New York City Ballet 2022-2023 season

[Royal Blue]

Thrilled to have seen Sunday's performance of Balanchine's Swan Lake from the Fourth Ring, and Agon and Brandenburg from the Third last evening. All three ballets looked breathtaking from those perspectives.

Highly unlikely, in my view, that those who consider her uninteresting would have observed anything in last night's performance by Miriam Miller in Agon to alter their minds. Nevertheless, she danced splendidly with striking extensions, arabesques, balances, and (partnered beautifully by Russell Janzen) received extended applause after the iconic pas de deux. For her part, Isabella LaFreniere was magnificent.

Although Indiana Woodward is a delight in that role, there was no compelling reason for me to see Fancy Free again so soon after its winter performances.

By contrast, the placement of Brandenburg here makes this program irresistible, since —as I suspected— Jerome Robbins' final ballet for the company is gorgeous. The perky, piquant and at the same time elegant choreography offers ample opportunity to admire everyone from the corps assigned a part in the work. (The dancing by Dominika Afanasenkov, for example, notably impressed me also.) In the spotlighted roles, Emma Von Enck, Roman Mejia and Adrian Danchig-Waring were all excellent.

Ever since listening to the selections from the Brandenburg Concertos that Robbins chose to choreograph, I was curious as to who would be chosen to dance during the surpassing andante movement of the 2nd Concerto. In my opinion, Unity Phelan's lofty performance in this sublime pas de deux Tuesday evening belongs firmly among the most enthralling moments of her young career as a principal.

To be sure, I am also eager to see Brandenburg with Anthony Huxley, Mira Nadon, Aarón Sanz and (especially) Indiana Woodward.

 

[cobweb]

It is great to hear all these glowing reviews of Brandenburg! I look forward to seeing it on Saturday. Seems a shame they aren't bringing it back next year!

[Fernie M]

I just happened to look at the casting for the Kennedy Center in June, Mira Nadon is going to debut in Concerto Barroco, with Isabella Lafrenière, how exciting. If anyone is there, please report! I think Nadon is a natural fit for CB.

[pirouette]

30 minutes ago, Fernie M said:

I just happened to look at the casting for the Kennedy Center in June, Mira Nadon is going to debut in Concerto Barroco, with Isabella Lafrenière, how exciting. If anyone is there, please report! I think Nadon is a natural fit for CB.

Wow how exciting! Thanks for reporting.. I didn't realize they had announced casting. I'm going to DC for the dress rehearsal and the show on June 6; will let you all know my thoughts! 

[Fernie M]

13 minutes ago, pirouette said:

Wow how exciting! Thanks for reporting.. I didn't realize they had announced casting. I'm going to DC for the dress rehearsal and the show on June 6; will let you all know my thoughts! 

Thank you! Enjoy!

[matilda]

I saw Copeland Dance Episodes tonight for the first time (the very last performance of it this season). Overall I thought it was a huge success for Justin Peck. Lots of breathtaking moments particularly for the ensemble, clearly he was inspired by the final movement of Glass Pieces. I loved the lighting design and costumes. 

I've never seen Miriam Miller dance better. She was perfect in the Rodeo section (opposite Janzen) originally choreographed on Sara Mearns. Just stunning all around. Having long, killer legs really makes a difference here and now it's hard for me to picture Tiler Peck or Brittany Pollack in the part. Looking forward to seeing Miller tackle Agon this weekend. 

Maxwell and Chan were wonderful as the other couple. Out of the ensemble, Phelan, and corps member Cainan Weber were total standouts. Sebastian Villerini-Velez had an off-night and looked uncharacteristically sluggish. I liked Takahashi enough in the Daniel Ulbricht Rodeo role, but I kept thinking how much I missed Daniel Ulbricht himself in the part. (I'm sure Mejia is also great here)

Some of the "episodes" were more successful than others. A few moments did drag, but I was never bored. My main gripe is that the piece felt short for a full evening. Fine for a $35 or $70 ticket but if I'd want more dancing if I were paying $100+ 

After the applause, the curtain went up and there was a speech asking for donations to an AIDS charity. Janzen and Maxwell both spoke. Maxwell pointed out how wonderful it was to see such a full house filled to the 4th ring. 

[Kathleen O'Connell]

1 hour ago, matilda said:

My main gripe is that the piece felt short for a full evening.

