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2023-2024 Season

abatt

By abatt
in New York City Ballet

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matilda

matilda

Posted
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I was so sorry to miss Jewels this season, but last night's Western Symphony/Stars and Stripes program was a fantastic welcome-back to the theater. I love when programs feel truly "epic" and this one hit the mark, reminding me why I spend so much money on ballet! The kitsch factor did not bother me whatsoever because there was so much amazing choreography and dancing. I left on a high. Thank you NYCB!

Western: loved the whole cast and was impressed by Olivia MacKinnon, who seemed to be having much more fun on stage than usual. A long ribbon started dangling off her dress toward the beginning of the first movement (a borderline tripping hazard) and she handled it very professionally through a long sequence of difficult allegro. They really need to promote Bolden to soloist by now--so much personality and technique to match. I found Woodward very elegant and musical in the adagio and while the fouettés weren't exactly the traditional Italian kind, she pulled them off well. Kikta was a knockout in the third movement and I was also super impressed by Veyette. He may not be the jumper he once was but the speed and control he maintains on turns are still jaw-dropping at his age.

Unanswered Question: This was a very odd choice for this otherwise upbeat program, but I enjoyed it. Sara Adams subbed for Laracey and brought a ghostly beauty that I'm not used to seeing in her, since this isn't her usual kind of rep. Harrison Coll is well suited to these more modernist ballets. (I can see him doing Porte et Soupir at some point). 

Tarantella: Ulbricht was great as usual but Pereira, despite having a cutesy charm that works here, kind of brought the ballet down. She has lost some of her crispness and technical polish and didn't bring enough energy for me. I saw her do this ballet in 2019 and thought she was better then. Not a bad performance last night, per say, but I would rather have seen Emma Von Enck. 

Stars and Stripes: Wow, wow, wow. Mejia and Fairchild totally killed it. Not much else to say. I also thought Sara Adams danced beautifully in the first movement, bringing personality and elegance. She pulled off the section of going on pointe on one foot while holding up her other foot (not sure how to describe that better), although she didn't cover much distance. Sebastian Villarini-Velez danced with energy and polish, better than I've seen him lately. Megan LeCrone was the only letdown here... I think she must be approaching retirement... but her low energy didn't take away from the overall magic. 

The theater was full and enthusiastic through the third ring and I heard some foreign languages spoken around me. It seems like tourists are definitely returning to NYC (and to NYCB) in greater numbers. 

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abatt

abatt

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9 hours ago, vipa said:

Cobweb you have me kicking myself for not attending that performance. I should have had more faith. Interestingly I remember Claire Von Enck getting a shot at Tarantella when she was new to the corps, maybe 8 or 9 years ago. She didn't live up to expectations. Funny how careers go. I sometimes wonder if Claire will get more opportunities, or if her time has passed.

Claire's time has passed, in my opinion. 

Some  20 years ago they did a program of Who Cares, Stars & Stripes and Western Symphony.  Loved it and still remember it.  They have never repeated that program. 

Edited by abatt
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abatt

abatt

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Really looking forward to tonight's performance, but the weather is not cooperating.  The MTA has suspended all service on the subway lines near my house due to flooding of the tunnels.   Contemplating an alternative route via bus.  Hopefully this gets cleared up over the next few hours.😒  

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California

California

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Posted
6 minutes ago, abatt said:

Really looking forward to tonight's performance, but the weather is not cooperating.  The MTA has suspended all service on the subway lines near my house due to flooding of the tunnels.   Contemplating an alternative route via bus.  Hopefully this gets cleared up over the next few hours.😒  

Watching the flooding on Twitter and the Weather Channel. Yikes!! SAB is holding live streams for friends today, but is cancelling everything after 4 pm.  Scout Forsythe posted that her subway line was flooded and they made everybody get off. Except for the dancers who live within walking distance, you might have some interesting cast changes tonight! Please report, if anybody can get to the theater tonight!

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cobweb

cobweb

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I sit here trapped at work, was unable to find a way home -- subway barely running, buses cancelled, Metro-North not running from Grand Central... so picked up dinner and eating at my desk. Will try again soon. Meanwhile, I enjoyed the Western Symphony-Stars & Stripes program again last night. The program mentioned above by @abatt, of these two with Who Cares? sounds great! However, that's probably a much more complicated program to put on, as opposed to having Unanswered Question and Tarantella in the middle of the program. For The Unanswered Question, I wonder if they considered putting Dominika Afanesenkov in there. I didn't see her in Afternoon of a Faun, but everyone said she looked just like Janie Taylor, so this would seem a natural fit for her as well. In Tarantella, Daniel Ulbricht charmed and delighted the audience with the ease of a confident, seasoned performer. 

