New York City Ballet 2022-2023 season

[BalanchineFan]

2 hours ago, cobweb said:

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. 

Emilie Gerrity's picture DEFINITELY needs an update. She's a beautiful woman and it doesn't even look much like her. You'd never recognize her onstage after seeing it. She needs a picture with her hair off her face.

I saw Sara Mearns' return in Concerto Barocco. So good to see her back. She did seem a touch tight in the beginning. I thought it could be nerves, her past injury, or the fact that she'd done the other role (for years) and was fighting her muscle memory with that music. She was so glorious in the ppd! I was also reminded why I was so in favor of Isabelle LaFreniere's promotion. She wants to move. You can see her enthusiasm for the movement from the audience, she revels in it, and dances big all the time. Full, daring phrasing, space devouring, all lovely lines and positions.

I see new things in Kammermusik every time. I don't think I remembered the two ppd at all, though I've seen the ballet numerous times. The juxtaposition with Concerto Barocco was lovely. Both have a corps of eight, as @vipa noted upthread.  Balanchine does such phenomenal things arranging the corps on stage, each ballet completely different. Barocco is like turning a kaleidescope. Kammermusik is more organic with the men in a tangle at times, holding hands with each other and stepping over the clasped hands. Emilie Gerrity and Mira Nadon were great foils to each other. In some ways their dance in canon with each other was more significant than with their male partners.

Raymonda was lovely. Tiler Peck must have nerves of steel because I've seen her in a number of role debuts and it never, never shows. She is commanding, musical, at ease, playing with her phrasing and with her partner. You'd think she'd been doing this ballet for years. I thought the women's variations all went well. They are pretty and tricky. (The Marnee Morris solo seems like the dancer is knitting a sweater with her legs... in a gorgeous dancing kind of way. It's the piqués, passé, tight sousus and en dedans turns at unexpected moments) I particularly liked Malory Lundgren, partly because she wasn't too smiley. She let her legs (and body) do the talking and left the audience to marvel without telling them what to feel.

Joseph Gordon was beautiful, plush jumps and turns, lovely bearing. I love him in these roles. It was a fantastic night back at the ballet.

[abatt]

Huxley and Fairchild brilliantly led Donizetti Variations tonight.  Great work from both leads.  Megan danced with attack and ate up space in her huge jumps.  Exquisite.

The rest of the performance was fine, but not remarkable.  Not a big fan of Haiff.  It was well performed.

I usually like Square Dance, but tonight it was a bit underpowered.

Gordon is, in my opinion, miscast in Afternoon of a Faun.  And Unity is lovely but too bland.  We need someone like Janie Taylor in that role.

Third ring was closed.  

Huxley has become quite the show-off in demonstrating his control in difficult spinning variations (Raymonda and Donizetti).  If you've got it, flaunt it.  Huxley's definitely got it.

 

Edited April 22, 2023 by abatt

[Balletwannabe]

I had never seen Square Dance and will avoid any program with this incredibly boring ballet in the future. 

Afternoon of the Faun was everything I hoped it would be, I thought their chemistry was incredible.

I love Megan Fairchild in anything.  Excellent technical ability and artistry.  I never have a reason to complain about her.

I was gazing at Woodward's hands in her solo.  I've never watched anyone's hands before.  I don't even know how to describe how beautifully I thought she danced that with her upper body.

As for the rest of the dances/dancers, I can forgive timing issues here and there.  I take issue with 20+ timing issues in one evening.  Rehearse more.  It's distracting.  

Overall I could have skipped everything and just watched the 11 minute Afternoon of The Faun and been happy.  My first time seeing it so I have no one to compare to.

[nysusan]

10 hours ago, Balletwannabe said:

I had never seen Square Dance and will avoid any program with this incredibly boring ballet in the future.

You would never find Square Dance boring if you'd seen it with Bouder, or MCB's Jeannette Delgado. I have, and I love it. However last night it was deadly dull. I wish I could see it next week with Fairchild and Huxley, I'm sure it will be very different. Unfortunately I can't go to their performances.

[matilda]

Lovely matinee today with pretty strong performances in Concerto Barroco (Phelan, Laracey) and Kammermusik no. 2 (Nadon, Gerrity). I'm in pro-Kammermusik camp and enjoy the ballet's quirky neoclassicism and jagged aesthetic. LaFreniere and Chan were mostly great in Raymonda. She radiates ballerina authority especially in her upper body carriage, and his classical technique and charisma are stellar. There was a flub where she came off point in a balance a la seconde, but she bounced back fast. Hope she can get over the error prone-ness. 

