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New York City Ballet 2022-2023 season

California

By California
in New York City Ballet

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abatt

abatt

Posted
Posted
43 minutes ago, BalanchineFan said:

Not that I disagree with the assessment, but how could one possibly know what is going on in Jonathan Stafford's head?

It's about the casting.  He has given her major roles - Chaconne, Firebird, Raymonda to name a few.  She learned Diamonds with Catazoro (which she has yet to perform).  When they progressively give you more and more of the big Balanchine roles, they are considering you for principal.  

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bellawood

bellawood

Posted
Posted
11 minutes ago, abatt said:

It's about the casting.  He has given her major roles - Chaconne, Firebird, Raymonda to name a few.  She learned Diamonds with Catazoro (which she has yet to perform).  When they progressively give you more and more of the big Balanchine roles, they are considering you for principal.  

exactly this, i think -- before the pandemic, Mira Nadon was learning second movement symphony in C -- that was from an interview she did with Michael Breeden on his podcast from winter 2020. They learn the roles sometimes years before they are tapped to perform them -- but that they are chosen is an important hint. 

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pirouette

pirouette

Posted
Posted (edited)

Here is the link to the charts for anyone who's interested: https://drive.google.com/file/d/1spGtuG6xk_wKIU3TcEGj2W_69byh4udd/view?usp=sharing

I started doing this in Fall 2022.. regrettably did not do it for Nutcracker season but I've finished updating it for Winter 2023 casting! Of course, it's not perfect as there are a few things to keep in mind such as last-minute casting changes due to injury or COVID. These are just purely based off of the Principal Casting sheets on the NYCB website. Also Sara Mearns has been out for the entirety of this season, so naturally dancers like Emilie Gerrity have been getting a number of her usual roles. Nevertheless, I think it's interesting to see who's getting cast most in major roles! 

The first page is Fall 2022 and the second page is Winter 2023. If the link isn't working for anyone, do let me know :) 

Edited by pirouette
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carllovesballet

carllovesballet

Posted
Posted
2 minutes ago, bellawood said:

Thanks, Pirouette! What this tells me is that Sebastian V-V is an incredible workhorse for the company, even though we never talk about him as someone who might get promoted.  

He's a personal favorite of mine! He  has incredible range and I think should be promoted along with Roman to principal soon.

 

Also I am obsessed with the love for Chan - I'm from Houston and grew up watching him since he was in Houston Ballet II and love that I get to watch him again in NYC!

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BalanchineFan

BalanchineFan

Posted
Posted
14 hours ago, pirouette said:

Everywhere We Go continues to be one of my favorites, especially from Peck. I love the music and wish they had it up online for streaming somewhere! Kikta was great and really shone in the role that was originally danced by Tess Reichlen I believe. I'm not sure about Ashley Hod in the role she debuted in tonight (originally danced by Sterling Hyltin), but perhaps she'll grow into it! 

I"m really looking forward to seeing Everywhere We Go this weekend. My guess is that the Sterling Hyltin role will be the most difficult to recast. She and Andy Veyette had such sparkle in their duets and he really pulled her through the air to amazing effect. Lots of away-from-the-body lifts where she seems to float around him, flying through the air, sometimes turning at the same time. She talks about it here. 1:30 in you can see some of the most dazzling parts.

 

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pirouette

pirouette

Posted
Posted
15 minutes ago, Peg said:

Great chart, pirouette!!  Thank you.  What do the blue and yellow shadings represent (or did I miss that in an earlier post?

Thank you! The blue is for soloists and the yellow is for corps dancers!

3 minutes ago, matilda said:

I'm confused--how did Unity dance 25 featured roles in the fall when there were only 20 ballets programmed? Or is 25 the total number of times she danced

25 is the number of times she danced! So if she was cast in La Sonnambula for example, and she danced it 3 times, then that would add 3 to her chart. Sorry, should've made that clearer! I'm considering also charting debuts for future seasons as I think that might be interesting to see. 