In Western Symphony, Gilbert Bolden again impressed with his elegance and sunny smile, while Jovani Furlan is a wonderful, aw-shucks Rhinestone Cowboy. Emily Kikta absolutely sizzled in the final section - so much authority it's dazzling! Andrew Veyette gave it his all, not exactly a paragon of exactitude or form, but with great energy and charm.  

Stars & Stripes was also great fun. I look forward to seeing this again in Winter. 

19 hours ago, vipa said:

Interestingly I remember Claire Von Enck getting a shot at Tarantella when she was new to the corps, maybe 8 or 9 years ago. She didn't live up to expectations.

I believe this was a pretty last-minute change, not only of cast but of programming. I can't recall why the change was made, someone must have been injured. Claire no doubt didn't have much time to prepare for this high-profile opportunity (with Joaquin de Luz, not sure I'm remembering that right?). Unfortunately that may be a painful memory for her. 

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BalanchineFan

BalanchineFan

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NYCB had full casts for Bourree and for Slaughter at the dress this afternoon, so they have a good 50-60 dancers at the theater already. I took the subway down to Columbus Circle from way uptown (and back, the ABCD subway line) without any incident, so I’d be surprised if there were any changes, but who knows where the dancers are coming from. 

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vipa

vipa

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Tomorrow is the onstage company class, taught by Gonzolo Garcia. I'm looking forward to that. It's from noon until 1:00, then they'll probably clear the theater quickly for the matinee, which I'm also attending. Then another free presentation from 5 to 6! I see from Emma Von Enck's instagram that she'll be doing some of Rubies. Should be an interesting day.

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Fernie M

Fernie M

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8 hours ago, BalanchineFan said:

NYCB is still having its open dress for Bourree Fantasque. Susan Pilarre (or a woman who looks EXACTLY like her) is repertory director for the corps de ballet. Maybe that’s why she’s not at SAB. 
I haven’t seen Rosemary Dunleavy so far. 

I believe it is Suzy Pilarre. Emily Kikta gave her a thank you on her IG.

https://www.instagram.com/emilykikta/?img_index=1

 

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abatt

abatt

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16 hours ago, cobweb said:

Hope you made it, abatt! Look forward to hearing your report. I finally made it home on the D train. Never have I been so happy to see the D train!!

Glad you finally made it home Cobweb!  I took a bus into Manhattan to avoid the mayhem of subway delays and cancellations.

I only stayed for the first 2/3 of the program.  Bouree  may not be Balanchine A list choreography, but I enjoyed it .  In particular I was fascinated by the complex  circular patterns he created with the large cast toward the end of the ballet.  I will definitely look forward to seeing this again in the spring.  Emma V.E. once again dazzled.  In fact almost the entire cast was superb.  My only critique is that the pairing of LaFrenaire and Chan needs some polish.  Twice he was a bit late to partner her, and as a result she came down off pointe.  My only other peeve is in the same section, where Dutton O'Hara was a soloist.  She and another soloist have to stand for a second in an unsupported arabesque.  Dutton O'Hara could not find her balance, and her leg kept moving as she struggled to get her leg into the proper position.   

The choreography is witty, and the costumes are lovely.  As mentioned above, the  complex patterns are dazzle late in the ballet.  

Very happy to have this in the rep.  It is commendable that the current team has revived it.  

Phelan has improved immensely in Agon over the last few years.  Her one error was in the opening section where once again she was late on the music in the portion where she wraps her leg around the man's neck.  She has been late on this before in the past.  Otherwise it was an excellent performance.  I have always like Adrian in neo classical works and I thought he was wonderful. 

I had no idea Claire was pregnant and wondered why I had not seen her in the corps lately.

They have been using Villarini Velez a lot lately.  I'm wondering if he is on track for a promotion.  

I would also vote to get Bolden and Riccardo out of the corps and into soloist positions.  

 

 

Edited by abatt
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cobweb

cobweb

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4 hours ago, abatt said:

They have been using Villarini Velez a lot lately.  I'm wondering if he is on track for a promotion.  

I would also vote to get Bolden and Riccardo out of the corps and into soloist positions.  

They are using Villarini-Velez a lot, but IMHO he's not always looking so great. I would be surprised if he got promoted. 

Bolden and Riccardo on the other hand, YES. 

Also, PLEASE put Alexa Maxwell in charge of the first regiment in Stars & Stripes for Winter!

