2023-2024 Season

[Quiggin]

5 hours ago, abatt said:

Allegra Kent Conjures ‘Messages From the Air, the Atmosphere’ - The New York Times (nytimes.com)

 

Speaking of Unity, she is being coached by Allegra Kent now in Sonnambula.

Great rehearsal photos in Gia Kourlas's piece. Loved this:

Quote

The original Sleepwalker — and the one Kent first saw all those many years ago — was the great ballerina Alexandra Danilova. Kent herself was briefly coached by Danilova not in the studio, but in a chance meeting, waiting for the 104 bus on Broadway. “She stood up and started demonstrating at the bus stop,” Kent said. “Gosh, what a moment.”

 

[Dale]

I finally returned to NYCB for the first time since the pandemic on Sunday. I was thrilled about nearly everything. I had been aching for the company to bring Bourrée Fantasque but with proper casting (and I hope it stays in the rep). Mira Nadon and KJ Takahashi were fun, sharp, stylish in the first movement. The two had all the fun details down but also looked natural and not contrived. I love the 2nd mvt Prelude. It's just one of those Balanchine dream movements and everything was flowing and rippling. I was sort of surprised that the audience continued to laugh in this movement. I suppose it's because the program notes said it was "comic" aim at ballet "conventions." Mmm. Emilie Gerrity had just the right swoon power and Gilbert Bolden was ardent with some of the smoothest partnering. There's some tricky partnering and he made this one great save that made a would-be fluff into something triumphant. Alexa Maxwell and David Gabriel led all the jumping in Fete Polonaise with verve. The finale is so much fun. Love the patterns. Love the costumes. And the music. Hope it stays. Several years ago, I interviewed Susan Pilarre when she staged the ballet for SAB (and then later MCB) and she said that in the 50s and 60s, it was regular rep and everybody would have been in it at one time or another, like Symphony in C.

The program ended with Slaughter and it was just so much fun. Sara Mearns gives the best performance in this. I know some reviews says she's more "Vegas" than Balanchine but she's the only dancer I've seen (several companies) in this in decades who doesn't dance as if they've got a running plan of the steps/movements in their head like "Now I bump my hip, now I thrust out my leg, now I put my foot down..." The movement flows out of her naturally as if she's dancing in a club. But the steps are all there. Andrew Veyette was one of the best all-around Hoofer I had seen in awhile. Sometimes, it's hit or miss if the the guys have tap or jazz dancing in their background and the steps are sort of tailored to hide that away. Not saying Vedette was another Savion Glover but I didn't watch with my heart in my throat worrying for cringe moments where we all just pretend he's tap dancing! 😁 He also was a good partner for Mearns and they danced with fun and abandon. The whole company looked good. Another nod to Bolden as the Boss (me thinks somebody is going to be promoted to Soloist soon). 

Saved Agon for last because it wasn't a wholly satisfying performance. I would say the first pas de trios was the most realized, especially the dance with the two women --Meaghan Dutton-O'Hara and Ashley Hod (although they could still use more epaulement - there's been a flattening out over the years). I'm not sure what I thought of Jovani Furlan's solo. For the most part, good. Could use refining. The second pas de trios started with a bang with Isabella LaFreniere seeming to hang in the air. But there seemed to be timing issues overall and in the men's duet. Isabella's solo was very elegant and musical. It almost stood out weirdly from the rest of the section. Everybody seemed sort of tense in the rest of their section. The pas de Deux had some things...I liked Miriam Miller. She has the beginnings of performing it in a very cool detached Diana Adams way, rather than the scorched earth style some later interpreters had. But, and I feel badly pointing this out, I didn't find Peter Walker the right fit. I feel badly because I just don't think I've seen enough of him in principal parts to make a judgement on him overall. The partnering bit where the man drops down on the floor didn't come off well. He's not particularly flexible nor strong in the upper body (again, I don't want to say this with so much certainty because maybe he has a ton of strength in a role I haven't seen him in). I think maybe not the best part for him but he's tall and Miller needs a tall partner. 

All in all I was delighted to be back in the state theater. I used to live near the center of the NY metro area and could pop in whenever I wanted AND DID! Now I'm on the outer edge and while not impossible, it takes more planning, more time to attend. I was feeling a little sad to miss the big alumni reunion (I had been there for the 50th - God, I can't believe it's been that long) and for various debuts and retirements. But it was good to be back. 

