Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×
Support Ballet Alert! Year Round through the Amazon Affiliates Program by Clicking Here to Order from Amazon.com
2024 Ballet Talk Fundraiser -- Our Goal is $1500

New York City Ballet 2022-2023 season

California

By California
in New York City Ballet

Recommended Posts

BalanchineFan

BalanchineFan

Posted
Posted
10 hours ago, cobweb said:

Was just on youtube watching the Miami City Ballet Square Dance. This piece brings me so much joy I must see it as many times as I can, whether it's Pereira, Fairchild, or hopefully Woodward or Emma von Enck will get a chance. Also it occurs to me this would be a great fit for new soloist Alexa Maxwell or underused soloist Sara Adams. Why not throw in some extra performances -- does anyone NOT love this piece?? When I first started attending NYCB in 2011, after getting weary of the war horses at ABT, I was buying tickets more or less at random, knowing nothing about NYCB or, embarrassing to say, Balanchine. When I saw Square Dance, that was it -- I was hooked, I was converted, whatever.. and the rest is history. 

You are triggering my own memories! They danced Square Dance the very first time I saw NYCB as well, back in 1979 or so. Merrill Ashley was the lead and she was amazing. I believe Balanchine remounted the ballet for her. She has said in interviews that it felt like he was choreographing it on her, on her body.

I was hooked.

Link to comment
pirouette

pirouette

Posted
Posted

The 2023-24 season has been announced!! The fall season is dedicated to Balanchine, with LOTS of his classics being performed. The winter and spring also look very exciting! Some of the great ballets making a return include Jewels, Serenade, Symphony in C, Tchaikovsky Piano Concerto No. 2, Dances at a Gathering, Theme and Variations, The Concert, and MUCH MORE!! I'm so looking forward to this, so many of my personal favorites are on the programming! 

https://www.nycballet.com/season-and-tickets/seasons

Link to comment
Rock

Rock

Posted
Posted
On 4/15/2023 at 5:35 AM, BalanchineFan said:

I believe Balanchine remounted the ballet for her. She has said in interviews that it felt like he was choreographing it on her, on her body.

The revival premiere was danced by Sara Leland and Bart Cook.

Link to comment
Fernie M

Fernie M

Posted
Posted
20 hours ago, pirouette said:

The 2023-24 season has been announced!! The fall season is dedicated to Balanchine, with LOTS of his classics being performed. The winter and spring also look very exciting! Some of the great ballets making a return include Jewels, Serenade, Symphony in C, Tchaikovsky Piano Concerto No. 2, Dances at a Gathering, Theme and Variations, The Concert, and MUCH MORE!! I'm so looking forward to this, so many of my personal favorites are on the programming! 

https://www.nycballet.com/season-and-tickets/seasons

Thank you for posting this! I’m actually going to be in New York October 5-8. I’m planning on going as much as possible. I noticed they have nothing listed for Thursday, October 5? Is this a typo or they just haven’t decided…or I am blind?

Link to comment
Fernie M

Fernie M

Posted
Posted
6 minutes ago, Fernie M said:

Thank you for posting this! I’m actually going to be in New York October 5-8. I’m planning on going as much as possible. I noticed they have nothing listed for Thursday, October 5? Is this a typo or they just haven’t decided…or I am blind?

I’m going to correct my above email as I just got off the phone with the box office. Thursday, October 5 is the night of the gala. 

Link to comment
abatt

abatt

Posted
Posted (edited)

About last night....

I enjoyed Phelan in her debut of Concerto Barocco.  It was a good role debut.  Tyler Angle is very out of shape, and again I found his bald head to be distracting.  I thought Laracey had difficulty keeping up with the music during her initial entrance at the start of the ballet, but she improved for the rest of the ballet.  

Kammermusik is very much not my cup of tea.  I don't like the music, but it was well danced. 

Megan Fairchild remains a stellar presence at the company.  She has never been better.  Overall a terrific account of the lead roles by her and Huxley.  I have a question about Claire's variation.  She was very secure on pointe, but my recollection is that in her variation the ballerina is also supposed to advance forward while doing the tricky pointe work.  At least that is what  I recall when Sara Adams did it.  Clarie barely advanced across the stage.

Can't wait to see more of Collett.  She was excellent. 

Who was the blonde corps woman who flubbed the spins near the end of the ballet?  Was that Bailey Jones?

