New York City Ballet 2022-2023 season

[JuliaJ]

This article said that the company had pledged to "work to eliminate racial and ethnic stereotypes in ballet." That could have something to do with the decision to not put on WSS. Or maybe finding enough cast members with passable singing voices proved challenging. Or, they know Firebird is a dependable a box-office draw and are playing it safe for that reason.  

 

[abatt]

Don't they always have to hire a male singer when WSS is performed?  Maybe that has something to do with it.  

I'm sure Georgina Paz. is not happy, since Anita is her most significant role.

Edited October 7, 2022 by abatt

[bellawood]

2 hours ago, JuliaJ said:

That's great news about Firebird. Was not looking forward to West Side Story Suite on an otherwise solid program. The singing feels so awkward and out of place. 

With you here, JuliaJ! I loathe the singing. I can barely get through the "comedy" bit at the beginning of Slaughter, either -- but at least wooden acting is less horrible than pitchy singing. 

[abatt]

Thursday night had some important debuts in Apollo.  First, I think Taylor Stanley has improved a great deal in this role over the years.  I would still prefer a taller man  in the role, but he danced with authority and energy.  Unity Phelan was excellent in her debut as Terpsichore.  Long lines, gorgeous extension.  Quite wonderful.    It's becoming apparent that she is strongest in neo-classical rep, but less so in dramatic roles. 

Polyhymnia  is a tricky role, and mastery of those difficult pique turns can sometimes be a problem.  Gerrity was generally excellent,  but has a bit of difficulty with those turns.  However, I thought she was more secure than Laracey a few days earlier in the same role. 

Ashely Hod is looking better and better this season.  She was fantastic in Concertino.  Thank you to NYCB for reviving this Robbins work, which I don't recall seeing prior to this season.

Is Brittany Pollack still out on maternity leave? 

The abundance of talent in the company is a marvel to behold. It's an embarrassment of riches.  All of these evenings of important debuts are must see events. 

 

 

Edited October 7, 2022 by abatt

[KikiRVA]

I’m up for a weekend of ballet and Medea.  Tonight’s program was a great start, mostly.  This was my first viewing of DSCH.  What a joy!  It is a beautifully structured ride with a winning score.  Everywhere We Go, by contrast, seems like a big mess.  There’s a lot of choreographic ideas, too many, and the  orchestrated pop score has neither arc nor any other shape.  The men’s costumes cut a line above the waist that was distractingly unflattering to one out-of-prime-shape partner.  And while the women’s costumes are very cute, the fact that all the women are dressed the same made it even harder to appreciate contrasts between the dancers.  If the piece was 1/2 as long, it would be worth keeping in the rep - the youngest in the audience seemed to really enjoy the music (to my chagrin).  I feel like Peck’s work is more effective when someone else picks the music (Rodeo, Carousel, Weat Side Story, even Pulcinella).  That said, the corps looked great, so did debutantes Walker, Miller and LaFreniere.

[Royal Blue]

Three of the sections of Symphony in C are among the most uplifting and brimming with life in the entire repertoire; the other provides one of the highest emotional peaks in ballet. Watching the company perform the work brilliantly a week ago —for the first time since the hiatus in performances, after what the world has been through during the past two plus years, and in view of all the dangers and uncertainties lurking on the horizon— was a deeply moving experience. Grateful for the miraculous way I was able to obtain a ticket and enter the theater!

Watching Anthony Huxley magnificently performing Solo live was equally affecting. Solo is a work with a unisex role if ever there was one. Naturally, women must perform it also! Sara Mearns' sublime, transcendent performance last Saturday in Symphony in C's second segment demonstrated why she should be the first woman of the company to perform Solo.

Ideally, of course, all seating areas of the theater should be open to the public. In any case, one should view Vienna Waltzes and Solo at least once in a while from higher up in the theater, preferably the Fourth Ring.

[BalanchineFan]

On 10/2/2022 at 8:53 PM, vipa said:

It was my first viewing of Everywhere We Go. I was entertained and intrigued for the first few sections, but after a while it just seemed like steps, steps and more steps. Throwing everything in, including the kitchen sink, can have diminishing returns. I felt as if there was more than one ballet in there, and Justin Peck, as choreographer, would have been better served if he'd saved some steps, ideas, formations etc. for another ballet! The piece left me feeling unsatisfied, unlike the other two pieces on the program. I would have programed it as an opener not a closer to the program.