 

 

[BalanchineFan]

On 10/2/2023 at 8:41 AM, miliosr said:

Certainly, a story like the Peter Martins one undercuts the company's claims of poverty in its negotiations with the musicians' union and only helps the union.

How does it undercut anything? Whatever they agreed to is contractually stipulated. They didn’t actually fire Martins, so he’s entitled to whatever exit/retirement pay is in his contract. They have to pay. They’re not paying him out of the goodness of their hearts. 
 

I must have been at the same performance as you, Dale. I think Peter Walker is newer to Agon than Miller, who, iirc, performed it as an apprentice or shortly after she joined NYCB. In the ppd, when she’s in penchée arabesque (on pointe!) and he goes to the floor on his back, he is not supposed to move her hand. On Sunday, he moved it and she struggled to stay on pointe. That had gone much better on their previous performance, on Saturday.

[On Pointe]

I do not understand why any ballet company would allow the public to watch company class,  and I don't understand why anyone who isn't a ballet professional would want to see it.  It seems so intrusive.  It's designed to get dancers ready for their working day,  not to show off.  It isn't really "class" anyway - once there's an audience it becomes a performance,  whether or not it seems like one.  It's pretty hard to pretend that hundreds of people are not watching you,  as you pin up your hair or fall out of turns you never fall out of during the show.  Opera singers and concert pianists don't warm up in public,  and I don't think dancers should either.  Or maybe it's just me.

[ABT Fan]

14 minutes ago, On Pointe said:

I do not understand why any ballet company would allow the public to watch company class,  and I don't understand why anyone who isn't a ballet professional would want to see it.  It seems so intrusive.  It's designed to get dancers ready for their working day,  not to show off.  It isn't really "class" anyway - once there's an audience it becomes a performance,  whether or not it seems like one.  It's pretty hard to pretend that hundreds of people are not watching you,  as you pin up your hair or fall out of turns you never fall out of during the show.  Opera singers and concert pianists don't warm up in public,  and I don't think dancers should either.  Or maybe it's just me.

No, it’s not you. I’ve never understood it either and agree that it’s intrusive. If I was still dancing I wouldn’t be happy with hundreds of people watching me take class. 

[Helene]

In their early Family Matinees, NYCB had a Faux Company Class segment, shorthand for what the parts of the class were.  But it was clearly a performance of a class, not the real thing.

Were it World Ballet Day, class would have been broadcast across the world for many participating companies, even some of the guest companies.

[Dale]

1 hour ago, BalanchineFan said:

How does it undercut anything? Whatever they agreed to is contractually stipulated. They didn’t actually fire Martins, so he’s entitled to whatever exit/retirement pay is in his contract. They have to pay. They’re not paying him out of the goodness of their hearts. 
 

I must have been at the same performance as you, Dale. I think Peter Walker is newer to Agon than Miller, who, iirc, performed it as an apprentice or shortly after she joined NYCB. In the ppd, when she’s in penchée arabesque (on pointe!) and he goes to the floor on his back, he is not supposed to move her hand. On Sunday, he moved it and she struggled to stay on pointe. That had gone much better on their previous performance, on Saturday.

Agree. I had seen Miller in Agon with other partners and really like her in this. I forgot who said it but I remember a male dancer lauded for his partnering said in an interview if your partner comes off point while you're partnering her, it's your fault. Period. Hopefully, Walker will sort that out. 

[Dale]

I thought that the open class was just a fund-raising thing. I doubt it will happen more than once a season. (Doesn't the Miami City Ballet have one of their rehearsal rooms open to the street outside?) Probably just a little bone to throw those who contribute at the $250 level or something like that. I was a member for a few seasons and the company doesn't really have much to give you other than watching rehearsals. They don't want to give you a discount on your tickets. And I didn't contribute enough to get into the nice lounge that's open during the performances. I loved watching the coaching sessions. As for viewers watching orchestras warm up - happens all the time! Most warm up in the pit while everybody comes into the performance. And the NY Phil has had open rehearsals and run-thrus. 

