New York City Ballet 2022-2023 season

[abatt]

I thought SVC was quite bland last night.  I also noticed that the quartet of  men dancing behind Janzen were jumping much higher and with cleaner footwork than Janzen .   It was overall a disappointing SVC.  A 180 from Tuesday evening's fantastic performance by other dancers. 

Valse Fantasie was like sparkling champagne.  A joyous performance.

I always go  in with low expectations for Veyette these days.  He exceeded my  low expectations, but there were issues as noted above.

Clark is a beautiful dancer, but Haieff is no lost masterpiece.   

 

[cobweb]

Any reports on Emilie Gerrity's debut tonight in Walpurgisnacht Ballet? Also how did the LaFreniere Firebird look? I am sorry I am missing the first week of performances. Looking forward to next week and seeing Nadon in SVC!

Edited January 22, 2023 by cobweb
punctuation mishap

[canbelto]

La Freniere was magnificent in Firebird. She reminds me so much of Tess with her height and regal style.

[matilda]

Gerrity's debut was pretty good. She doesn't have the expansiveness as Mearns (who does?) but I think I liked her better in this role than Reichlen last year. There was one little misstep in the first solo but otherwise she pulled off the technical elements well. I thought she was particularly lovely in the adagio early on, with lots of warmth and very beautiful lines, and her speed and precision were on point in the tricky diagonal of turns toward the end. Pereira's dancing was perfectly clean if not necessarily radiant, and the demi soloists were all strong, but the performance was overall a little messy. Angle still can grand jeté but he looked effortful and out of shape, which has been the case for some time now. His solo had one very noticeable fumble. One of the corps members had a false start during the sped-up loose-hair part, which was another pretty obvious mistake. 

The rest of the program was excellent. You can't go wrong with Peck and Mejia in Allegro Brillante, although it's true that Peck doesn't quite go for broke like she used to. Phelan and Chan were stunning in Liturgy and will hopefully be a little more silky-smooth in their next couple of shows. 

I agree with the comment above that LaFreniere was a beautiful and elegant Firebird. And her grand jeté out into the wings after the circle of jumps was huge. She will make a fine Odette someday. 

[MarzipanShepherdess]

Thought it was a fine debut from Gerrity in Walpurgisnacht. One of the things I enjoy about this ballet is the arc from contained to wild, and I feel like the lead ballerina has to project some real gravitas to make the very contained opening interesting or it can feel kind of flat. Gerrity did that: she was refined and brought a lot of presence (regal but still with a warmth), and that made the transition into the hair-undone-wildly-whirling bit feel exciting. Tyler did not look his best, as Matilda noted, but honestly the one male role in this ballet is so thin that it didn't bother me much. He's just there to catch the ballerina in the leap at the end! I almost wish Balanchine had cut that one grand jeté sequence so that it was just all the ladies dancing. On which note, it made me smile to see the array of hair textures on the corps ladies during the finale, which wasn't the case in any previous Walpurgisnacht I've seen.

Also very much enjoyed Phelan and Chan in Liturgy. This is the kind of role I feel like Unity really nails, with her beautiful long lines and polished technique. In roles that are more emotive and dramatic I sometimes find her to be flat, but in this kind of work she really delivers. Most of the roles I've seen Chan do are more allegro, bravura ones that make use of his beautiful jump and charisma, so I enjoyed seeing him in something so different and was impressed by how he finessed all the intense partnering. He's the full package!

I echo the praise for LaFreniere as Firebird. I really love the emotion she brings to her final solo, she makes it really heartbreaking in the vulnerability she projects.

[BalanchineFan]

When I first saw Walpurgisnacht the cast was Suzanne Farrell and Darci Kistler. I saw it twice in the same few weeks and Farrell was noticeably different each time. I’m talking balances so long she had to skip choreography and improvise the end of a sequence. It was thrilling! And the depth and gravitas was, of course, there from the beginning. Every pique, every placement of her pointes said something.
I’ve seen Sara Mearns dance it many a time, playful in her phrasing and spectacular in the diagonal of turns that ends one variation. 
Teresa Reichlen was good in the role, though that same diagonal of turns often challenged her mightily. 