 

 

Edited by abatt
Link to comment
MarzipanShepherdess

MarzipanShepherdess

Posted
Posted
2 hours ago, matilda said:

Pazcoguin retiring in "Namouna" this season: https://www.broadwayworld.com/article/Georgina-Pazcoguinthe-Groundbreaking-Ballerina-Broadway-Star-and-Culture-Leaderis-Leaving-New-York-City-Ballet-For-Greater-Heights-20230419

Possibly the Mearns part? 

Doesn't look like it's the Mearns part, as Sara is dancing in the same show. I haven't seen Namouna in so long I can't recall what role the second name on the casting list corresponds to, but that's the role Georgina is debuting in for her retirement.

Not a shock given how relatively little she's been cast lately, but I'm going to miss Gina and will be excited to see what other work she takes on. She has always stood out for me, bringing a lot of fire and flair and individuality. I think I just saw her in one role winter season, in Radtmansky's Voices, but she was fantastic that night.

Link to comment
MarzipanShepherdess

MarzipanShepherdess

Posted
Posted

Attended last night's opening night. Glad to be back at the ballet, though I find myself missing the beautiful Shy Light sculpture installation.

Concerto Barocco: I know it's an iconic Balanchine ballet, but somehow just not one of my favorites. Well-danced by Unity and Ashley. I found Ashley more compelling to watch, just a bit more expansive and intriguing. 

Kammermusik: I really love this ballet. It's so relentless and I love the asychronicity between the two female leads, how they mirror each other but are also out of sync. And I find the choreography for the male corps very interesting, with the strange contorted bent arms and the flat footed hops. Mira and Emilie were great, super-fast and powerful. Strong debut from Mira. She had a fall pretty early, maybe 5 minutes in, which has to be just awful to experience in the context of a ballet as demanding as Kammermusik, but she took it in stride and was dancing full-out again very quickly. 

Raymonda Variations: agree with @abattthat Megan has never been better. Still technically secure but more lyrical and individual, more "perfume". Anthony was just gorgeous, so light, so precise. Was impressed by Claire Von Enck in the first solo doing the hops on pointe. 

Looking at week 3 casting, interesting to see that Dominika Afanasenkov has another significant debut in the new Wheeldon, which has a fairly small cast, right on the heels of her Afternoon with a Faun debut. More excited to see the two new works based on their casting than I was before.

Link to comment
cobweb

cobweb

Posted
Posted

A few comments about last night's opener. Unity Phelan was fine in Concerto Barocco, but not especially interesting. Ashley Laracey looked wonderful, with some lovely phrasing accenting the music and her beautiful, ultra-delicate refinement and carriage making a huge impression. 

I don't love Kammermusik either. I seem to recall it with a darker air than it had here, where it was more perky than menacing. 

In Raymonda Variations, Meaghan Dutton-O'Hara has a lovely lovely expansiveness. I would love to see her as a soloist. And agree with @abatt, Lauren Collett looked scintillating, and I'd love to see more of her. 

 

Link to comment
abatt

abatt

Posted
Posted (edited)

Ulbricht isn't cast at all so far.  I'm pretty sure I saw him out on the plaza before showtime.  

correction - he is going to do his old role in Namouna next week.  Glad to see Ratmansky is using him.  Interesting that Ratmansky is allowing Paz to debut a role in Namouna as her retirement. 

 

Edited by abatt
Link to comment
FayBallet

FayBallet

Posted
Posted
2 hours ago, cobweb said:

A few comments about last night's opener. Unity Phelan was fine in Concerto Barocco, but not especially interesting. Ashley Laracey looked wonderful, with some lovely phrasing accenting the music and her beautiful, ultra-delicate refinement and carriage making a huge impression. 

Agreed.

 

I don't love the Hindemith, but I did love the See the Music demonstration! I listened to the podcast episode earlier this week, which made me go into the night planning to focus on the corps, but I found myself focusing almost entirely on Mira and Emilie.

Link to comment
FPF

FPF

Posted
Posted
7 hours ago, matilda said:

Pazcoguin retiring in "Namouna" this season: https://www.broadwayworld.com/article/Georgina-Pazcoguinthe-Groundbreaking-Ballerina-Broadway-Star-and-Culture-Leaderis-Leaving-New-York-City-Ballet-For-Greater-Heights-20230419

Possibly the Mearns part? 