[miliosr]

2 hours ago, BalanchineFan said:

How does it undercut anything? Whatever they agreed to is contractually stipulated. They didn’t actually fire Martins, so he’s entitled to whatever exit/retirement pay is in his contract. They have to pay. They’re not paying him out of the goodness of their hearts..

The money to make Peter Martins go away on rather lavish terms (contractually stipulated or not) is coming from somewhere within the organization. It's not unreasonable for the musicians' union to see that and think that there must be money in the organization to meet their demands. (To the extent the board entered into a financially onerous contract with Martins, the musicians' union is under no obligation to accept a bad deal in order to help bail out the board and the organization. The union already did its part during COVID.)

Edited October 4, 2023 by miliosr

[volcanohunter]

44 minutes ago, Dale said:

I thought that the open class was just a fund-raising thing. I doubt it will happen more than once a season.

Even the august Paris Opera Ballet does it now. I suspect the National Ballet of Canada does it (once annually) to attract new audiences. Tickets to its shows can cost up to $279 CAD. In comparison $10 to watch company class on stage is a steal. Frankly, I get the impression that the dancers are used to it already. Inevitably a couple of the men will get into a batterie-off, but for the most part nobody seems to be "performing" or especially distressed about falling out of a pirouette.

[vipa]

1 hour ago, On Pointe said:

I do not understand why any ballet company would allow the public to watch company class,  and I don't understand why anyone who isn't a ballet professional would want to see it.  It seems so intrusive.  It's designed to get dancers ready for their working day,  not to show off.  It isn't really "class" anyway - once there's an audience it becomes a performance,  whether or not it seems like one.  It's pretty hard to pretend that hundreds of people are not watching you,  as you pin up your hair or fall out of turns you never fall out of during the show.  Opera singers and concert pianists don't warm up in public,  and I don't think dancers should either.  Or maybe it's just me.

I don't think it was a major intrusion. For one thing, it was a one time thing. I was there, and to my eye the dancers weren't showing off or playing to the audience. Individual dancers were doing what they needed. Some left early, others did center exercises many times, others few times. Some put themselves front and center, others stayed in the back. Some company members weren't there at all. Company class isn't required. I seriously doubt the dancers were thrown by having an audience. Taking class with a choreographer watching, to cast a ballet, would be more stressful. As a former dancer, I love watching class, but I believe an astute observer of ballet would also find class interesting. 

Many companies, including NYCB, offer open rehearsals for members who pay/donate. The dancers do what they have to do. The Met Opera does the same. 

[Drew]

6 hours ago, Dale said:

I finally returned to NYCB for the first time since the pandemic on Sunday. ....

All in all I was delighted to be back in the state theater. I used to live near the center of the NY metro area and could pop in whenever I wanted AND DID! Now I'm on the outer edge and while not impossible, it takes more planning, more time to attend. I was feeling a little sad to miss the big alumni reunion (I had been there for the 50th - God, I can't believe it's been that long) and for various debuts and retirements. But it was good to be back. 

 

 

I can imagine how wonderful to be back in the theater. Sounds like a largely terrific performance too 🙂.

I hope  to make my first return to NYCB since the pandemic struck at the end of the season--though health-and-travel variables seem increasingly daunting to me as I get less and less hearty. But I do have tickets and airplane booked!

[coffeelover]

2 hours ago, On Pointe said:

I do not understand why any ballet company would allow the public to watch company class,  and I don't understand why anyone who isn't a ballet professional would want to see it.  It seems so intrusive.  It's designed to get dancers ready for their working day,  not to show off.  It isn't really "class" anyway - once there's an audience it becomes a performance,  whether or not it seems like one.  It's pretty hard to pretend that hundreds of people are not watching you,  as you pin up your hair or fall out of turns you never fall out of during the show.  

From someone who has been a dancer in this kind of scenario, it’s not the worst thing ever. We’re observed by people watching company class all the time in the studio. It doesn’t feel much different in my opinion. Everyone is kind of “in the zone” before a performance and having an audience doesn’t affect much. 

[Josette]

2 hours ago, coffeelover said:

From someone who has been a dancer in this kind of scenario, it’s not the worst thing ever. We’re observed by people watching company class all the time in the studio. It doesn’t feel much different in my opinion. Everyone is kind of “in the zone” before a performance and having an audience doesn’t affect much. 