I watched Everywhere We Go from the orchestra for the first time, and I have to say the formations read much better from my subscription seats in the First Ring. I still love the ballet, though. I have to wonder, where were you sitting?

Also, I absolutely loved the program with Solange's music and the new Kyle Abraham, Love Letter. The audience was nearly as thrilling to watch as the ballet, with so many Black people showing off their tresses and their finery, photographing themselves on the theater's staircases and in front of the sculptures. I also spoke to a few enthusiastic, first time ballet goers. As a Black person, I'm loving it!

Gianna Reisen could learn to use space better, or borrow some of Peck's formations from Everywhere We Go. Either her dancers are grouped around center, or they're spread equally throughout the space. It dulls the mind. The costumes, music, lighting and (of course) the dancers carry that ballet.

Mearns wears the Solo costume without sleeves or tights, and it's much more spare. The solo has an intense emotional quality, like she's grappling with weighty issues (amid the soaring arabesques and attitude turns). Brava.

[abatt]

I thought Solo looked so much better when Mearns did it as compared to Huxley.  The loss of the sleeves and the awful polka dot tights made a huge difference.  Please, make that a permanent costume change.  Also, Huxley is a much more introverted dancer, and that doesn't really work very well in a live performance of this particular ballet.  Mearns is known for emotive dancing, and that works better in this particular ballet.

 

I liked the Abraham work very much- everything about it.  i thought it was much more cohesive than the Runaway.

I liked the costumes and the music of Playtime, but  parts of the music were not very suitable for dance.  Most of the choreography was not overly impressive in this ballet.   The costumes were the star of this ballet.

I also wanted to add that Emily Kikta owned the stage in the fourth movement of Symphony in C.  They usually cast that movement with short people, so it was pleasure to see her and Aaron Sanz in this movement.  Kikta should be the inheritor of Maria K's rep.  Long line, great extension and legs that just don't end.  

I was a little less impressed with Phelan's debut in the second movement.  Knight was a dutiful partner, but he made it look more like an SAB  student workshop performance.  He needs seasoning in the art of adagio romanticism.  Phelan, I'm sure, will improve in the adagio over time.  The thing that actually bothered me most about Phelan's performance was sketchy (poor) technique in executing the spins in the finale.  I'm talking about the portion of the finale where the folks from the second movement return briefly. 

It was exciting to see such a diverse, enthusiastic and young audience at this program.  

 

 

Edited October 9, 2022 by abatt

[BalanchineFan]

6 hours ago, abatt said:

I was a little less impressed with Phelan's debut in the second movement.  Knight was a dutiful partner, but he made it look more like an SAB  student workshop performance.  He needs seasoning in the art of adagio romanticism.  Phelan, I'm sure, will improve in the adagio over time.  The thing that actually bothered me most about Phelan's performance was sketchy (poor) technique in executing the spins in the finale.  I'm talking about the portion of the finale where the folks from the second movement return briefly. 

It was exciting to see such a diverse, enthusiastic and young audience at this program.  

A number of dancers had trouble with turns right on that upstage center spot, 4th Movement. Even Joseph Gordon, who rocked them in the first movement (truly electrifying), and another dancer in addition to Phelan. I wondered if the stage was wet right there, or if it was something else. I think Phelan was born for this role. Debuts don't always go completely according to plan, but I found her mesmerizing.

[abatt]

I noticed the difficulty you mentioned about Gordon.  To me it looked like he was spinning so fast that he lost control.  He was otherwise electrifying. 

[vipa]

Very satisfying, well danced program this afternoon: Apollo, Cage, Concertino, Symphony in Three. Enthusiastic and boisterous audience, and the third ring was quite full. 

My husband and I happened to be seated next to two first timers. A couple that knew nothing about ballet. They asked us questions about the difference between NYCB and ABT, since they'd seen ads for both companies. Anyway, they decided to give ballet a try, knew nothing about programs, but Sun. afternoon worked for them, and when they looked for tickets a couple of days ago, they were able to get $38 seats. They really enjoyed the performance, their fav was The Cage and they'll be back.