 

5 hours ago, MarzipanShepherdess said:

Doesn't look like it's the Mearns part, as Sara is dancing in the same show. I haven't seen Namouna in so long I can't recall what role the second name on the casting list corresponds to, but that's the role Georgina is debuting in for her retirement.

Not a shock given how relatively little she's been cast lately, but I'm going to miss Gina and will be excited to see what other work she takes on. She has always stood out for me, bringing a lot of fire and flair and individuality. I think I just saw her in one role winter season, in Radtmansky's Voices, but she was fantastic that night.

I think this part is the cigarette solo.

Link to comment
WLH

WLH

Posted
Posted

I attended tonight.. just wanted to echo everyone else re: Raymonda and say how wonderful Fairchild is. Every movement is so expansive. Any time I see her it is a total joy.
Huxley is becoming one of my favourites, this is my third time seeing him. Utterly poetic and light as a feather. They’re beautiful together. 

 

Link to comment
bellawood

bellawood

Posted
Posted

Hi everyone, here this evening, first intermission. Dual debuts for Sara as 1st violin and Isabella as 2nd. I thought Isabella danced with a lot of energy and attack and had a very successful debut. Sara seemed a little muted and tentative (less so in the 3rd movement) and will need some time to get back to full “Sara” strength I think, but she had an enormous relieved smile during the curtain call (an enthusiastic reaction). The corps looked a little underpowered and under-rehearsed — somebody ran into Sara during one of what I think of as the “walk arounds”. But, so good to see this ballet live again and this spring gives them ample rehearsal for the 75th anniversary celebration in September.

Link to comment
seallen

seallen

Posted
Posted (edited)
17 minutes ago, bellawood said:

Hi everyone, here this evening, first intermission. Dual debuts for Sara as 1st violin and Isabella as 2nd. I thought Isabella danced with a lot of energy and attack and had a very successful debut. Sara seemed a little muted and tentative (less so in the 3rd movement) and will need some time to get back to full “Sara” strength I think, but she had an enormous relieved smile during the curtain call (an enthusiastic reaction). The corps looked a little underpowered and under-rehearsed — somebody ran into Sara during one of what I think of as the “walk arounds”. But, so good to see this ballet live again and this spring gives them ample rehearsal for the 75th anniversary celebration in September.

Thank you for reporting!  Being back on stage tonight is a triumph for Sara and so appreciate you checking in with the update for those of us not able to be there.

Edited by seallen
missed a couple of words to finish the sentence
Link to comment
bellawood

bellawood

Posted
Posted

Sorry! Ran into friends at the way end of the 1st intermission and spent the second yakking with them so did not report in. I really enjoyed Kammermusik. Harrison Coll was out (old-school paper slip in the program) and Peter Walker danced in his place. I always think this ballet should actually have Agon-style black and white costumes, the current ones being Opus 19-adjacent. I think it would make more sense that way. I hate the ponytails. I am not too objective about this performance because I basically watched Mira the whole time, but it was crisp and interesting. 
 

Raymonda was Tiler’s debut and she was wonderful. Just so in control, so nuanced — she just understands how to use her body so well. You would never know it was her debut. This is a great role for Joe Gordon, he makes these variations look so easy and relaxed. Their partnering looked secure and natural. The variations were well done by all: Olivia MacKinnon had the horrible hopping arabesque one, and looked as natural as one can look doing it. Other standouts were  MT MacKinnon who has a big jump (I never noticed before) and Malorie Lundgren who was pretty wonderful in the last variation, quite self -assured and full of personality. The audience loved it.

Link to comment
vipa

vipa

Posted
Posted

Just got home from tonight as well. Had a wonderful time. First Concerto Barocco  - I haven't seen much of LaFreniere and after seeing her Aurora debut had my doubts about her (I've been told her 2nd Aurora was much better). I loved her in Concerto B tonight. She ate up space, danced boldly  and with musical sensitivity. Sara Mearns got a warm welcome on her return to the stage . I thought she had some particularly fine moments with Russell Jenzen in the adagio section. 

I enjoy Kammermusik more every time I see it.The driving first section with Nadon and Garrity was terrific. Over all, there are so many strange and witty moments in the piece, that I keep finding more to discover. I think it's. fun ballet to have on a program with Concerto B. one having a corps of 8 women, the other a corps of 8 men.