I agree. 

[Dale]

3 hours ago, Drew said:

I can imagine how wonderful to be back in the theater. Sounds like a largely terrific performance too 🙂.

I hope  to make my first return to NYCB since the pandemic struck at the end of the season--though health-and-travel variables seem increasingly daunting to me as I get less and less hearty. But I do have tickets and airplane booked!

Yes, that was a consideration for me. Not to get too off topic here. I'm still masking. Took MetroNorth in, then the Shuttle over, then the 1. Due to a combination of luck and commuting savvy honed over decades of experience, I had an empty car on the Shuttle and then I finessed a seat on the 1. Took a taxi back to GC. It was expensive but a person pissed off at my driver cutting them off threw a bottle into the car - at least it was entertaining! Yes, I realized a lost a lot of city walking energy and stamina. And it was a lot of mask time. Going again but I'm going to drive in. I hope you enjoy your trip!

[Drew]

1 minute ago, Dale said:

[,,,,] Took a taxi back to GC. It was expensive but a person pissed off at my driver cutting them off threw a bottle into the car - at least it was entertaining! Yes, I realized a lost a lot of city walking energy and stamina. And it was a lot of mask time. Going again tonight but I'm going to drive in. I hope you enjoy your trip!

Well I hope no-one throws a bottle at you! (And that you have a great time too.)

[California]

7 hours ago, vipa said:

I don't think it was a major intrusion. For one thing, it was a one time thing. I was there, and to my eye the dancers weren't showing off or playing to the audience. Individual dancers were doing what they needed. Some left early, others did center exercises many times, others few times. Some put themselves front and center, others stayed in the back. Some company members weren't there at all. Company class isn't required. I seriously doubt the dancers were thrown by having an audience. Taking class with a choreographer watching, to cast a ballet, would be more stressful. As a former dancer, I love watching class, but I believe an astute observer of ballet would also find class interesting. 

Many companies, including NYCB, offer open rehearsals for members who pay/donate. The dancers do what they have to do. The Met Opera does the same. 

ABT regularly has Company class on stage each season (fall and Met) for Friends. It's interesting in its own way and I normally attend if I'm in town. Not all the dancers seem to be there. Some only do the barre, then leave. It's fun to see corps members mixed with principals, all striving in the same routines. I think companies are always looking for little extras to offer Friends to get people to join/renew their donations.

[Novice123]

4 hours ago, California said:

ABT regularly has Company class on stage each season (fall and Met) for Friends. It's interesting in its own way and I normally attend if I'm in town. Not all the dancers seem to be there. Some only do the barre, then leave. It's fun to see corps members mixed with principals, all striving in the same routines. I think companies are always looking for little extras to offer Friends to get people to join/renew their donations.

ROH has similar for their Friends. They even post some on YT for everyone to watch. 

[SingerWhoMoves]

14 hours ago, coffeelover said:

From someone who has been a dancer in this kind of scenario, it’s not the worst thing ever. We’re observed by people watching company class all the time in the studio. It doesn’t feel much different in my opinion. Everyone is kind of “in the zone” before a performance and having an audience doesn’t affect much. 

Absolutely. I have been observed in rehearsal situations many times and I don’t find it intrusive at all.  I also think it’s a great way for audience members to see the hard work behind the magic they get to see with all the costumes and lights.  It didn’t seem like anyone was performing for the audience.  I’d previously been to PNB open rehearsal and this was a different and interesting experience.  

[nanushka]

There's a difference between an open class and an open rehearsal, and I think that's a distinction that was potentially important for @On Pointe's (and maybe others') initial comments. Maybe it's a distinction without enough of a difference to matter — but it does seem worth at least considering.

Edited October 4, 2023 by nanushka

[SingerWhoMoves]

1 hour ago, nanushka said:

There's a difference between an open class and an open rehearsal, and I think that's a distinction that was potentially important for @On Pointe's (and maybe others') initial comments. Maybe it's a distinction without enough of a difference to matter — but it does seem worth at least considering.

Of course.  I didn’t mean to imply otherwise. I also think that a company class is not the same as class for pre-professionals.  I do think, however that once one is a professional, observation is not the inhibiting or awkward force it may be for others. I’m sure everyone feels their own way about this.  

