New York City Ballet 2021-2022 season

[vipa]

I was also there this afternoon and agree with Cobweb about 4T's. I just want to add I thought Olivia Boisson was particularly striking in The Theme section, and I enjoyed Megan LeCrone's attack in Choleric. 

For me the rest of the performance was something of a let down. I'm a long time fan of Laracey and she was lovely in Sonatine, but I think the piece needs more imagination and nuance. It was done on Violette who could add real flavor to a piece. IMO Sonatine needs a special kind of dancer to bring it to life.

LaFreniere had a real struggle in Black Swan. Peter Walker partnered her very well, and rescued a lot of turns. Her variation had a lot of staggery moments. A lot of novice mistakes. She's super talented and has an amazing instrument, I'm sure she'll improve and grow in the role. Walker danced well IMO.

I'm in the minority in that I enjoy this version of SL. I don't look at it as Swan Lake in the narrative sense, just the perfume, so to speak. I guess somewhat in the same category as Scotch Symphony. I love the swans entrance. The step Balanchine has them doing makes them seem to fly in, then he does the standard entrance step later. I love the corps waltz, and the formations. In this afternoon's show I found the lead couple frustrating!. I really wanted Reichlin to hold a pique or releve and really register a line. Tyler Angle is a fantastic partner, but - well - I'll just say doesn't fulfill the choreography in his solo work.

I"m seeing the same program Saturday afternoon

Edited February 14, 2022 by vipa

[Lizzy]

On 2/11/2022 at 2:25 PM, canbelto said:

I think Tiler's lack of flexibility was more obvious in Rubies. I associate that role with a lot of hip swinging, and Tiler did not have the flexibility to do that. The comparison with Megan and Sterling (neither of whom I associate with jelly-like flexibility either) was striking.  Tiler's legs and hips were stiff.

Does this lack of flexibility relate to her past injuries? She had a major injury (~ half-year absence) on lower back in her early times. Then a recent injury on neck. 

[cobweb]

Wanted to agree with @vipa that I also noticed Olivia Boisson in 4T's, looking precise, polished, and silky. 

For me a big part of the problem with this one-act Swan Lake is the pace. It moves along so frenetically, and I really missed the languour that I feel should be part of Swan Lake. As I watched Sterling Hyltin hurrying through the Odette variation, I found myself longing for the best Odette variation I ever saw -- Veronika Part. To some extent that's the difference between Part's plush quality and Hyltin's more clipped quality, but also just the hurried pace of the music that made it hard (impossible) to take it all in. However, I did like some of the corps sections. In any case, I will have a chance to see it a few more times this week and I'll see if I can warm up to it some more. 

[Kathleen O'Connell]

16 hours ago, vipa said:

I'm in the minority in that I enjoy this version of SL. I don't look at it as Swan Lake in the narrative sense, just the perfume, so to speak. I guess somewhat in the same category as Scotch Symphony.

Scotch Symphony does seem like a very good analogue for Balanchine's one-act Swan Lake. Interestingly enough, there's more coherent "story" in, say, Serenade, Tchaikovsky Piano Concerto No. 2, or the first movement of Tchaikovsky Suite No. 3 than there is in Balanchine's Swan Lake or, in Scotch Symphony, a kind of riff on La Sylphide. Both have a ton of narrative trappings but pretty muddled narrative content. In the case of Swan Lake, it's almost worse if you know the four-act original. To be honest, I run hot and cold on both Balanchine's Swan Lake and Scotch Symphony from season to season. Sometimes I appreciate the perfume, and sometimes I find the obvious reliance on another work's narrative and traditional trappings without any real distillation of that work to be annoying in the extreme. 

Given how much story Balanchine managed to pack into the first act of Midsummer Night's Dream on in La Sonnambula, I think he could have made a "complete" one-act version of either Swan Lake or La Sylphide had he wanted to. 

[cobweb]

I think because Scotch Symphony has a different name from La Sylphide, the connection doesn't really register with me such that I compare the two, except in the most vague way, and I love Scotch Symphony. Whereas the one-act Swan Lake just seems like a rushed, truncated version of a classic ballet and I feel like I'm being shortchanged. Maybe I can try to change that mindset and think of it more as a Scotch Symphony type situation. 