Edited by cobweb
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deanofdance

deanofdance

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Coming late to this ongoing conversation regarding the Fall NYCB season — but I do want to state my highlights of week one and two:

1) Mira is an artist — I had always thought Emeralds as boring — and could be skipped — but Mira showed me the romantic perfume of Emeralds (finally) — more than that she showed me the mystery of how when movement and music and imagination come together — it can weaves a spell, an enchantment.  I’ve noticed her since she started in the Corps — she’s physically gorgeous, but I have continually been surprised by how fully formed artistically her debuts are — she’s like caffeine — I wake up every time she’s on stage.  (I know, I sound like the president of her fan club!). I was disappointed she wasn’t cast in Diamonds, but seeing her in Emeralds was fine consolation.  Shout out to Ashley Laracey — she was elegant and her epaulment was relaxed, wonderfully expressive and and there also seemed to be an elegiac perfume to her performances in Emeralds.

2) Emma was sparkling in Rubies — and she had a great partner in Jovani!  It’s heartening to see a dancer get an opportunity, and then run with it! She was also sparkling in Bourree Fantasque with Villarini-Velez — they sparkled together!  I think Emma will be promoted soon, and Villarini-Velez will not be far behind.

3) Sara and Russell were in another world for Russell’s last performance in Diamonds.  Especially Sara — whose face was so full of joy — to be in that moment, to be in that dance, to move to that music, to dance for the last time with her friend — she let herself go and rode that wave — and I was fortunate to  witness it!  On a negative note — Isabella and Chan are mismatched, she is simply too large for him — and there doesn’t appear to be much chemistry in their partnership — so to me it’s just steps being done, and no spell being cast. 

4) Agon!  The more I see it, the more I like it — and I’ve been seeing it for over 25 years!  I finally learned the name of a Corps dancer who caught my eye recently — Ava Sautter.  

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cobweb

cobweb

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I was at the open company class this morning, which was fun to see. Wouldn't class usually be 1.5 hours? Gonzalo Garcia was a lot more positive than I remember the teachers being when I was a teenager. Garcia was constantly like "Good, Jovani!" "Looking good, Andres!" "Beautiful, Mira!" and few if any individual corrections. Or is that the difference between being a teenage ballet student versus a professional dancer? Due to schedule conflicts and my disinterest in Slaughter on 10th Ave, I didn't get to anything else today, and probably won't get to Borree Fantasque till it reappears in the Spring. I'm very interested in hearing reports on this, however -- it's a Balanchine piece that I have heard almost nothing about!

Edited by cobweb
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vipa

vipa

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2 hours ago, cobweb said:

I was at the open company class this morning, which was fun to see. Wouldn't class usually be 1.5 hours? Gonzalo Garcia was a lot more positive than I remember the teachers being when I was a teenager. 

I was there too. It seems likely to me that Garcia didn't correct because it was a public class, and also he wanted to move things along since he only had an hour. I enjoyed the class very much. It was fun that so many principal dancers were there. It was interesting to see M. Fairchild work. She was falling out of turns early in the center work, and you could actually see her stop, think, and the  put it all together. I also loved watching Woodward's footwork at the barre. Mearns and Woodward started the barre with their hair down, then magically got it up in buns without me seeing!! I saw the afternoon performance and then the 5:00 showing of Balanchine excerpts. I'll report on that later.

Edited by vipa
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cobweb

cobweb

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I too was wondering if Mearns and Woodward were going to go through class with loose hair, then I looked away and suddenly their hair was up! Fairchild was really there to work, you could see her serious approach. Also interesting that Gilbert Bolden put himself front and center again and again. I would probably resent that if I were one of his peers, but since I'm just an audience member, I enjoyed seeing him. I also thought Alexa Maxwell looked very, very sharp, and that LaFreniere looked more comfortable than she does onstage sometimes. Jovani Furlan seemed to be having a good time. 

Edited by cobweb
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cobweb

cobweb

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3 hours ago, deanofdance said:

I finally learned the name of a Corps dancer who caught my eye recently — Ava Sautter.  

Thanks for your comments, deanofdance! (love the handle!) I too have noticed Ava Sautter, from when she was one of the Tall Ladies of Phlegmatic a year or so back (two years?) I look forward to when she gets a more featured role. 