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BalanchineFan

BalanchineFan

Posted
Posted
2 minutes ago, pirouette said:

25 is the number of times she danced! So if she was cast in La Sonnambula for example, and she danced it 3 times, then that would add 3 to her chart. Sorry, should've made that clearer! I'm considering also charting debuts for future seasons as I think that might be interesting to see. 

Thanks for posting your list!! I really appreciate it.

So, many of the numbers are due to the ballets and the number of times a dancer is cast in a ballet that gets performed often. Also, I think Mejia was injured for part of the fall, or also had Covid, and my guess is that's the only reason his numbers are low for fall.

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pirouette

pirouette

Posted
Posted
9 minutes ago, BalanchineFan said:

I"m really looking forward to seeing Everywhere We Go this weekend. My guess is that the Sterling Hyltin role will be the most difficult to recast. She and Andy Veyette had such sparkle in their duets and he really pulled her through the air to amazing effect. Lots of away-from-the-body lifts where she seems to float around him, flying through the air, sometimes turning at the same time. She talks about it here. 1:30 in you can see some of the most dazzling parts.

Thanks for linking this video BalanchineFan! Sterling was always so joyous to watch and light on her feet, and I agree Andy Veyette was a great partner for her. During the rehearsal yesterday, the host/speaker was talking about partnering and mentioned that she once heard Veyette say he could anticipate Sterling's next move by watching the muscles in the back of her neck!! I thought that was so cool. 

I hope you enjoy Everywhere We Go! Let us know what you think :) 

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vipa

vipa

Posted
Posted
7 hours ago, bellawood said:

Thanks, Pirouette! What this tells me is that Sebastian V-V is an incredible workhorse for the company, even though we never talk about him as someone who might get promoted.  

Another thank you Pirouette! I also wonder what's happening withTroy Schumacher. He's listed as a soloist but doesn't perform much, if at all, unless I'm missing something. I believe he's married to Ashley Laracey and been the director of  a company called BalletCollective for a number of years. Is he actively performing?

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uptowner

uptowner

Posted
Posted
22 minutes ago, vipa said:

Another thank you Pirouette! I also wonder what's happening withTroy Schumacher. He's listed as a soloist but doesn't perform much, if at all, unless I'm missing something. I believe he's married to Ashley Laracey and been the director of  a company called BalletCollective for a number of years. Is he actively performing?

https://www.instagram.com/p/CZoqkERO4iJ/?utm_source=ig_web_copy_link
This is a post from about a year ago on his Instagram about a lengthy absence due to injury. I think he also danced in Midsummer? (He does also seem very active running BalletCollective.) 

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Royal Blue

Royal Blue

Posted
Posted

Of the six women "heard" in Ratmansky's Voices, I had awareness of only two previously: Nina Simone and Setsuko Hara. Now I am interested in learning more about all of them. Once a viewer accepts the nature of the music for this work, the ballet is both fascinating and beautiful. How does the piano accompaniment and the choreography combine in a given performance to enhance whatever message each of these notable women had to impart to the world, one naturally wonders?

Simply put, the segment titled "To Live in the Hearts We Leave Behind" in Everywhere We Go would tempt me mightily if I were in Faust's shoes to utter "Linger a while -- thou art so fair!" This and the section labeled "The Gate of Heaven Is Love" make the ballet irresistible to me. Apart from these, there are other moments which pique my interest throughout the rest of the work, and the entire "I Am In The House And I Have The Key" part is particularly absorbing. When it premiered in 2014, the ballet featured a magnificent cast of principal dancers, two of whom (Tiler Peck and Andrew Veyette) are still performing their original roles.

Five women have principal roles in both ballets in the two alternate casts of Voices, and Everywhere We Go this season: Megan Fairchild, Indiana Woodward, Unity Phelan, Emily Kikta and Isabella LaFreniere. Due to their excellence in performing their respective roles, I would be loath to miss any of them in either ballet.