[Kathleen O'Connell]

1 hour ago, cobweb said:

I think because Scotch Symphony has a different name from La Sylphide, the connection doesn't really register with me such that I compare the two, except in the most vague way

Although some of Scotch Symphony's choreography evokes La Sylphide, Balanchine didn't import any of it from the original wholesale the way he did with Swan Lake. The music is different, too. And even if Balanchine had used Løvenskiold's La Sylphide score for Scotch Symphony, it's hardly as iconic as Tchaikovsky's Swan Lake score; simply hearing it isn't likely to evoke the original ballet the way Swan Lake's score does. Even so, it's impossible for me not to think of La Sylphide whenever I'm watching Scotch Symphony, and often to the latter's detriment. (I love La Sylphide ...)

[nanushka]

That's interesting, I don't think of Scotch Symphony and La Sylphide as being connected in at all the same way.

Certainly, the creator of one has seen and is responding to (among many other things) the other; but I think of SS as depicting (to the extent that it depicts anything) something from the same world as LS, but not in the same idiom, and not with the same basic narrative.

Which I guess is just to say that I don't find that SS suffers by comparison. (Though I really only like the first two movements — love them, in fact — and don't much care for the third.)

(That may be partly Mendelssohn's fault, though, as it's the same with the music.)

[cobweb]

On 2/12/2022 at 8:53 PM, nycvillager said:

In case this wasn’t mentioned already, the snacks and champagne bar have returned.

Yes, but not the sandwiches. 

[cobweb]

On 2/13/2022 at 7:04 PM, claireasday said:

You're right, they're not Karinska. The costumes were redone in 1986 by Alain Vaes, roughly three years after Karinska died.

Thanks for the info! I wish there was a bio of the great Karinska. 

[Quiggin]

I remember Balanchine's Swan Lake when I saw it in the 1990s as a strange, chilly production – all shadows and forest – but with some graphically effective sections. The Duberman Kirstein biography implies that it was done reluctantly to attract a larger audience despite the fact that NYCB's "mission precluded doing 'old hat' revivals,'" instead of clear, new (modernist) things. Kirstein thought the second act was the only part worth working with. The Balanchine catalogue of works lists significant revisions over the years (1956, 59, 64, 80). Cecil Beaton did the original City Center sets, which, though expensive, were to be part of the draw.

I always liked this odd empty stage moment:

https://www.instagram.com/p/B_3r-VbpWUa/

Added: This detailed schedule of changes in NYCB's Swan Lake might show some of Balanchine's thinking, also be interesting in light of Ratmansky's SL in Miami that Cristian has been reporting on. From Balanchine Catalogue of Works. Hopefully no remaining typos

Quote

1956, traditional ending of pas de deux placed by coda for corps de ballet (to Tschaikovsky’s original score rather than the traditional Drigo interpolation); 1959, Pas de trios omitted and new Prince’s solo added to that music (Grand Waltz from Act II) replacing original Prince’s solo to fourth variation of pas de six (Act III), and traditional entrance of  Swan Queen in coda rechoreographed; 1964, traditional  Swan Queen solo replaced by new choreography (to Un Poco di Chopin, Op 72, no. 15, 1893, orchestrated by Drigo) and subsequently changed several times, Prince’s solo rechoreographed (to music from Act I pas de trois) and subsequently changed several times and often omitted, pas de quatre (Dance of the Four Cygnets) replaced by Waltz Bluette for 12 Swans (to orchestrated version of a composition for  piano in E-flat), role of Benno omitted; 1980: traditional Swan Queen solo and entrance in coda restored.

 

Edited February 15, 2022 by Quiggin

[bellawood]

At the show last night, Emily Kikta didn't come out for her 4T's Choleric curtain call -- it turns out she forgot! NYCB curtain calls are always a bit chaotic but this season they have been crazier than usual. The other week the Slaughter policemen came out at the wrong time, backed up, and then came out a second time, and last night it looked like the curtain operator was going to drop the curtain on Mira Nadon and Chun-Wei Chan's head during theirs. I think some remedial bowing and curtseying are called for before the spring.

[canbelto]

How was Mira Nadon in the black swan pas?

[bellawood]

50 minutes ago, canbelto said:

How was Mira Nadon in the black swan pas?

I thought she was really good! She has excellent stage presence, stayed in the moment and really went for it.  She came out very, very strong. Towards the end, she stumbled a tiny bit coming out of the fouettes -- but that said, she did single/doubles for the first half and then singles and while I didn't count she made it to the end of the music and really barely travelled. Honestly, I think many older, more experienced ballerinas would have been thrilled with the outcome, particularly in a debut. I will admit I was very nervous for her so am possibly not very objective! Perhaps others have more nuanced opinions -- 

[Fernie M]

On 2/10/2022 at 7:57 PM, cobweb said:

Was anyone there tonight? Would be interested in a report and if Miller made her debut in Slaughter. Her legs are certainly suited for the role. Does she have the comedic chops?

