-1990, partnered by David McNaughton, Helgi Tomasson, Daniel Duell, and Gen Horiuchi.

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16 minutes ago, California said:

The DVD appears to be out of print, but used copies are available. It was originally issued on VHS. According to the liner notes, it was recorded in Nashville in 1977 and was broadcast the next year, as I remember, in the Dance in America series. It includes the complete Prodigal, Steadfast Tin Soldier, and Tchaikovsky PdD with Baryshnikov. The complete Ballo della Regina and excerpts from Chaconne are also included.

https://www.amazon.com/Choreography-Balanchine-Chaconne-Steadfast-Tchaikovsky/dp/B000228SX2/ref=pd_sbs_74_1/130-6725273-5109219?_encoding=UTF8&pd_rd_i=B000228SX2&pd_rd_r=50bf7b55-5707-456d-992d-31f9e1653695&pd_rd_w=ZQdOZ&pd_rd_wg=27lev&pf_rd_p=b65ee94e-1282-43fc-a8b1-8bf931f6dfab&pf_rd_r=DXZDCC0X95P1F35FK22M&psc=1&refRID=DXZDCC0X95P1F35FK22M

Although the only date in the  liner notes is 1977, Baryshnikov didn't join NYCB until fall 1978, so his performances must have been recorded after that. There is some precious footage and text of Balanchine coaching Baryshnikov in all three. 

Edited by California
typo
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2 hours ago, California said:

Although the only date in the  liner notes is 1977, Baryshnikov didn't join NYCB until fall 1978, so his performances must have been recorded after that. There is some precious footage and text of Balanchine coaching Baryshnikov in all three. 

I've seen the McBride/Baryshnikov on YouTube. I don't know if it's still there. 

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Making my way through the "21st Century Voices". Indiana Woodward and Taylor Stanley were splendid in Year of the Rabbit. When I first saw this pas de deux live at Miami City Ballet, I remember crying. I wish we had this ballet in full. 

Did not really enjoy Pictures at an Exhibition, except for of course the brilliant Tiler Peck. She can do no wrong.

So, when is the all-female new choreographers broadcast next? 😏

Edited: I just finished the full broadcast. It definitely confirms I am not a big Ratmansky fan. Peck and Angle were stunning in Wheeldon's Mercurial. Great excerpt from Everywhere We Go to finish it off, that's another one I wish we had in full (yes, I am a broken record).

Edited by sohalia
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There is a great discussion of the history and Saratoga premiere The Steadfast Tin Soldier with Patricia McBride and Peter Schaufuss, moderated by Silas Farley, part of NYCB’s excellent podcast series.  Schaufuss discusses his ballet development in Denmark, how he came to City Ballet, and how Balanchine reacted to his news that he was leaving to dance at ABT. 
https://podcasts.apple.com/us/podcast/city-ballet-the-podcast/id1479330738?i=1000495254526

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Until 8 PM EDT

“Digital Fall Season: 21st Century Voices”

Excerpts from Christopher Wheeldon, Alexeï Ratmansky, Justin Peck

https://www.youtube.com/watch?v=HKO1FfGLAAw&feature=youtu.be

(Thanks to Sophia at Dansomanie for this 'alert')

After a quick glimpse,  I like the inventive choreography, especially  the first two dances from Alexei Ratmansky’s “Pictures at an Exhibition,” starting at 12:40, 1) Tuileries: Tiler Peck  and 2) Bydlo: Sterling Hyltin, Sara Mearns, Claire Kretzschmar, Abi Stafford.

But above all and in agreement with Sohalia, , I do like the two lovely  duets by Justin Peck.

2:50  Rodeo: Four Dance Episodes (Third and Fourth Episodes) (Justin Peck)

19:50    Year of the Rabbit (Justin Peck) (featuring Indiana Woodward, Taylor Stanley)

And from Christopher Wheeldon’s always fine duets.

25:50    Polyphonia duet

39:40   Mercurial Manoeuvers duet

 

 

 

 

 

Edited by Buddy
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On 10/23/2020 at 9:02 AM, BalanchineFan said:

I saw a Jamar Roberts piece last night as part of City Center's Fall for Dance. It's a solo, on the same program as the Wheeldon duet for Sara Mearns and David Hallberg. Nice work all around. IMO, Roberts' music choices improve (and get  more classical) as the solo goes on. I love the Wheeldon duet and have already watched it twice. Very poignant.

Fall for Dance is charging $15 for each of two programs. I thought the format was something that might interest NYCB. They don't have anyone in the audience, but they filmed the dances live. I would imagine one might eventually invite a small audience (25% capacity) to socially distance in the large theater, like they're doing with the World Series in baseball. Of course, baseball stadiums have the added advantage of being outside.

Check Fall for Dance out if you're interested.

https://www.nycitycenter.org/FallforDance

I agree that there's much to like (maybe love) in the Sara Mearns, David Hallberg, Christopher Wheeldon collaboration. It's to the songs of Joni Mitchell. I've only watched it once, but plan to return immediately. It's a fine effort to fuse the Joni Mitchell dreams of the 60's with high art dance. There's some wonderful imagery which builds as the work progresses.

If you get Program I from the link ($15) in BalanchineFan's post above it starts at 36:40 (introduction at  34:00).

 

 

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I enjoyed, as always, Pam Tanowitz's choreography, and Russell Janzen's dancing was fascinating to watch. I was distracted by it being filmed on location with all the big statement architecture behind. I wished I were seeing it on a small dark stage with a simple set where there would just be the steps and nothing else. I think the "flaws" that Tanowtiz was interested in and the side angles could have been approximated there just as well. I hope she continues to work on it and extends it for City Ballet when they return to State Theater.

The conversation afterwards was interesting and I guess I'm contradicting much of the intent of the piece as discussed.

Edited by Quiggin
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I started to watch the Sidra Bell piece, but I had trouble with my internet connection and gave it up about 5 minutes in. Admittedly, I didn't try very hard to get it back on. I had trouble discerning any real dance there. Also the camera work was frenetic, zooming in too close then darting back out, and jumping from one angle or one site to another. Probably that was intentional. I wondered if I could appreciate it more if I watched the whole thing and also the discussion with the choreographer to understand what her intentions were. But, based on what I saw, nothing drew me in. Disappointing. 

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7 hours ago, cobweb said:

I started to watch the Sidra Bell piece... camera work was frenetic, zooming in too close then darting back out, and jumping from one angle or one site to another. Probably that was intentional. I wondered if I could appreciate it more if I watched the whole thing and also the discussion with the choreographer to understand what her intentions were. But, based on what I saw, nothing drew me in. Disappointing. 

Not engaging.  The Washington Ballet did great adaptive use of sites.   https://www.facebook.com/43875516691/videos/2611017455779623/?__so__=channel_tab&__rv__=all_videos_card Choreography is at: 

38:00 pdd Onuki-Kriza - steps of National Cathedral - night shoot with lighting
49.13 Center Stage in Cathedral parking garage-choreography by a dancer who was in PR for the pandemic
30:55 Sombrerrisomo - reimagined for outdoors using landscape architecture by the choreographer while in Europe[believe Cathedral organizations grounds]

Edited by maps
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Okay, now I delved into the Pam Tanowitz for Russell Janzen piece. I didn't watch the interview with Tanowitz, I don't know if that would help me to appreciate it. I'm just not seeing any real dancing going on, same as with the Sidra Bell piece. This "site" art form is just not for me. Let's get back to ballet!

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