As I saw it, Ashley Hod's debut in Justin Peck's ballet was wonderful.

Both Miriam Miller and Megan Fairchild display a solid grasp of what they need to do —down to the movement of the head, expression of the face and downcast eyes— to heighten the impact of the key moments in Everywhere We Go.

In addition to his excellent partnering of Miriam Miller and overall performance, Peter Walker made me notice something in the compelling fourth segment that I had failed to appreciate during many previous viewings of Everywhere We Go.

Thrilled to have been in attendance Thursday evening for Mimi Staker's debut in Voices. Not only for her personal beauty, but for her expressive dancing of Ratmansky's marvelous solo. Plus, I love Setsuko Hara.

 

 

 

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BalanchineFan

BalanchineFan

Posted
Posted
21 hours ago, pirouette said:

Thanks for linking this video BalanchineFan! Sterling was always so joyous to watch and light on her feet, and I agree Andy Veyette was a great partner for her. During the rehearsal yesterday, the host/speaker was talking about partnering and mentioned that she once heard Veyette say he could anticipate Sterling's next move by watching the muscles in the back of her neck!! I thought that was so cool. 

I hope you enjoy Everywhere We Go! Let us know what you think :) 

I've seen Everywhere We Go  many times, it's among my favorite Justin Peck ballets. I am interested to see the new cast. I have such strong memories of Amar Ramasar and Robert Fairchild in a sequence where one is standing and the other is on the floor with his feet against the back of his partner's ankles. I like seeing Peck's ballets repeated times because so much is happening in them. Sometimes I think it's a generational thing, all of Hamilton went by so quickly that I wanted to see that more than once as well (and study the lyrics and cast recording). Creators now are of a generation with shorter, multi-tasking attention spans, or they are used to more stimulation.

I also enjoyed Copland Dance Episodes more on the second viewing. I had given up my expectations of what the ballet would be and I could enjoy what he created, which is significant. Also, both casts are killing it.

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pirouette

pirouette

Posted
Posted
6 hours ago, BalanchineFan said:

I also enjoyed Copland Dance Episodes more on the second viewing. I had given up my expectations of what the ballet would be and I could enjoy what he created, which is significant. Also, both casts are killing it.

Hmm I have yet to see new Peck ballet. Hoping to see it in the spring! 

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Balletwannabe

Balletwannabe

Posted
Posted

Hi- thank you for the recommendations to see Fairchild, I have tickets for the opening on Wednesday.  Bookended with the final SL with Woodward.  Can't wait!

Another question - I have this point only been seated in 2nd/3rd/4th ring.  I've never done the partial views or orchestra.  I plan on many more performances in the future.  Where are your favorite Koch theater seats and why?

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Marta

Marta

Posted
Posted
35 minutes ago, BalanchineFan said:

I love the First Ring left. The vantage point on the stage is good. The ladies room is close by. A lot of company members (Wendy, Jonathan) watch from the First Ring. The AA seats are decent, unless something is upstage right.

The first ring center is the best.  Second ring center is  very good, especially in the front.  My seats are in E, the last row. Right next to the exit and nobody behind you kicking your seat.

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pirouette

pirouette

Posted
Posted

I don't think you can go wrong with first ring center! I'm quite short so I like being in the first row of the rings. In the rear orchestra, the left/right section of Row R is good for me because there's no one in front of you. Depending on the ballet, I also enjoy sitting on the right side of the orchestra (though not TOO far right), as the dancers come out on that side during curtain call. Plus that's where they open up most of the $30 for 30 tickets.

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BalanchineFan

BalanchineFan

Posted
Posted (edited)
3 hours ago, Marta said:

The first ring center is the best.  Second ring center is  very good, especially in the front.  My seats are in E, the last row. Right next to the exit and nobody behind you kicking your seat.

Oh yes, First Ring center would always be my first choice... except for the price.

Edited by BalanchineFan
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