Just curious, did she receive a number of curtain calls? I just think she’s absolutely fantastic. I personally would like to see her in Prodigal Son rather than M Miller.

[FayBallet]

2 hours ago, bellawood said:

At the show last night, Emily Kikta didn't come out for her 4T's Choleric curtain call -- it turns out she forgot!

I'm glad it was something so benign. I was worried something was wrong!

[bellawood]

1 hour ago, Fernie M said:

Just curious, did she receive a number of curtain calls? I just think she’s absolutely fantastic. I personally would like to see her in Prodigal Son rather than M Miller.

Are you asking about Mira? She and Chun got three.

[Fernie M]

On 2/10/2022 at 7:57 PM, cobweb said:

Was anyone there tonight? Would be interested in a report and if Miller made her debut in Slaughter. Her legs are certainly suited for the role. Does she have the comedic chops?

Yes, Mira and Chun. Thank you.

[cobweb]

Kikta did come out for the initial curtain call; she only missed the front-of-curtain call. She was a blazing Choleric, looking in command of the role. 

It was great to see 4T's once again. I find it a real tonic, giving me a jolt, much needed during a season with some lackluster programming. It was great to see some new casting in 4T's. I especially enjoyed Mimi Staker in the second theme, who came out with a scowl so fierce she looked ready to take on Choleric. Also Miriam Miller looked great in the third theme, although maybe she could use more a sense of the darkness of the piece. Ashley Hod and Peter Walker did Sanguinic. I find Hod difficult to warm up to, so no comment there. I thought Walker looked wonderfully clear and precise. Finally, as noted Kikta was a blazing Choleric. 

In Black Swan pdd, Mira Nadon looked much more comfortable than Isabella LaFreniere did a few days ago and seemed to be enjoying vamping it up. I found her a little uncontrolled though, loose, unprecise, as if she's not fully in control of her limbs. The foeuttes included a bunch of doubles (and triples?), but she was a little all over the place with her form, traveled a bit, and came down pretty clunky. I hope these young dancers get the chance to thoroughly prepare a full-length piece, not just apparently thrown into these snippets which are barely satisfying to the audience (me anyway).

[mille-feuille]

Four T's really was wonderful last night. I've been very stressed lately and the beauty and genius of it was a balm to my heart. I loved Emily Kikta, Ashley Hod (she is so fast and crisp!), and Miriam Miller especially.

I know it's a little silly and not something they control, but Mira and Chun Wai make such a gorgeous pair with their black hair.

4 hours ago, cobweb said:

I found her a little uncontrolled though, loose, unprecise, as if she's not fully in control of her limbs.

I saw a little of this last night, too. I remember thinking the same thing at Mira's debut as Tall Girl in the Fall 2019 season, but this season I thought she performed Tall Girl wonderfully. (Her final penchée especially was SO juicy.) I'm guessing it was mostly newness and nerves this time, too. She joined the company as an apprentice in November 2017 and only got in ~2.5 years in the corps pre-Covid, and she already dances in a way that takes my breath away on a regular basis. I was very impressed by many aspects of her Black Swan debut, especially her attack, clarity (in most moments, especially in the first half or so), and bold characterization.

I adored Chun Wai Chan in the Pas (also in everything else I've seen him in, which has not been enough!). He landed his double tours in the most lush pliés and was just so bright and sparkling. Ugh. NYCB doesn't have many classically prince-like men (perhaps only Joseph Gordon and Harrison Ball) and I'm so glad to have Chun Wai. Sorry, Houston Ballet... 😅

I wasn't in love with Tiler in the Balanchine SL. I'm used to her low arabesque, but she didn't seem to hold positions much at all last night. Her arabesques were more like battements. Joe Gordon was gorgeous, as always—gallant and melancholic. He needs to be cast more.

Edited February 16, 2022 by mille-feuille

[griffie]

Mille-feuille, I'm in full agreement on every item you wrote above. 4T's was absolutely beautiful last night - the style, precision and timing were so good I was surprised to check the program afterwards and see how many newer names were cast. Everyone was prepared and fully committed and my goodness it looked wonderful. The dancers' body types in cast were exceeding similar in height and legginess so that the symmetries really shone. Emily Kikta, as others have mentioned, was spectacular, but all the featured dancers were superb.