Emilie Gerrity had a decent debut, but I found it bland. It’s hard not to compare, as unfair as it may be. I hope, in time, Gerrity will complete her phrases better, shaping the movement so that each step looks distinctly different from the next. It’s like it doesn’t all register. The steps and sequences were basically there, nice diagonal of turns, no major bobbles, but all to minimal effect. She has a lovely smile, an elegant demeanor, a decent account of the choreography but no fireworks or displays of wit anywhere. Nice but bland. It’s like getting a cookie when Farrell and Mearns figured out how to turn this little Balanchine bauble into a three course meal with drinks and dessert. Still, the audience liked her and if you were seeing the ballet for the first time she was fine, beautiful even.

It made me wonder what NYCB is doing to bring along its next generation. I notice that Theme &Variations and Piano Concerto 2 aren’t in the rep this year. Are they waiting and giving these women more time to develop before they tackle these major roles? If so, it’s smart and necessary. 

The demi soloists, including Erica Pereira danced well. The corps, full of apprentices and newcomers, bumped into each other a few times but didn’t mar the experience at all. Lots of grace and energy there.  

Edited January 22, 2023 by BalanchineFan

[bellawood]

At the matinee thought I’d share in real time since I am by myself! Donizetti was the debut of Woodward/Gordon. This is a very good role for him because of his truly excellent turning. He looked at ease in the role and of course he has such lovely port de bras anyway which helps with that impression. I think he can play more in the future, including exaggerating the slow to fast turns — he went from medium fast to blizzard but I think he can push that further if physically possible.

Indiana was dancing very big. I love watching and re-watching the Studio 5 with Violette Verdy coaching Tiler Peck in this ballet and Indiana was definitely lacking some of the “perfume” Verdy talked about. In the first variation there’s a moment where Verdy talks about having a secret “only for yourself” that you then share with the audience. Indiana had no secrets today. This was always a ballet I enjoyed Ashley Bouder in, not just because of her incredible jumps, but her sometimes wink-wink stage presence worked very well here. So while technically Indiana looked great I think there’s some shading to be done to her performance in the future. 

The corps looked pretty good: someone fell right at the end and I always feel bad when that happens but I understand those are the risks of dancing full out at speed. India Bradley was featured and I think she’s gotten stronger. In fall/winter 2019/20 she did the soloist/Suki role in La Source and was not up to it, both times I saw her she stumbled or fell. (The other soloist I believe that season was Emma Von Enck who was predictably amazing and secure). One of the boys was an apprentice so good for him! 

[bellawood]

A few thoughts during the second interval: Haieff Divertimento — I particularly like the choreography for the corps men/women. Christina Clark is very long of limb but I felt that she didn’t push or stretch enough, particularly in arabesque— not higher necessarily but longer. 
 

Valse-fantaisie was danced very competently but not very excitingly by a veteran crew. Daniel Ulbricht’s jump is starting to look effortful, maybe it’s just how he is feeling today. Erica Pereira is a very clear dancer in her movements but it never feels like she’s sharing the joy. 
 

Next is SVC. I am seeing the other cast on Wednesday because I couldn’t resist seeing Mira in this ballet so I can do apples-to-apples in a few days. 

[cobweb]

Thanks for the blow-by-blow updates, @bellawood! Fun to hear. 

[bellawood]

Finally, SVC — a ballet I will never tire of, no matter who dances it or how many times I see it. I thought that both principal women were excellent, particularly Unity. I know Emilie Gerrity is a source of discussion on this board but I think she does beautifully in this ballet, bringing a great deal of vulnerability to the role. Taylor Stanley is always a joy to watch. I agree with (I think) abatt that Russell is a bit of a weak link here. His jumps seem underpowered, particularly at the end of the Toccata when he leads the men in those grand pas de chats. I want them to be flying and he just wasn’t. The corps looked well rehearsed though, especially in the capriccio.  