In terms of the actual amount of dancing time, Copeland Dance Episodes at 80 minutes or so is longer than this season's All Balanchine program (Concerto Barocco, Kammermusik No.2, and Raymonda Variations), which clocks in at about 70 minutes of dancing time. The Balanchine + Ratmansky II program (Pictures at an Exhibition and Swan Lake) has about 70 minutes of total dancing time as well. I think the only Spring 23 program that was substantially longer than 80 minutes was Masters at Work III program (Fancy Free, Agon, and Brandenburg). I think the combined effect of the variety offered by a mixed bill and the breathing space you get with intermission can make it seem like more dancing has happened.

[Balletwannabe]

Just a personal preference - 80 minutes was perfect for me.  I don't like intermissions.  They feel wasteful.  I have to drive for 2.5 hours after each show to get home.  

[matilda]

Yes, good points about the duration. It was actually under 80 minutes though (so a bit shorter than a short feature-length film). Having variety on a mixed bill, or the narrative development and scene changes for a story ballet, do make an evening feel more complete and robust. Others have pointed out in the past that the Goldberg Variations is even longer but always shares a program with something else. 

On one hand, Copeland could have easily been trimmed by 16 minutes (and some might argue should have been trimmed) and stayed at one hour, leaving room for something else on the program. On the other hand, I think the "full evening ballet" format has worked very well for marketing purposes. No doubt this has been a hit. And no complaints about getting home before 10pm. 

[lacdescygnes]

18 hours ago, Fernie M said:

I just happened to look at the casting for the Kennedy Center in June, Mira Nadon is going to debut in Concerto Barroco, with Isabella Lafrenière, how exciting. If anyone is there, please report! I think Nadon is a natural fit for CB.

I have tickets to both programs on June 6 and June 7 respectively and can't wait to see some of the newer dancers and some perennial favorites of mine like Joseph Gordon!

[bellawood]

I Hope that this Nadon/LaFreniere casting  is a preview of what we will see on September! I think this is an ideal casting that (knock wood) we should be able to enjoy for a while. 

[Fernie M]

@bellawood, I was thinking exact same thing.

[Royal Blue]

On 5/24/2023 at 6:36 PM, cobweb said:

It is great to hear all these glowing reviews of Brandenburg! I look forward to seeing it on Saturday. Seems a shame they aren't bringing it back next year!

We shall see tomorrow what you think about Brandenburg, cobweb. My comments were based on a single viewing from the Third Ring and are, of course, highly subjective. Moreover, my opinions about specific ballets, and performances/performers tend to be more favorable than yours. An excellent example of this is illustrated by tonight's program —Pictures at an Exhibition, and Balanchine's Swan Lake. I love both, in part because the music is magnificent.

(In Pictures, the Bydlo section is always for my taste supremely exciting, and I am eager to witness how effective Mary Thomas MacKinnon, Rommie Tomasini and Ruby Lister will prove in it during this weekend's performances.)

[cobweb]

3 hours ago, Royal Blue said:

Moreover, my opinions about specific ballets, and performances/performers tend to be more favorable than yours

Not so, Royal Blue! I remember vividly your comments about my reaction to the sublime marching section of Union Jack. You said, roughly quoting, "I do not share your admiration for Union Jack, cobweb, but I admire your enthusiasm." I appreciate your appreciation!

[Royal Blue]

13 hours ago, cobweb said:

Not so, Royal Blue! I remember vividly your comments about my reaction to the sublime marching section of Union Jack. You said, roughly quoting, "I do not share your admiration for Union Jack, cobweb, but I admire your enthusiasm." I appreciate your appreciation!

If I had gone into the theater Tuesday evening expecting to see something even better than a certain other ballet, I would have left disappointed. Never mind that it puts some other people to sleep, The Goldberg Variations will always be special to me.

I simply wanted to moderate any unduly high expectations about Brandenburg formed by you or any other person reading my previous comment.

Your opinion about Union Jack is indeed more favorable than mine. However, my feelings about that work are by no means negative. My exact words to you were: "Even though I do not feel as keenly about Union Jack as you do, cobweb, I admire your enthusiasm."
 

 

 

[ECat]

On 5/25/2023 at 12:54 PM, Fernie M said:

I just happened to look at the casting for the Kennedy Center in June, Mira Nadon is going to debut in Concerto Barroco, with Isabella Lafrenière, how exciting. If anyone is there, please report! I think Nadon is a natural fit for CB.

Thank you for the heads up that the casting has been posted.  Here is a link: https://www.kennedy-center.org/whats-on/explore-by-genre/ballet/2022-2023/new-york-city-ballet/

I'll be flying to Maryland to visit my mother and we are going to the June 11 matinee performance. I am thrilled that Megan Fairchild is dancing Donizetti Variations with Joseph Gordon.