Sonatine was pretty but not especially memorable. Taylors Stanley danced with his usual liquid grace and Ashley Laracey had nice lines - very fluid through her upper back all the way to the fingertips.

Mira Nadon's Black Swan was dramatic, and I loved her stage presence. (As Fernie suggested she'll make a splendid Siren.) Clearly she has the technical ability to meet the demands and I was happy to attribute her difficulties on the fouettes to nothing more than too much adrenaline making it harder to manage those long limbs. I like how she is already finding the "space between the steps". A huge talent and I will definitely seek out shows where she is featured.

Chun Wai Chan impressed as well, lots of drama and presence plus solid technique. And his double tour plie landings reminded me of the best ice dancing teams - the huge soft deep knee bends create a lovely strength and smoothness. Joe Gordon looked just terrific as the Prince. He danced "big" in his variation, especially in his travelling jumps, and earned much applause. I understand now why he has so many ardent fans.

Tiler's Odette was fine, it's not like it's ever a bad night when she dances - I adore her - but I was so often dazzled in the past, I felt she didn't reach the bar she has set for expectations. I'd been hoping that my less-familiar eyes wouldn't see the comparative stiffness that other regulars have been reporting. But it was really noticeable last night. Perhaps her neck has been giving her extra trouble recently? I couldn't help but wonder if she's in peak form right now. It's not just that extensions are low, I can be okay with that and often I even prefer those gentler lines to the extreme extensions. But the clean fifths and clear shapes just didn't seem to be there the way I had remembered them. I hope she comes back in full glory soon.

[JuliaJ]

I saw last night's performance. I absolutely loved Phelan and Furlan in Tchaikovsky pas de Deux. I'm used to shorter dancers like Bouder and Peck in the ballerina role, and Phelan's long lines gave the ballet a sort of European elegance, without sacrificing the Balanchine speed and attack you see from the best NYCB dancers. So really, best of both worlds. Furlan also has beautiful lines and high extensions for a man, so the two dancers complemented each other well. His bravura sequences were very good; I think they could be a bit more sprightly and bold next time he dances this. Phelan struggled on the fouettés and ended ahead of the music, but other than that, she was technically secure and artistically stunning. I also loved Ball and Woodward in Andantino; they're a fantastic pair and I hope to see their partnership continue.

Swan Lake with Fairchild and Garcia was the low point on an otherwise great program. Fairchild was never a natural Odette, and while I think her maturity as a dancer gives her more depth in this than she might have had 10 years ago, her musical phrasing was seriously lacking. She couldn't hold the developpés in her variation, and she even stepped out of one of the turns in her diagonal. I already knew her attitudes and arabesques would be low, so those elements weren't necessarily the problem. She just isn't a great swan. (I think Phelan will be absolutely fabulous in this role, for what it's worth.) And while I was happy to see Garcia one last time before he retires, and he's always a dependable partner, his brief solo sequence looked heavy and belabored. I actually like the arctic-inspired scenery of the ballet, but there there is a fundamental lack of drama in just having a one-act piece. I hated the pas de neuf. 

Serenade was also lovely, especially Hyltin and Gerrity. Pereira was very good as the Russian Girl and filled the stage more than she often does, although I missed the daring jumps of Ashley Bouder. 

[vagansmom]

Fairchild is fresh off an injury with pinched nerves, I believe. That may account for her less than stellar performance. She might have been pushing through it.

Edited February 18, 2022 by vagansmom

[MarzipanShepherdess]

Saw last night's Swan Lake II program. Have appreciated reading everyone's POVs here on the "warp speed" one-act Swan Lake. This seems to be a minority opinion but I do enjoy for what it is even as I miss the character development and opportunity to see a ballerina embody both Odette and Odile that you get in the full-length (and I miss the four Cygnets too). Love the arctic sets, the black swans, and the Ivanov-Balanchine choreography. Teresa was pretty sublime last night, I will really, really miss her but admire her for going out in such exquisite form. Beautiful, beautiful pencheés and arabesques. Very tender partnering with Russell, it felt like they were saying goodbye to one another as dance partners and as Odette/Siegfried at the end of the ballet and that was quite moving. 

In 4Ts I enjoyed Emily Kikta (but was haunted by memories of Teresa as Choleric, such a great role for her)...I think she's growing into the role and could bring more attack and confidence, but I'm sure it will come. I thought the corps looked good, many apprentices making debuts. Gonzalo was gripping in Melancholic, it's one of my favorite solos for a man in Balanchine and his expressive port de bras and flexible back shone so beautifully. Turns weren't what they would have been a few years ago, but glad to have seen him in this role for a final time, he did himself credit.