Raymonda Variations  was a joy. Tiler Peck was thrilling, her musicality is unmatched. The wonderful thing is that I know if I see her do it again, she will have new ways of phrasing the steps that will be equally as beautiful and captivating. The pas with Joseph Gordon had a wonderful connection between the two. It's a tricky pas with some real mine fields and they pulled it off with total grace. The 5 solo variations were enjoyable with a few issues. The 1st variation hops on point - I'm sure in that the past those hops travelled across the stage, which give it a freer more natural quality. Olivia MacKinnon did the hops pretty much in place. To me it's an odd look. Malorie Lundgren did variation VII well, but the last step didn't read. It's an interesting turning step with the plie in an odd place. Here's Marnee Morris doing it in a rehearsal and you can see it clearly. 

 

Link to comment
cobweb

cobweb

Posted
Posted

I was also there and enjoyed last night. This program really showcases Balanchine's versatility. I think Kammermusik improves and is easier to appreciate, with repeated viewings. Concerto Barocco is such a beautiful piece and I enjoyed both Mearns and LaFreniere, in her first outing as a principal. And totally agree about the beauty of Tiler Peck and Joseph Gordon in Raymonda Variations. I thought Mary Thomas MacKinnon was charming and dynamic in her variation, and Malorie Lundgren very assured. Thanks @vipa for the clip of Marnee Morris; I will have a better understanding of that variation next time I see it. 

Mr cobweb does not follow the company as closely as I do, and this was a fun opportunity for him to catch up with his old favorites Sara Mearns and Tiler Peck (he especially loves her musicality) and to "meet" new principals Isabella LaFreniere, Mira Nadon, and Emilie Gerrity. Studying the principal roster's headshots in the program, he notes that most of them are striving to look arty and serious, and the only ones who showcase a natural, forthright smile are Peck, LaFreniere, and Tyler Angle. And I implore Emilie Gerrity to update her headshot. She's had that pic since she was in the corps, and it makes her look like a frivolous teenager, rather than a confident, mature principal. 

On another non-dance note, I warned Mr cobweb that the sandwiches at the snack stand were not worthwhile, but he was hungry so tried the roasted eggplant sandwich. Described it as tasting like plastic. We recently spent like $21 (plus tip) on a sandwich at the Metropolitan Opera, and while I will certainly not do that very often, it was at least delicious (it was the ham and brie sandwich). 

Link to comment
Koralle

Koralle

Posted
Posted

Hello everyone, I'm new here. I've been following NYCB closely for the past two years after relocating to the city just before the lockdown. 

I saw both casts for the opening program - I like watching back to back performances. And I'm so grateful I haven't missed the glorious return of Sara Mearns in Conecerto Barocco. I was somewhat sceptic before the performance - I'm a Lopatkinasque-ballerinas fan - and I was proved wrong. She was a little bit cautious and too focused on each step during the first few minutes, I watched her closely with a binoculars, I saw some hesitation in her moves, some stiffness in her arms. And then a magic happened. She kept her eyes open but I got a feeling that she simply shut her doubting mind and let her body do what it knows to do the best. This transition was so palpable, and then I saw a true old-school Balanchine ballerina with clear positions, with very smart and strong arms, with measured fluidity. There was that crystal Balanchine musicality, mathematically beautiful. You know that feeling, when you know that the dancer knows and understands what he is dancing. It is a very rare quality, and I will be forever grateful to Sara for gifting me with that very rare experience. I didn't catch much of Isabella LaFreniere, I admit. But in the short syncopic interactions with Sara the difference in the class was very clear - mostly in the arms. And she also added some Broadway-like hip movements - similar to Ashley Laracey in the same part a night previously, so I'd have to see another cast to give my verdict on it. Unity Phelan was beautiful in Concerto. She is one of the most ballet-gifted dancers in the company - the soft long muscles, the natural turnout possible only with a very particular hip bones structure, the arc - her adagios are delicious not only for her tecnique but also for the beauty of her ballet body. She has gained some weight recently and while it doesn't harm her technique and she is a beautiful and strong dancer - I miss that feeling of being absolutely taken aback by watching that rare born-to-be-ballerina body dancing (her debut in After the Rain was one of my first strongest impressions from NYCB). To be continued...

Link to comment
Go to topic listing

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...