[BalanchineFan]

It doesn’t bother me when dancers slip, fall or fall off pointe. A performance is so much more than that. If someone is dancing well or dancing fully and has a mishap I find it’s easy to get (or stay) absorbed in the ballet.

Bore me, however, and it’s a totally different story. I much prefer daring and accident prone to safe and dull. There are entire companies I avoid because they’re safe and dull. 

[Royal Blue]

Other than wanting Unity Phelan to reprise her role in Afternoon of a Faun, I deliberately refrained from reflecting about what other woman from the roster I would like to see in a likely second cast of the ballet this spring.

For reasons to be explained after viewing her performance on Sunday afternoon, I was not in the least disappointed to see Dominika Afanasenkov cast in the role of the young female dancer, even though she has only recently joined the company and I have barely seen her before. (Glad that she performed one of the fairy variations in The Sleeping Beauty during the winter.)

Additionally, in response to a comment earlier in the thread, I must observe that Unity Phelan looked as marvelous as she always has, both in Concerto Barocco (a debut), and in Afternoon of a Faun, and should not lose an ounce of weight if she can help it. 

[abatt]

1 hour ago, Royal Blue said:

Additionally, in response to a comment earlier in the thread, I must observe that Unity Phelan looked as marvelous as she always has, both in Concerto Barocco (a debut), and in Afternoon of a Faun, and should not lose an ounce of weight if she can help it. 

Unity is already stick thin.  I can't imagine why she would want to lose weight.  

About last night...  LaFreniere, Mearns and Janzen were absolutely fantastic in Concerto Barocco.  LaFreniere was brilliant in this.  I found this much more satisfying and electrifying as compared to the other cast earlier this week.  LaFreniere was fearless in the breadth of her movement.

A note about Tyler Angle.  He has become a distraction.  I know he is a good partner, but in Concerto earlier this week he stuck out like a sore thumb for all the wrong reasons.  He is completely out of shape.  Janzen was pure elegance and refinement.  He was wonderful.

The quartet in Kammermusik was also wonderful.  Miller had a nasty fall but got right back up.  Kikta was particularly exciting to watch.

I don't like Tiler Peck as much as Megan Fairchild in Raymonda, but she performed very well.  And Gordon was perfection.  This is the kind of work he excels in  - pure classical ballet.  

It seems that none of the current dancers can do hops on pointe that actually advance across the stage in the first Raymonda Variation. 

 

 

Edited April 23, 2023 by abatt

[fondoffouettes]

Phelan and Laracey were great in Concerto Barocco on Saturday. The role suits Phelan very well, and Laracey's dancing was as musical and incisive as ever.

I'm not a fan of Kammermusik. I found all of the dancing in unison (or one beat off) to be really tedious. For me, it added little to see the two dancers doing the same steps, as opposed to Concerto Barocco, where the interaction of the two ballerinas is fascinating. I don't care for the music at all. Balanchine had the ability to elevate mediocre music, but I don't feel this is such an example. It was danced very well, though.

LaFreniere left me cold in Raymonda Variations. It's hard for me to point to one particular thing, but I got the impression she isn't completely comfortable in the role (which is understandable, given its demands). Maybe with time, she'll be able to make it her own. Chan was quite exciting. I'd think LaFreniere would need a taller partner, but Chan's partnering was solid.

[vipa]

Anyone at Sun. Mat.? I ran into a friend who was there and was told Woodward replaced Fairchild in Donizetti but I didn't think to ask about Haeiff which Woodward was scheduled for.

[jeff-sh]

12 minutes ago, vipa said:

Anyone at Sun. Mat.? I ran into a friend who was there and was told Woodward replaced Fairchild in Donizetti but I didn't think to ask about Haeiff which Woodward was scheduled for.

She danced both

[vipa]

10 minutes ago, jeff-sh said:

She danced both

Thank you. I hope Fairchild is OK.

[canbelto]

Domenika Afanasenkov was incredible in Afternoon of a Faun! She looks so much like Janie Taylor, it's eerie.

[FayBallet]

It would’ve been nice to have had an announcement. Knowing that Woodward was stepping in unexpectedly right after Haieff gave me a different appreciation for her while watching the performance. I wonder how many people in the audience left thinking they’d seen Megan.