[vipa]

I was at the matinee today, and had a wonderful time. Fancy Free was first. Andrew Veyette played the small role of the bartender, and actually made me see things I'd never noticed before! Every time I see the ballet, I"m reminded of what a brilliantly crafted theater piece it is. It's of its time, but worth seeing IMO. The red purse section (thankfully) has been thoughtfully coached so the woman (well done by Lauren Collett) holds her own, and is not intimidated. The sailors are playful with no hint of menace. The sailors were Ulbricht, Walker, Vallarini-Velez. Walker's variation was a bit fuzzy technically and vague musically. The other two men were excellent.

Agon is a ballet I can't get enough of. I hadn't seen much of LaFreniere before her promotion, and one was a very weak showing. Post promotion I've seen her in Concerto Barocco and now Bransle Gay in Agon. Both times I've been taken with her attack, musicality and technical clarity. Eager to see more of her. Miller and Janzen were wonderful in the pas. Her line soaring, his partnering wonderful, their connection quietly dramatic.

I don't remember seeing Brandenburg before. I enjoyed it. It gives a lot of fun dancing and featured moments to corps members, so I hope it stays in the rep. It's the kind of piece I won't avoid, but won't seek out, and I doubt it will hold up under repeated viewings. It's well crafted, and has some inventive partnering and lifts. But, it goes in and out of cutesy folk dance moves, and there is a lot of prancing. I wondered if the intention was whimsy, comic, something in between or something else entirely. At same time it is crafted by a master, and the dancers looked great. Emma VE, has an energy and eagerness to her dancing that makes me know she is hungry for more. I believe she is principal material, and is a natural to take on the Fairchild rep eventually.

Great time at the ballet, and it was a pleasure to see Cobweb and company! 

[nanushka]

1 hour ago, vipa said:

The sailors were Ulbricht, Walker, Vallarini-Velez. Walker's variation was a bit fuzzy technically and vague musically. The other two men were excellent.

Agon is a ballet I can't get enough of. I hadn't seen much of LaFreniere before her promotion, and one was a very weak showing. Post promotion I've seen her in Concerto Barocco and now Bransle Gay in Agon. Both times I've been taken with her attack, musicality and technical clarity. Eager to see more of her. Miller and Janzen were wonderful in the pas. Her line soaring, his partnering wonderful, their connection quietly dramatic.

I was there too and completely agree with your assessments of the first two performances (if not both pieces). Walker just didn't seem to have the style for Fancy Free. The other two men were great. I don't need to see the piece again soon, it just doesn't do it for me overall.

Agon does, and I was so happy to see it again. I've never liked LaFreniere as much as I liked her today. This piece really suits her. Mabie and Ricardo didn't seem quite up to the same standard, but were pretty good. A number of final moments were sloppy in both PDTs. I saw Miller do the PDD a number of years ago and wasn't too excited to see her again, but this afternoon's performance was very satisfying. Janzen looked great throughout the piece.

I had to leave before Brandenburg, wish they'd kept that piece first on the program. Next time, perhaps.

I saw Emma Von Enck in La Source and, while others have compared her to Fairchild, I actually thought of Hyltin more. I'm curious to see where she goes, but bet it'll be worth watching.

Edited May 28, 2023 by nanushka

[vipa]

37 minutes ago, nanushka said:

 

I saw Emma Von Enck in La Source and, while others have compared her to Fairchild, I actually thought of Hyltin more. I'm curious to see where she goes, but bet it'll be worth watching.

I just want to clarify my statement about Emma Von Enck, @nanushka. I wouldn't say that she reminds me of Fairchild or Hyltin either for that matter. It's just that I can see her moving into the Fairchild rep.

[nanushka]

33 minutes ago, vipa said:

I just want to clarify my statement about Emma Von Enck, @nanushka. I wouldn't say that she reminds me of Fairchild or Hyltin either for that matter. It's just that I can see her moving into the Fairchild rep.

Yes, that’s what I was referring to as well: I imagine (or hope to see) her fitting into Hyltin’s rep, a bit more than Fairchild’s.

Edited May 28, 2023 by nanushka

[matilda]

I was also at the matinee yesterday and agree with the praise for LaFreniere in Agon. She was on fire and looked so comfortable and confident. She's a real superstar when dancing at her best. I was thrilled to see her absolutely nail the tricky balances in the pas de trois after seeing her struggle with balances in Sleeping Beauty and Raymonda recently. Riccardo and Mabie struggled a bit with unison but I was impressed by both of their individual dancing, particularly their high kicks and overall attack. 