Edited October 4, 2023 by SingerWhoMoves

[Royal Blue]

A few years ago at City Center, an audience watched Carla Körbes on stage work out for a bit at the barre. This was part of a special program associated with the Vail Dance Festival, and Damian Woetzel was the host. In his comments, he glowingly mentioned the church-like atmosphere that permeated his beloved teacher's ballet classes. With the lighting and stage setup, and the piano music playing, seeing Körbes was a notable experience.

One hears all the time about dancers going to "class". Why would a lover of that art form who is not a ballet professional necessarily be incurious and uninterested in how a company class functions? As SingerWhoMoves notes, we should always be conscious of the hard work, training, and commitment required to present a wide variety of works on stage.

It would be completely unreal and bizarre for the dancers not to have been aware of the audience observing them on Saturday. Nevertheless, people simply did not barge in on that class, but arrived by invitation. By definition, this is not intrusive.

It would be simply appalling and disgraceful, however, to have forced any dancer to participate in that class on Saturday. Jonathan Stafford and Wendy Whelan, I trust, are individuals who would not countenance anything of the kind. 

Going further, no person should ever be compelled to dance publicly on a stage. And, for that matter, one should not involuntarily drag anyone to view a ballet performance. 

With all of the above said, ballet is a beautiful art form to take seriously. Ballet dancers, in my eyes, are among the elite troops on the front lines of civilization's unceasing struggle against philistinism.

[deanofdance]

I was at last night’s program (for the second time) and Western Symphony made me so happy!  For me, this performance was the epitome of the current state of NYCB — new faces and new energy — from the corps (especially the corps!) to the principals (glad to see Indiana who replaced Brittany) — so much verve and attack — so much glee and joy in movement — and the conductor Sill seemed to have a train to catch, as the tempo was quicker — everything and everyone just shone a bit brighter in last night’s Western Symphony.  I think they should bottle this performance and send it to the other ballet companies to say, “this is us, this is NYCB!”

[cobweb]

I was also there last night and like @deanofdance had a great time. For me I especially loved Stars & Stripes. It is irresistible. I never would have thought to put Nadon and Walker in the pas de deux but both looked more comfortable with the choreography than they did on the first night, and both are very appealing. Emma Von Enck again dazzled in Tarantella - so responsive to the music! Sebastian Villarini-Velez did well and was extremely genial. 

[fondoffouettes]

Tonight’s performance was less than thrilling until Mearns and Kikta took the stage.

Apollo was just OK. Danchig-Waring is very good in the role, though he conveys a more mature energy that doesn’t really feel like a young god finding his place in the world. Unity danced quite well but left me cold. She took a rather playful approach to the role. I prefer a Tepsichore that conveys more depth and perhaps some sense of grandeur or mystique. Gerrity had some iffy moments in her variation. I’ve seen very little of Adams over the past several years but thought she was very effective in her variation. 

I think I’m in the minority, but I’d be happy if NYCB would mothball Sonnambula. If you told me it was some obscure Ashton ballet that no one but Royal Ballet cared to dance, I’d believe you (no shade to Ashton!). With the exception of the sleepwalking scene, which maybe comprises 25% of the ballet at most, I feel the choreography is some of Balanchine’s most banal, at least among his regularly performed works. The ensemble dancing is a drag, and the pas de deux for the Poet and Coquette is so repetitive and generic. I thought Phelan was better suited to Sonnambula, partly because she’s naturally very good at seeming vacant. Some of her bourrees were gorgeous.

Going into PC2, I felt like I’d transitioned from watching a Stepford ballerina in the first two pieces to watching two full-blooded, leave-it-all-on-the-stage ballerinas. Kikta had a fantastic debut; I would have never known it was her first time dancing the role. She’s an ideal second ballerina for me. Mearns seemed like she might have had a smidge of nerves in the first movement but gave it her usual 110% and was grand and thrilling. I thought she and Angle were particularly beautiful and moving in the second movement. Angle was in better form than I’d expected and danced well. I wonder if he dialed down the choreography at all in the last act (I’m really not sure).

Edited October 5, 2023 by fondoffouettes