Sonatine is short and sweet, this was my first time seeing it and I was struck by how gorgeous the music is. Strong debuts from Indiana and Anthony. It felt like the kind of ballet that needs quite compelling dancers to bring it to life, no big bravura choreography or anything showy, and they did it well. Fun to see it followed by the Black Swan PDD which is like night and day. Unity to me has the mien and potential to be an impressive Odile but isn't quite there yet. Some lovely moments (beautiful balances and wonderful in that series of those aggressive jetés towards Siegfried with the legs in front, don't know the proper term), and then others were it felt like she could have embodied the character more fully and just didn't seem to have the complete confidence the Odile characterization demands. She seemed to be reining herself in for the manege jetés, maybe trying to save energy for the big fouetté sequence. She traveled a lot in it, I didn't count but it seemed like she didn't quite make it through. Gordon felt more confident and fully embodying his role to me, though of course it's a much less challenging PDD for Siegfried than Odile!

[cobweb]

I was at last night's performance. Now that I know what to expect from the one-act Swan Lake, e.g. don't expect Swan Lake, I'm warming up to it a bit. Maybe they should manage audience expectations by giving it a slightly different name. How about, say, Swan Lake Dreams, or maybe George Balanchine's The Abridged Swan Lake? I most enjoyed the two soloist swans, Ashley Laracey and Emily Kikta. Laracey has such incredible articulation in every aspect of her body, and I especially love the effect of her large, broad, very articulated hands. Kikta just has such a grand, sweeping presence. 

I enjoyed the Anthony Huxley-Emma von Enck Andantino. They look great together. And von Enck is marvelous, confident and authoritative, so so sharp, and with an appeal to the audience that goes beyond the charm she obviously has - she also comes across like a real, mature adult. I really look forward to seeing more of her. 

Also enjoyed the Harrison Ball-Sara Adams Tchaikovsky pdd. Like Huxley and von Enck, they are another excellent pairing, appearance-wise. It wasn't quite as bravura as I'm used to seeing from recent inhabitants of the roles, but Ball looks great and Adams is truly a gracious dancer, possibly the most gracious in the entire company. Her smile and the pleasure she conveyed were a delight. Would LOVE to see more of her! They were well received by the audience.

In an overall fine performance of Serenade, Megan LeCrone stood out. She is a beautiful dancer, and talk about hands, hers are on display as the Dark Angel, and she uses them very effectively. 

[bellawood]

Just got back from the afternoon matinee minus the SL one act. A large but very quiet audience -- dead silence before the curtain calls -- and one woman in the row turned to me after 4Ts and said, "Wasn't this supposed to be Swan Lake?" 4Ts would definitely be a surprise if you were expecting the full length SL! 

Lots of debuts in 4Ts today -- the first theme pair was Claire Kretzschmar and Samuel Melnikov, who has tamed his hair. He has nice lines. The next pair was Nieve Corrigan and Chris Grant; I saw Jaqueline Bologna dance this earlier in the week and she made more of an impression here. The very handsome Davide Riccardo danced with Meaghan Dutton O'Hara and they were the best of the three pairings. 

Sebastian Villarini Velez danced Melancholic quite nicely -- sometimes he looks a little sloppy but it kind of works in this role. Isabella LaFreniere debuted with Gilbert Bolden and I thought she was pretty successful, more successful than Ashley Hod on Tuesday. Gilbert Bolden is an interesting dancer, a very big presence but with a nice jump and an excellent turner. Russell Janzen was Phlegmatic, a role he's quite suited for (tho my favorite current Phlegmatic is Adrian D-W); Mira Nadon debuted in Choleric and looked good, very clean but big movement and with the requisite Choleric attitude. She is very musical and never seems rushed. 

I think the breakout star of winter has been Indiana Woodward, who is dancing on a different level since her promotion. She looked terrific with Anthony Huxley in Sonatine. I much preferred this to the Laracey/Stanley pairing on Tuesday, even though they are two dancers I love to watch. 

Finally (for me) Tiler was on for Black Swan and brought the speed and precision she is famous for. Furlan looked good -- great jumps -- but his variation tempo seemed quite lugubrious. It's probably the right tempo and I've been warped by City Ballet's tendency to wind SL up like a music box! 

One more show for me this winter -- the Garcia Farewell next week.