Miller was sleek and steely in the pas de deux. I wanted to see her hold this pose at at the 2:23 mark of this video just a little bit longer, but overall it was a solid performance. She's been having a good season and is making great use of her natural physical goods. 

Emma von Enck was pure joy, sparkle, and delight in Brandenberg. I hope the company continues to nurture this partnership between her and Mejia. Phelan and Danchig-Waring were ghostly and beautiful in the other pas de deux. I enjoyed this ballet a lot and would like to see it again when it returns. Very creative and inventive use of this music, which was played wonderfully by the orchestra. Dominika Afanasenkov can't be more than twenty years old but dances with artistry beyond her years. There is an elegant, Russian-style softness to her dancing, particularly her épaulement and port de bras. I would nominate her for a possible Sonnambula debut this fall, now that Sterling is gone. 

In Fancy Free, I liked Walker in the pas de deux with Indiana Woodward. But Ulbricht and Villerini-Velez were more successful in their solos. 

[cobweb]

I was also at yesterday's matinee, and agree with much of @vipa's comments (and good to see you & co. again too, vipa!). Fancy Free is a great piece of theater and storytelling, and while it may be out of touch with the zeitgeist, I find the themes pretty timeless - friendship and buddyhood, flirtation and fun, being young, in the city, and looking for adventure. I love that the women can handle themselves and are more clear-eyed than the hapless men. But however great a piece Fancy Free may be, as others have commented, I have seen this a LOT over the years and it's not high on my list to see again. I found Lauren Collett, as the red-purse girl, makes a very good impression, but Indiana Woodward in the purple dress was more lackluster than I've usually seen her. Agree that Peter Walker was lacking, although he had a delightfully goofy smile. 

It was great to see Agon, and as many times as I've seen it too, I feel I could see it forever. What a striking, but so simple, device to start and open the ballet -- four men at the back of the stage, with their backs to the audience. Isabella LaFreniere looked great in the bransle gay section. Anything with large, bold movement suits her extremely well. (For this reason she was very miscast in Sleeping Beauty, IMHO.) And Miriam Miller has really upped her authority, and she and Russell Janzen danced beautifully in the pdd.

Finally, Brandenburg. I don't love Robbins' tendency to cutesey elements, and it especially seemed out of place with the august Bach. Overall I would definitely see this piece again but it would wear thin soon. Emma von Enck looked terrific. The corps needed more rehearsal, it was pretty ragged at times.  

 

[pirouette]

I was at the matinee performance today and thoroughly enjoyed both programs. It was my first time seeing Pictures at an Exhibition and I quite enjoyed it! Alexa Maxwell was magnificent in her pas de deux with Tyler Angle, whose baldness did not bother me at all in this piece. Indiana Woodward and Daniel Ulbricht were also terrific in their respective roles. Regarding the Ukrainian flag at the end, I personally did not think it took away from the piece. However, I did wonder whether a casual watcher would think the piece was some kind of commentary on the war and be confused about it. In any case, the audience received it warmly and the applause at the end was enthusiastic. 

I've seen Balanchine's Swan Lake a number of times now and I enjoy it well enough. It IS a shortened version and is missing the iconic black swan act, but I think it's well-condensed for anyone who might struggle with full-length ballets. Unity Phelan and Joseph Gordon gave a solid performance. The last sequence when Odette says goodbye to Siegfried, backs away offstage and transforms back into a swan always gives me chills. I would've loved to see Sara Mearns instead but just grabbed whatever ticket was available. 

In other news, Mimi Staker is retiring from the company. Today was her last performance. Saw it on Tiler Peck's Instagram stories.

[Kathleen O'Connell]

3 hours ago, pirouette said:

In other news, Mimi Staker is retiring from the company. Today was her last performance. Saw it on Tiler Peck's Instagram stories.

Per her IG account, she's off to Dartmouth's Tuck School of Business for an MBA. I wish her all the best, but I'm sorry I won't see her onstage anymore—I was always happy to see her name on the cast list. 💐

[abatt]

Sara Mearns was spectacular on Friday night in Swan Lake.  Glad I had the opportunity to see it.  Phelan was not in the same league  in the role.

Another season completed.

For me the All Stars were Nadon, Fairchild, Gordon & Chan.

On to the 75th Anniversary season ....

Reports of the runs in Saratoga and the KC are appreciated.