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vipa

vipa

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The afternoon performance was interesting, and not what I expected. I'd never seen Bouree Fantasque before. Choreographed in 1949 to Chabrier, it is of it's time. It has the sensibility of an early, movie musical. Three sections: Bourree Fantasque, Prelude, Fete Polanaise. Each section has a lead couple, and is different in tone. The leads have to be distinctive characters, without acting out a plot. Nadon with Takahashi, was suitably mysterious and coy in the first. Maxwell with David Gabriel was exuberantly joyful in the third. Unfortunately Gerrity with Gilbert Bolden, in the second, was kind of bland, in a piece that doesn't work without distinctive performers. I'm glad they revised it for the anniversary. I don't think it deserves a place in the rep.

Agon is a ballet I love. It's inventiveness, structure, musicality made it a ballet I never get enough of. The first trio Jovani Furlan, Ashely Hod and Meaghan Dutton-O'Hara was well done. Furlan's beautiful movement quality and clarity made his solo a joy. Hod was a stand out in the Guilliard for the way she etched each movement. but both women were excellent. LaFreniere, Jules Mabie and Davide Riccardo were the second trio. I wish i liked LaFreniere more.  In Bransle Simple she was beautiful and secure. She has a gorgeous, sinewy body and strong technique.But, as with Diamonds, I felt she was playing is safe, and I found myself wanting more. I believe she could go bigger in so many ways and has the potential to be amazing. Miller and Walker did the pas. She used her length, flexibility, line and arabesque to wonderful effect. Miller dances like a principal

Slaughter - I considered skipping this ballet. I've been avoiding it for a while, always being annoyed that they kept it in the rep. Mearns and Veyette were the leads. In the end I told my husband I was almost embarrassed by how much I enjoyed it. Mearns and Veyette played it to the hilt.  I laughed at all the jokes,  appauded on cue and marveled at the construction of the piece. 

I also attended the 5 to 6 free showing. I'll give a report on that separately.

 

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vipa

vipa

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5 to 6 this evening was a free, but ticketed, event. Seating was orchestra and first ring. My husband and I & found lovely seats in the first row of the first ring. Dancers were doing works that meant something to them personally, and before each piece, a dancer who was about to perform spoke about what the ballet meant to them. So many of theses introductions moved me. Taylor Stanley spoke about how Agon pas was done on a white woman and black man in the era of the civil rights movement. Stanley's father was active in that movement. Megan Fairchild spoke about performing Stars & Strips in Cuba, and being overwhelmed by the reaction. Ashley Hod spoke about doing every kid's role in Nutcracker as she was growing up, and how important it was to her to speak to every angel now, whenever she did sugar plum. I could go on! Here's the line up, all done to piano accompaniment.

Symph in C (3rd movemt) - Baily Jones/Sebastian Villariai-Velez. Agon (solo from the 1st trio) - Taylor Stanley. Nutcracker Pas - Hod/Veyette. Apollo (1st solo) - Chun Wai Chan. Stars and Stripes pas - Fairchild/Mejia. Jewels (Rubies excerpt) - Emma Von Ench/Furlan. Western Symphony (excerpt) - Phelan/Veyette.

I can't say what were highlights for me, they all were. The entire event was a joy. Walking home,  my husband and I saw Chun Wei Chan. We paused to say we enjoyed his Apollo solo and looked forward to seeing him do the whole ballet. He said he was excited to be able to do it. 

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SingerWhoMoves

SingerWhoMoves

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 Thanks to mille-feuille, i was able to attend this afternoon and just loved  watching the company class. What a treat.  I think class on performance days (especially so late and close to matinee call time)  serves its own purpose for each dancer, and we were privileged to be flies on the proverbial wall to be able to observe this. As Wendy said, we were invited into a space that is usually sacred and private.  I think that’s why there weren’t tons of corrections. For some, it was just waking up and getting ready to perform in the matinee, for others who maybe weren’t doing the show this afternoon, more of a focused class to challenge themselves….  Gonzalo gave some challenging combos and it was funny seeing who was like - seriously??  As a performer, I found  it to be such a lovely way to observe these dancers in such a vulnerable way- no lights, costumes or make-up to hide behind or character to take on.  I also really enjoyed trying to identify some dancers with whom I’m less familiar. Alexa Maxwell and Bailey Jones were among those who caught my eye, and Mira is impossible not to watch, but I already knew that.  As others have said- Megan was there to WORK.  I also enjoyed seeing Indiana Woodward and Unity Phelan giggling as they faced each other at the Barre- I bet this was an interesting experience to have such a large audience present, and I also know that class on stage as opposed to with a mirror in a studio is an adjustment. I think it was Sara Mearns who said on her IG that this was the first time the company had done this in her time. 
 I’m sad I didn’t realize there was another program at 5, I would have been sure to attend.  Thanks to all who are posting reports! 

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