[jeff-sh]

20 minutes ago, FayBallet said:

It would’ve been nice to have had an announcement.  

It's mentioned in paper slip in the program

[FayBallet]

My friend and I didn’t have slips! How bizarre.

[jeff-sh]

11 hours ago, FayBallet said:

My friend and I didn’t have slips! How bizarre.

Slip is smaller than usual, not really visible unless you open to the particular page

[FauxPas]

I saw the Saturday night and Sunday matinee programs.

There was a lot to be happy about though some dancers are breaking through, some are new(ish) and finding their way but not there yet and some looked not in their best form but several shone like jewels.

SATURDAY EVENING, APRIL 22, 8:00PM (Conductor: Litton)

CONCERTO BAROCCO: Mearns, LaFreniere, Janzen  [Solo Violins: Delmoni, Nikkanen]  

The performance started out somewhat tentatively with a disengaged Mearns and LaFreniere lacking authority.  The corps looked under rehearsed.  There was a lack of momentum and engagement and frankly speed and accuracy. Everyone was feeling their way into the ballet but not there yet.

However, Janzen is a beautiful partner and Mearns came gloriously into focus in the pas de deux.

The final fast section suddenly came together and the focus and energy were there.  Mearns looked serenely happy at the final curtain call and LaFreniere stepped up her game.  It ended on a high note.

KAMMERMUSIK NO. 2: *M. Miller, Walker, *Kikta, Sanz  [Solo Piano: Gosling]  

I didn't expect to but I really, really like this ballet.  It's different and surprising.  Miller looked good and recovered strongly after slipping to the floor.  Emily Kikta had a wild, almost bacchante energy in the other ballerina role.  This one had the right energy from the beginning.

RAYMONDA VARIATIONS: T. Peck, Gordon, O. MacKinnon, Jones, Clark, M.T. MacKinnon, Lundgren  

Delicious.  Tiler Peck glowed with a radiant smile and was again playing a bit with balances and timing like she used to before her neck and back injuries.  Gordon also was fabulously classical although I wish in his second variation he didn't vamp so much before going into the turns a la seconde.  I particularly enjoyed MacKinnon and Lundgren's variations.

 

SUNDAY MATINEE, APRIL 23, 3:00PM (Conductor: Sill)

SQUARE DANCE: Pereira, Stanley  

Dull performance.  Pereira didn't do anything wrong technically but just doesn't engage or excite.  Stanley was very good.

AFTERNOON OF A FAUN: *Afanasenkov, Grant

Here the extreme youth of the dancers really added something to the ballet.  There was real unfeigned innocence, callow self-absorption and discovery.  

Both dancers are physically very beautiful as well as beautiful dancers.  Domenika Afanasenkov has lovely arabesque and an ethereal quality.  Her sense of languor and remote seductiveness as well as the flowing golden hair evoke Janie Taylor.  A wonderful debut.  More experienced dancers like Sterling Hyltin and Adrian Danchig-Waring are a little clearer in the mime suggesting when the dancers are connecting more with their images in the mirror and disconnected from reality.  But that will come.  It was magical.  

pause

HAEIFF DIVERTIMENTO: Woodward, Ball  

Ball and Woodward are very different from Christina Clark and Peter Walker in this ballet (seen last year).  Indiana has a remoteness playing a dream girl as well as artistry playing with the steps.  Much more authority and owning the stage than the much less experienced corps dancer Clark.  Being so technically strong helps in this.  Peter Walker was a guy meeting a girl.  Harrison Ball is a dreamer, almost a James in "La Sylphide" seeking his ideal woman.  Very different approach and energy.

Both "Faun" and "Haieff" give the impression of taking place in dance studios with two dancers meeting by accident, connecting and finally drifting away from each other with the elusive ballerina exiting.  Interesting pairing.

DONIZETTI VARIATIONS: Woodward (replacing M. Fairchild), Huxley 

Indiana was piquant and playful and didn't look the slightest bit tired or stressed by the last-minute assignment.  Huxley was buoyant, in command and gallant.  A lovely performance.

I did find a slip in the program afterwards but for a last-minute substitution (Fairchild is still listed on the online principal casting page) there was no announcement over the loudspeaker.

BTW: Lots of NYCB dancers and alumni in the audience.  Amar Ramasar was conspicuous and I spotted Ashley Hod (recovering from ankle surgery) and several others on the First Ring plaza at intermission time.

Evidently Domenika Afanasenkov has lots of well-wishers in the company who were excited by her debut.