A few thoughts about the performance. Adrian D-W was a very fine Apollo, evolving from awkwardness to a god that owned the world. Tiler Peck brought her wonderful musicality to Terpsichore. I very much enjoyed Indiana Woodward's nuanced performance of Calliope.  Emilie Gerrity replaced Ashley Laracey (hope she's ok) as Polyhymnia, and handled that tricky variation well. 

The Cage was done with a clarity that brought the drama to life (I alway thought it would be fun to do the corps in that), Alexa Maxwell was impressive as the Novice. I'd love to see Maxwell promoted to soloist.

Concertino is one of those ballets I wouldn't go out of my way to avoid or try to see. Emilie Gerrity was the female lead and I must admit that sometime I find Gerrity somewhat undistinguished. She has a very solid technique and is attractive to watch, but sometimes seems somewhat generic.

I love Symphony in Three, and this performance with Sterling Hyltin & Taylor Stanley doing the pas, reminded me that Hyltin is truly leaving at the height of her powers artistically and technically. Erica Pereira remains something of a mystery to me. She and Daniel Ulbricht were the first couple. Pereira isn't cast much and, to my eye, hasn't changed or grown as a dancer. I wish her well, but I don't see her as an asset to the company.

[cobweb]

I am really struck that the company is going to need some new female principals, soon. With Hyltin retiring and Bouder in questionable form, that leaves five women to carry the principal load: Fairchild, Peck, Mearns, Woodward, and Phelan. By contrast, there are 13 principal men, granted some of them are also in questionable form. Really several principal women are needed. The new batch of soloists are doing great, but they were promoted less than a year ago. I wonder, will they bump some of them up quickly?  Laracey and LeCrone have been stalwarts, but would they promote them at this late point in their careers? Do Sara Adams and Emilie Gerrity have a chance? (I'm assuming, given the lack of new roles for Pereira and Pazcoguin, that they are not in the running for promotion, and I don't know what's up with the missing Brittany Pollack.) Or, would they bring someone in from outside, the way they did with Furlan and Chan? Any which way, it should happen soon, and the need to keep developing new talent is constant. I agree with @vipa that Alexa Maxwell is a prime candidate for promotion to soloist. 

[vipa]

2 hours ago, cobweb said:

I am really struck that the company is going to need some new female principals, soon. With Hyltin retiring and Bouder in questionable form, that leaves five women to carry the principal load: Fairchild, Peck, Mearns, Woodward, and Phelan. By contrast, there are 13 principal men, granted some of them are also in questionable form. Really several principal women are needed. The new batch of soloists are doing great, but they were promoted less than a year ago. I wonder, will they bump some of them up quickly?  Laracey and LeCrone have been stalwarts, but would they promote them at this late point in their careers? Do Sara Adams and Emilie Gerrity have a chance? (I'm assuming, given the lack of new roles for Pereira and Pazcoguin, that they are not in the running for promotion, and I don't know what's up with the missing Brittany Pollack.) Or, would they bring someone in from outside, the way they did with Furlan and Chan? Any which way, it should happen soon, and the need to keep developing new talent is constant. I agree with @vipa that Alexa Maxwell is a prime candidate for promotion to soloist. 

Agree about the need for principal women, soloists too. There are three soloists on the female side who aren't cast much, Paz, Pereira, Pollach. Bringing a woman from the outside is more rare than on the men's side, but it does happen. I think the most recent was Sofiane Sylve. Still the company seems so awash in talent, I wouldn't want to see that happen.  I think, for a time, we'll see more soloists proving themselves in principal roles, and corps members proving themselves in soloist, even principal roles. IMO, one reason things got out of whack is COVID. Promotion were put on hold for a couple of years, but at the same time, some dancers moved towards retirement (Reichlin, Krowoski, Hyltin) and other like Bouder got injured shortly after the return. I think we'll see a Nadon promotion soon (IMO she'd be a principal already if COVID hadn't happened). Maybe a Kikta promotion. There are a lot of corps members with soloist potential like Maxwell and Olivia McKinnon. It might take a bit of time to work itself out, but some of the fun in watching NYCB is seeing dancers cast above their rank.