[vipa]

I was also at the matinee today, and had a wonderful time. The company looks great and the corps, both male and female, is bursting with talent and energy

Donizetti is a great ballet for Woodward and Gordon. His technique is thrilling in its ease and naturalness. The way Woodward covered space, traveling sideways, in her variation really made me smile. As good as Woodward already is, I feel she'll continue to grow in this and other roles, in terms of musical phrasing and presentation.

I'm glad Haieff Divert continues to be in the rep. It's a short ballet, but it establishes an atmosphere. and implies a story, so I find it fascinating. Christina Clark has amazing long limbs, as other have noted. The woman's variation is not flashy, but it is very difficult. Clark handled it well. Peter Walker is a dancer I didn't take to when I first saw him a few years ago. I like him more and more. He's in better command of his technique and has a fuller, more solid stage presence.

I hadn't seen Valse Fantaisie in a while. As I remembered, it's short, sweet, beautifully constructed and full of steps! Pereira, never a favorite of mine, looked better than I've ever seen her. No technical glitches, nice phrasing, and she seemed to enjoy herself. Daniel Ulbricht is always a winning stage presence, with a beautiful movement quality. His jump has lost some height and zip, but he's a musical and smart dancer so he knows how to use what he has, to his advantage (and his jump is still very big). I do wonder what will happen to these two dancers. Pereira has been a soloist for over 13 years, and has never been cast much. Ulbricht has been a principal for 15 years and as been, (unfortunately IMO), limited in the rep he's been given. From what I can see neither is in the new Peck work, which has a very large cast. Not a good sign.

Violin Concerto is always a treat. Phelan, Stanley, Gerrity, Jansen were the principals. What struck me about all of them (particularly the two women) was the degree of musical sensitivity, attention to detail and overall refinement. What a pleasure. 

[cobweb]

As my flight landed this afternoon at JFK (and fortunately without clipping any other airplanes on the tarmac), the main thought on my mind was: can I make it to the performance tonight? Yes, I could make it, although somewhat jet-lagged. Brief report: Loved Peck and Mejia in Allegro Brillante. He has grown so much since bursting onto the scene several years ago, and now has a mature, adult quality that sits well on him. Also I can see him handling his ballerina with the utmost care, attention, and pride, and that really warms my heart. Finally, he has sometimes (often) seemed heedless and reckless, heaving himself into the air as if height is all that matters and to hell with form. But tonight he looked beautifully in control. Tiler's solo continues to astonish. 

Intermission after Allegro Brillante, really? I think they could have kept the evening to one intermission. 

I don't think I've seen Liturgy before, and I probably don't need to see it again. Unity and Chun Wai Chan both looked great. I'm finding her a little overexposed and overused at this point, but he really (as someone said up-thread) has it all. I look forward to seeing him in anything and everything. 

Walpurgisnacht Ballet. Emilie Gerrity was fine, but I gotta agree with @BalanchineFan that it was kind of bland. I wish we could have seen Emily Kikta in this role. This is a fun piece to watch. Lots going on for the corps ladies. I would like to get a better look at Ava Sautter in a featured role, she first caught my eye as one of the Tall Ladies of Phlegmatic a year or so ago. Also I am trying to identify one of the corps ladies. I would have said it was Lauren Collett, except Collett wasn't listed to dance. Petite brunette with big eyes, very pleasing slender figure, and - this is what I noticed - extraordinarily long arms. Anyone know who this is, is it in fact Lauren Collett?

Finally, whoever said up-thread that Firebird was probably put in as a retirement vehicle for Jared Angle, I think that must be right. He has been such a wonderful presence and partner, one of a kind. I will miss him. Isabella LaFreniere added a lot of depth and authority from when I saw her in this role last year. That grand jete offstage was breathtaking, and the solo was full of pathos. 

I watched NYCB's instagram footage of SVC with Nadon and Danchig-Waring. I love how she doesn't let herself be rushed by the music and luxuriates in it. Can't wait to see this. 

[WLH]

I was there this evening. I feel like Mejia and Chan are at the top of the food chain in terms of excitement these days, for me personally.
I found Chan and Phelan very moving in Liturgy. I thought it was beautiful, the music too, and I’m not particularly fond of contemporary works in general (to put it lightly). 
LaFreniere also completely moved me. She conveyed so much.
Gerrity did not, to be honest. Lovely facial expression and execution of steps, but lacked true artistry for me. That *feeling*..just wasn’t there. Maybe it’s me!

