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New York City Ballet 2022-2023 season

California

By California
in New York City Ballet

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Jacqueline

Jacqueline

Posted
Posted (edited)

Wow. Week 4 is up too.  And this week's casting sheet has been updated with replacements for Walker in "Raymonda Variations" on Thursday (Chan) and for Mejia in "Symphony in C" on Saturday (Vlllarini-Velez)

https://res.cloudinary.com/new-york-city-ballet/image/upload/v1664311169/Documents/Casting/NYCB_Casting_October_11-16_2022_lobby.pdf

Edited by Jacqueline
typo
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cobweb

cobweb

Posted
Posted

There is so much going on with the Vienna Waltzes casting I may need a spreadsheet to keep track of it. Will definitely see a couple of performances of the VW/Episodes program. I would love to see all the debuts in Symphony in C but will probably not see this program so I will count on everyone to provide reports on Phelan & Knight, Gerrity & Chan, Kikta & Sanz, Weber, and I’m sure I’ve forgotten someone. I’m sorry there isn’t more for Emma von Enck. I could see her in Apollo. 

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brokenwing

brokenwing

Posted
Posted

Pretty frustrated by Mira Nadon's casting, if I'm being honest. She is a once in a generation talent and I don't want to see her rot on the vine. I know she had surgery, but if she is capable of doing the *very* difficult final solo (and two ladies dance that follows) in 'Raymonda', is she not capable of doing more than stand in heels for the entire last two weeks of the fall season? I could see her leading in almost every ballet in the rep and instead we are treated to people who are simply not of her caliber (or at best inadequately prepared/out of shape). 

Hoping I'm just being cynical and there is a logical reason here. 

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JanLevNYC

JanLevNYC

Posted
Posted
On 9/24/2022 at 4:11 PM, canbelto said:

A lot of dancers are out of shape after a long injury. Remember Tiler Peck looked out of shape when she first came back.

Complicated issue.  Being out for an injury or worse surgery means you are not dancing or at minimum of the level required.  No matter how hard a dancer ‘works out whole in recovery it’s not the same.  The roster has always had dancers fighting this battle.  I can think of a few right now coming back off injury and surgery.  And I feel for them as the audiences and critics are brutal with body shaming.  And then the dancer begins to feel badly about themselves which translates.  I always believe in celebrating instead of shaming. And I still come back to Balanchine’s day - not one of his dancers has the lean, insane bodies we see on stage now.  I personally like a dancer that is not rail-thin.  It looks unhealthy.  I have been very saddened by some aggressive reviews that do not do anything but destroy morale and possibly even careers.  Believe me, the dancers know about the body shaming.  Praying for better patience from the fans and critics.

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canbelto

canbelto

Posted
Posted
10 hours ago, brokenwing said:

Pretty frustrated by Mira Nadon's casting, if I'm being honest. She is a once in a generation talent and I don't want to see her rot on the vine. I know she had surgery, but if she is capable of doing the *very* difficult final solo (and two ladies dance that follows) in 'Raymonda', is she not capable of doing more than stand in heels for the entire last two weeks of the fall season? I could see her leading in almost every ballet in the rep and instead we are treated to people who are simply not of her caliber (or at best inadequately prepared/out of shape). 

Hoping I'm just being cynical and there is a logical reason here. 

She's had some big assignments: Piano Pieces, Raymonda Variations. She's recovering from a major surgery so they probably don't want to push her too much.

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abatt

abatt

Posted
Posted (edited)

We'll see.  

12 minutes ago, NinaFan said:

I noticed that too.  It is probably a typo.   My guess is that it should  say Ball. 

I'm not assuming it's a typo.  It looks like they are shoehorning an appearance by Ulbricht into that program, for a reason that is  not immediately apparent.  He is a natural for the big solo in that section of VW.

As an aside, Ulbricht will be appearing with Twyla Tharp's company at City Center after the conclusion of the NYCB fall season.