Edited October 10, 2022 by vipa

[BalanchineFan]

I don't see any need for NYCB to (gasp!) bring in outside talent to augment their ranks of principal ballerinas. I would promote Isabella LaFreniere, Emilie Gerrity and Mira Nadon. Barring that, I would give all three a principal workload (more Balanchine tutu leads for Nadon, definitely, and more Stravinsky). I also see Emma von Enck continuing to take over roles associated with Ashley Bouder and Alexa Maxwell continue to take on roles that Sterling Hyltin did (or other rep for women of petit stature). They have all been dancing gloriously.

[Balletwannabe]

Is Ashley Hod a soloist?  I've only seen her a couple of times but I thought she had striking form & strength in her dancing.  

[BalanchineFan]

Hod was promoted to soloist recently. I agree she looks fabulous.

[Fernie M]

2 hours ago, BalanchineFan said:

I don't see any need for NYCB to (gasp!) bring in outside talent to augment their ranks of principal ballerinas. I would promote Isabella LaFreniere, Emilie Gerrity and Mira Nadon. Barring that, I would give all three a principal workload (more Balanchine tutu leads for Nadon, definitely, and more Stravinsky). I also see Emma von Enck continuing to take over roles associated with Ashley Bouder and Alexa Maxwell continue to take on roles that Sterling Hyltin did (or other rep for women of petit stature). They have all been dancing gloriously.

I agree with you completely! I would add Emily Kikta to your above list.  I think Ashley Hod has come such a long way, and has been absolutely stunning this season. I would like to see her promoted as well.

[abatt]

There are a lot of worthy candidates, but I'm not sure they will promote more than three women to principal at one time.

On a separate note, now that Kanye has issued an offensive anti-Semitic tweet calling for death of the Jews, what will  NYCB management do with the Runaway?    

 

[Balletwannabe]

They kept Peter Martins ballets... 

Why would they do anything about Kanye's music?  His art stands alone from the person he is IMO. He's well-known to stir up trouble on purpose.  NYCB knows this.

[abatt]

Peter Martins never called for genocide. 

From my perspective, if you are going to call for cultural sensitivity, you have to be consistent.  I have always found Kanye's lyrics offensive, which is one reason I did not like Runaway.  But now we have moved into an entirely new and completely offensive situation, in which a living "composer" whose music is used in a ballet has crossed a line by expressing  sentiments that are completely inappropriate and should be condemned in a civilized society.  The art  does not stand alone  and apart from the artist.   Kanye should be reviled, and he does not get a pass for being a self-described "genius".  American society has become increasingly anti-Semitic, and this is just one manifestation of that.  NYCB should not show the ballet anymore, or they should remove any sections that contain Kanye's music, with permission of Kyle Abraham.

Edited October 10, 2022 by abatt

[sarasr]

I have a feeling the next ones promoted to principal will be one or two of the five tall dancers they promoted last. I assume keeping in mind Maria K and Tess Reichlen's retirement the point was to promote Ashley Hod, Emily Kikta, Isabella LaFreniere, Miriam Miller, and Mira Nadon and then have them battle it out like a tall girl Hunger Games lol.

[Balletwannabe]

I read the entirety of Kanye's tweets, as well as the full interviews after the white lives matter business.  I listen to everything he says after controversies because it's always more than the one-liners that you pick up in media.  I'm not going to argue about it.  All I'm going to say is he gets the attention he wants.  He's not a normal person, if that wasn't obvious.  He's never actually saying exactly what he appears to be saying (he's the biggest internet troll there!).  I'd be shocked if NYCB did anything about it. 

Edited October 10, 2022 by Balletwannabe

[Olga]

It seems they have banned Odessa, or at least they aren’t showing it, presumably because of an ambiguous rape scene. 

[Olga]

Being abnormal doesn’t give license to spew ethnic hatred. Kanye has followers. 

Edited October 10, 2022 by Olga
Typo

[jeff-sh]

a short video about Chan