It was nice to see quite a full house! Not that they ever open the fourth ring, ha, but even so. 

[BalanchineFan]

As others have said (@uptowner ?), the rehearsal and performance footage on NYCBallet's IG is really great. Check it out if you have a few minutes.

https://www.instagram.com/stories/highlights/18310113421073021/

[abatt]

I attended the Sat matinee, specifically to see Gordon and Woodward in Donizetti.  Both were fantastic.  They are both so impressive.  

Today is Balanchine's birthday.   Happy Birthday and thanks for giving the public so many rich and rewarding ballets. 

[Susu_nyc]

20 hours ago, cobweb said:

Also I am trying to identify one of the corps ladies. I would have said it was Lauren Collett, except Collett wasn't listed to dance. Petite brunette with big eyes, very pleasing slender figure, and - this is what I noticed - extraordinarily long arms. Anyone know who this is, is it in fact Lauren Collett?

 

Might it have been Gabriella Domini?  In two nights of performances over the last week, I have found her easy to spot amidst many new faces in the corps.  She also danced in Donizetti on Thursday.  However, as we are missing head shots for the newest corps members and apprentices, it's become harder to match an on-stage face with a name in the program.

[cobweb]

11 minutes ago, Susu_nyc said:

Might it have been Gabriella Domini?  In two nights of performances over the last week, I have found her easy to spot amidst many new faces in the corps.  She also danced in Donizetti on Thursday.  However, as we are missing head shots for the newest corps members and apprentices, it's become harder to match an on-stage face with a name in the program.

Thank you for the suggestion, susu_nyc! I can readily identify Gabriella Domini, so I'm sure it wasn't her. This young lady was a similar height to Domini, but with a more lanky build, ie, small torso, longer limbs, and more articulated joints if that makes any sense. It drives me crazy that they aren't putting up photos of the corps members. It has been OVER THREE YEARS since they put in any new corps pics! 

[canbelto]

It might be Rommie Tomasini or Kennedy Targosz. Both are petite brunettes:

https://www.nycballet.com/discover/stories/meet-the-newest-members-of-the-corps-de-ballet/

[Wonders]

21 hours ago, cobweb said:

Also I am trying to identify one of the corps ladies. I would have said it was Lauren Collett, except Collett wasn't listed to dance. Petite brunette with big eyes, very pleasing slender figure, and - this is what I noticed - extraordinarily long arms. Anyone know who this is, is it in fact Lauren Collett?

It was Lauren Collett. You can see her clearly in this story: https://www.instagram.com/stories/nrcorrigan/3021602791992833744

[cobweb]

39 minutes ago, Wonders said:

It was Lauren Collett. You can see her clearly in this story: https://www.instagram.com/stories/nrcorrigan/3021602791992833744

Thank you, Wonders! I have not seen Collett in any featured role, but she certainly seems promising. It is exciting to see the young ladies who are getting big opportunities in Fancy Free -- Lauren Collett, Mary Thomas MacKinnon, and Malorie Lundgren. Of course, great for Alexa Maxwell too, but she is already well known to us, and overdue for promotion. 

I was at this afternoon's performance again. Tiler Peck and Roman Mejia made the whole thing worthwhile, just grand and beautiful. I am glad I got to see Isabella LaFreniere again in Firebird and the tremendous progress she has made from her already-polished debut last year. She has really made this role her own, despite coming on the very illustrious heels of Kowroski, Reichlen, Bouder, and Mearns. And I'm glad I will get to see Ashley Hod take on the role at the Jared Angle retirement performance. But after that, I'm done with Firebird for a while, maybe a long while. Just too much posing and costumes, not enough dance. When Miriam Miller did the Bride, I enjoyed it more, her incredible limbs made mincemeat of the long dress and showed that is actually a real dancing role. Otherwise, having seen LeCrone, Gerrity, and Savannah Lowery, none of them short, I find that whole section extremely dull. It takes a dancer of the longest possible limbs to make this role interesting, so the next obvious candidate would be Christina Clark. 