Edited by abatt
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bellawood

bellawood

Posted
Posted

 

4 minutes ago, cobweb said:

Bellawood, did Peter Walker dance last night? I'm puzzled that he's listed for last night, but replaced later in the week. 

He did and acquitted himself well, though Sterling was the star. He did very well in the pas overall, and particularly at the end when his huge hand covers her face -- I love watching Joseph Gordon dance this role but always felt that he and Lauren Lovette were too sweet together. I always think of this role as being pretty menacing at the end of the pas and he nailed it.

Overall last night was quite lovely, if a little long (I think EWG could be trimmed by 10 minutes). DSCH was firing on all cylinders. Joe Gordon was dancing the Joaquin role and KJ Takahashi the Gonzalo and they were really snappy. KJ had a little issue on the final shoulder lift with Indiana but she saved it. She was amazing. This is a ballet where you can really "see" the dancers it was made on and this role is 1000% Ashley Bouder in her Allegro prime. I never thought Brittany Pollock really did it with the required explosiveness but Indiana does. 

They only sold through the second ring last night, btw. People with 3rd ring subscriptions were called and offered orchestra seats, as per the intermission gossip. 

@brokenwing, I feel you on the Mira stuff, but I think @canbelto has the right of it -- she's just off ankle/foot surgery and there have been no hints that she's being undercast. She's won the Princess Grace award and the Clive Barnes award this year. I would be shocked if she isn't Sugarplum and more coming up. That said, I will be very excited to see her dance the prima roles (Symphony in C 2nd! Diamonds!) when they come her way, hopefully much sooner than later. 

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NinaFan

NinaFan

Posted
Posted
3 hours ago, abatt said:

We'll see.  

I'm not assuming it's a typo.  It looks like they are shoehorning an appearance by Ulbricht into that program, for a reason that is  not immediately apparent.  He is a natural for the big solo in that section of VW.

Hmm, Interesting thought. 

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Fernie M

Fernie M

Posted
Posted
18 hours ago, brokenwing said:

Pretty frustrated by Mira Nadon's casting, if I'm being honest. She is a once in a generation talent and I don't want to see her rot on the vine. I know she had surgery, but if she is capable of doing the *very* difficult final solo (and two ladies dance that follows) in 'Raymonda', is she not capable of doing more than stand in heels for the entire last two weeks of the fall season? I could see her leading in almost every ballet in the rep and instead we are treated to people who are simply not of her caliber (or at best inadequately prepared/out of shape). 

Hoping I'm just being cynical and there is a logical reason here. 

I agree with you 100%. I’m disappointed and somewhat shocked she is not being cast in more lead/debut roles. Nadon’s (young) age should not hold any weight on casting. I was also frustrated at the form and technique of Bouder in Scotch. New York City Ballet is a world class company. When patrons pay the ticket price requested (and necessary) to fund the company, we should be rewarded with top of the line talent.

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JuliaJ

JuliaJ

Posted
Posted

Based on those photos I don't think I've ever seen costumes more hideous than those of the Reisen ballet. And why anyone would put polka-dot leggings on Anthony Huxley for the solemn, pandemic-inspired "Solo" is beyond me. The Giles Deacon costumes are ok, but they look like they would be better suited for an exhibition in the Met Museum's costume gallery than for a ballet stage where one can't see the pattern details from afar. I bought a ticket for this program just for Symphony in C and am not looking forward to the other pieces, although the Abraham work sounds somewhat promising at least for a one-time viewing. 

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abatt

abatt

Posted
Posted

i completely agree with you about that photo of Solo.  I liked Solo when they offered it remotely.  I loved its somber tone and music which definitely reflected the time and circumstances of its creation.  The costume they have now created seems to destroy the tone of the ballet's intent.  Awful, inappropriate choice.

I'll reserve judgment on the rest until I see the program. 

In truth, my main motivation for buying tickets for this program was Symphony in C.

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