Also a lot of dancers and Wendy Whelan were cheering from the First Ring seats.

Edited April 24, 2023 by FauxPas
Typos, details

[BalanchineFan]

12 hours ago, vipa said:

Thank you. I hope Fairchild is OK.

Me too. If there were paper slips they must have had a bit of lead time. I’m thinking it probably wasn’t a last minute injury. 

[Fernie M]

Megan Fairchild posted on her IG stories she will be out next week because of a herniated disc in her neck.

https://www.instagram.com/stories/mfairchild17/3088330017650363394/?hl=en

I truly hope she recovers soon.

[Royal Blue]

Afternoon of a Faun, in my view, is about everyone in the auditorium. Nevertheless, it is definitely to such an extent about ballet dancers and the art form also that —with the important stipulation that one naturally wishes to see individuals they find appealing on stage— the company should be afforded plenty of leeway in how to cast this work. Given the ample opportunities for different interpretations of the ballet, plus the vital significance of the concept of "suspension of disbelief" in the arts, I relished watching Sterling Hyltin and Adrian Danchig-Waring weave a spell with all their expertise and charisma a year ago in Afternoon of a Faun. At the same time, I believe that casting a young dancer like Dominika Afanasenkov, who has just joined the company, in the ballet was a fantastic idea. The exquisite way she handled being initially lifted by Christopher Grant during that sublime swell of Debussy's music was especially entrancing and moving.

With wonderful dancers like Unity Phelan and Joseph Gordon in the other cast, there is nothing to cavil about the way Afternoon of a Faun is presented by the company this season.

A debut in this particular ballet at a farewell performance? Particularly since Harrison Ball looks simply great for the part, Sunday promises to be a special afternoon at the ballet.

Edited April 25, 2023 by Royal Blue

[BalanchineFan]

7 hours ago, Royal Blue said:

A debut in this particular ballet at a farewell performance? Particularly since Harrison Ball looks simply great for the part, Sunday promises to be a special afternoon at the ballet.

I am really looking forward to Sunday!! NYCB has been giving lots of dancers debuts during their farewells and farewell seasons. Lauren Lovett debuted in After the Rain. Sterling Hyltin debuted in Vienna Waltzes shortly before her farewell. Wendy Whelan and Maria Kowrowski had new ballets made for them. It's counterintuitive programming but makes for a very exciting last performance.

[matilda]

I attended the La Source / Namouna performance last night. I enjoyed the pairing of the two ballets, both were charming and light. This isn't the kind of program that draws a massive crowd these days, sadly, but those who showed up certainly showed their appreciation. They probably should have added something more familiar to the program, but I did appreciate the one intermission and the overall short runtime. 

Indiana Woodward had a fabulous debut in La Source, looking totally at ease with the difficult choreography (equally in the allegro and adagio), and with lots of "perfume." Her rock-hard balances reminded me of Ashley Bouder's, although Indiana's dancing is softer around the edges. Gordon was in very fine form as usual in these classical ballets. Beautiful jumps and turns and always a polished fifth position. The fish dive was daring and induced gasps throughout the theater. Baily Jones was very good as the soloist. She's a strong technician with strong footwork in allego. The corps, including three apprentices, looked well rehearsed. 

Namouna is a real gem and had some wonderful performances. Standouts were Unity Phelan (so beautiful and more suited to Ratmansky choreography than I expected), Mira Nadon (absolutely sizzling early debut, subbing for Megan Fairchild), Taylor Stanley (so, so elegant), Daniel Ulbricht (this guy just doesn't age), and Emma Von Enck (pure polish and charm). Gerrity appeared to struggle in her "Sara Mearns" solo. Looked like she screwed up a turn early on and then the rest just looked messy. Looking forward to seeing Sara Mearns dance this. MacKinnon was fine but didn't really make an impression. 

[abatt]

Agree with the above post.  La Source was beautifully performed by Gordon & Woodward.  Namouna was fantastic except that Gerrity was tentative and, in my opinion, had difficulty with the technical demands of this role.  Nadon was great.  She is a superstar.

Can't wait for cast 2 featuring Mearns and Mejia!

 

[cobweb]

Casting is updated for this week. Megan Fairchild is out. Replaced tomorrow night in Square Dance by Erica Pereira. Very disappointing, Pereira was reported to be blah in earlier performances, while Fairchild has been dazzling. Hope she's back very soon.