I would add that I'm enjoying Baily Jones (demisoloist in Walpurgisnacht Ballet) more than I used to. She somehow looks different now, maybe just more maturity? Not sure. Confident and lively. Would be glad to see her in bigger roles. Also I surprisingly enjoyed Erica Pereira in Walpurgisnacht more than expected. Her career is definitely stalled however. 

[cobweb]

9 hours ago, abatt said:

Today is Balanchine's birthday.   Happy Birthday and thanks for giving the public so many rich and rewarding ballets. 

Seconded! Thank you Mr B.

[abatt]

I went to yesterday's matinee.  Remember when there was a Vodka toast to Mr. B on his birthday.  Not anymore.  Remember when the company scheduled special demonstrations and lectures for his birthday?  Not anymore.  Now we are down to a note in the program.

Fortunately, the program was filled with terrific performances except for one.  First, Mejia is doing principal work, and has been for some time.  He deserves to be promoted.  LaFreniere has improved a lot in Firebird since her debut last year.  I thought Gerrity did pretty well with the Faust ballet.  She is perhaps a touch conservative in the diagonal spins, but it was a very good performance.  Liturgy suits Phelan well.  Long lines, no spins whatsover.

And now we turn to Tyler Angle. NYCB has entirely abdicated its duty to regulate who is allowed to appear on stage.  At this point, his appearance is embarrassing.  He is  very overweight - way worse than Bouder looked in the fall.  At least Bouder had a legit reason for weight gain - out with injury for an extended period.   Quit applying a double standard to women and men.  I don't care how good he is as a partner.  Either train someone else in the role or don't perform the ballet if you don't have anyone suitable.  I'm sure that for an ordinary person of his age his weight is fine, but he is not in the job of an ordinary person.   He should succeed into the character roles of Jared at this point.

 

Edited January 23, 2023 by abatt

[Marta]

9 minutes ago, abatt said:

I went to yesterday's matinee.  Remember when there was a Vodka toast to Mr. B on his birthday.  Not anymore.  Remember when the company scheduled special demonstrations and lectures for his birthday?  Not anymore.  Now we are down to a note in the program.  ...

And now we turn to Tyler Angle. NYCB has entirely abdicated its duty to regulate who is allowed to appear on stage.  At this point, his appearance is embarrassing.  He is  very overweight - way worse than Bouder looked in the fall.  At least Bouder had a legit reason for weight gain - out with injury for an extended period.   Quit applying a double standard to women and men.  I don't care how good he is as a partner.  Either train someone else in the role or don't perform the ballet if you don't have anyone suitable.  I'm sure that for an ordinary person of his age his weight is fine, but he is not in the job of an ordinary person.   He should succeed into the character roles of Jared at this point.

 

I was just thinking about the Balanchine birthday toasts last night.  I remember especially the 100th birthday celebration when Baryshnikov walked onstage  with  glasses and vodka on a tray.  What is going on with the administration at NYCB that they can't manage more than a program note? 

 Also, regarding  Tyler Angle,    I haven't seen him in a long time.  I'm embarassed to say that the double standard wasn't prominent in my mind.  You're so right.

[Helene]

Alastair Macaulay tried to make the same point a dozen years ago.  He was excoriated for it, and Jenifer Ringer got universal sympathy and a book deal.  But his real criticism was about Jared Angle, for whom it was water down a duck's back.

[matilda]

I agree with the comments above, however harsh. I can think of several dancers who would be great as the Faust male lead opposite a tall or medium-height ballerina like Gerrity, including Walker, Chan, Furlan, and Bolden. I realize the company has only so much time to devote to teaching dancers new roles. 

Tyler Angle is scheduled to dance Allegro Brillante this week with Megan Fairchild. That role requires even more male dancing (and in white tights) than Faust. I believe Fairchild last danced this ballet with Huxley, who is excellent in it, and is currently one of her regular partners. The only reason I can imagine they cast Angle instead was so he could dance at his brother's retirement performance. Otherwise it makes no sense and shows very poor judgement on the part of artistic management.