2023-2024 Season

[Dale]

13 hours ago, cobweb said:

Interesting comment, Dale. I guess, since she's called the Sleepwalker, that does imply she's a real woman, just very very asleep. But don't you think that, given the intensity of the sleep, not to mention her return to find and carry away the Poet, she seems to be supernatural? Curious if you are making this comment based on a reading or understanding of what Balanchine intended, or your own interpretation. I am very intrigued by the question of her nature. She doesn't seem human to me, but I don't really know how to understand her. 

Mmm. That's an interesting question/point. I certainly don't think she should be played in some earthy way, some commonplace way. But some dancers sort of sketch in the steps seemingly in an effort to appear barely there. I thought it was interesting that Phelan noted that she had been trying to make herself to nonexistent and she was corrected by Kent. 

From the NYT article: The heroine may be walking in her sleep, but “she’s not expressionless,” Kent said. “You can’t come in like a zombie.” ... “You are sleepwalking, but you’re aware,” Kent said. “You’re in another realm but there’s something going on within you. A great tragedy that is not explained.” ... “You can still be active, but if it gets all tense then it looks like you’re putting on a show instead of it coming from a genuine place,” Phelan said later. “If I’m just being myself and actively doing something, I’m not sensing everything in my body. So that’s what I’m trying to bring it back to.” When she first danced the Sleepwalker, Phelan wanted to prove that she could be ghostly, waiflike, light. “What I’ve discovered from Allegra is that I may have been going too far with that,” she said. “You let yourself be involved emotionally. I think I was trying to stay so disassociated.”

And then I think of the atmosphere of the gathering. It's slightly sinister. It's not a wholesome gathering. This isn't a good place. And what the Poet represents in Balanchine's work. What the seeker represents. And what the seeked (or the woman pursued) represents. So, yes, more than just a woman. But not a fairy. 

But I think the mischaracterization of the Sleepwalker was part of a larger change that was going on within the company's dancing in the previous 20 years. I think there has been a reversal, but during this period, plies became shallow, batterie so microscopic as to appear not to be there, arabesques were given short shrift. Always the emphasis on the up and not the down, which is not the way Balanchine wanted it (see some of the coaching videos on YT). In comparison to this, were other companies coached by people like Villella or Farrell with deep plies and digging deep into the floor to rise up, the steps always fully done. I first saw LS with Kent, McBride and Farrell. Kistler and Nichols were also good. Then those wispy performances. Janie Taylor was a natural for the role but it was given to her too late and sporadically. Seeing clips of Lovette perform the duet in Vail made me think she should have had a chance at the part, too. Meanwhile, I did see excellent productions with the Cincinnati Ballet (coached and reconstructed by Frederick Franklin [with help from Bart Cook] with Kristi Capps as the Sleepwalker) and the Suzanne Farrell Ballet (with Chan Hon Goh), performed right after 9/11. 

[cargill]

I find La Sonnambula absolutely mesmerizing, but hard to perform.  I guess the old Dorothea Tanner costumes would be hard to  put over, but I do wish there was more feeling of oddness, of something hidden and threatening, rather than just a fun romp for the guests.  And I can remember the previous design, where the light at the end rose up to the sky, rather than staying in the castle, which I miss.  It was just so magical.  I must say, though I didn't see it, that I don't understand the tightless look for "Who Cares" at all.  It looks so tacky in the pictures.  

[matilda]

I agree that last night's PC2 was absolutely thrilling, and I relish any chance to see Mearns in her element. Nowhere else in the world do you get to see dancing quite like this, from the corps through ballerina leads. Mearns is truly one of a kind. Every time I leave that theater I feel so fortunate to live in NYC. Angle's solo moments were better than I expected although you could see the effort. But I was so taken away by the beauty of the piece and the energy of the performance that I wasn't bothered by of his shortcomings. Emily Kikta is a STAR and could be great in the principal role at some point.

Mearns posted on her Instagram stories that she hurt her foot mid-performance but you would never have known! She also said she's still expecting to dance Symphony in C this weekend though.

I noticed a bunch of ABT dancers on the promenade: Shevchenko, Royal, Whiteside, Misseldine (all of whom are cast in Ballet Imperial in a couple weeks), Granlund, Lall. I'm sure ABT will bring something special and classical but I don't think it's possible to top NYCB in this. 

Apollo: I found Phelan to be particularly radiant as Terpischore, not bland at all. I actually prefer her over Tiler Peck in this. Loved Danchig-Waring as Apollo and thought his characterization was clear throughout. Emilie Gerrity (as Polyhymnia) has a tendency to look tense and I wish she'd loosen up and luxuriate in the music more. She didn't look fully comfortable in the difficult turn sequence. Sara Adams was fine as Calliope but I prefer Indiana Woodward, who was unfortunately not cast this season. 

Sonnambula: I find the first half of this ballet to be a bit of a snooze but love the sleepwalker scenes. Having an appreciation for gothic literature and the movies it's inspired definitely helps here. Thought Phelan was great, although Stanley doesn't necessarily have the dramatic chops to bring the best out of this role. 

All in all a superb night at the ballet. 

 

[Fernie M]

12 hours ago, deanofdance said:

Bolden is larger framed, but he isn’t that tall 

Bolden is 6’3” (he has said this).

[cobweb]

10 hours ago, Dale said:

So, yes, more than just a woman. But not a fairy. 

Okay, I see what you're saying. Glad you made that point, helping me to think about who or what she is. She's not a normal human woman, but not a sprite or wili either. And definitely there's awareness, as demonstrated when she evades the Poet's embrace and steps over his hands. Also when she returns, it's clear she's seeking him, or something -- she's on a dreadful mission. 

[cubanmiamiboy]

11 hours ago, Dale said:

From the NYT article: The heroine may be walking in her sleep, but “she’s not expressionless,” Kent said. “You can’t come in like a zombie.” ... “You are sleepwalking, but you’re aware,” Kent said. 

Very much like the Young Girl in Spectre. She's sensing the rose's presence in her sleepwalking.

[cubanmiamiboy]

There was something Kent said when coaching Phelan that struck me. She said that in her entrance there's a sense of anxiety, of search. "She's searching for something...perhaps a child". There's something unique and tragic in mothers faces when they start frantically searching for a missing child. A mix of terror with some self retrain as if not wanting to lose all logic and reason while searching. And they certainly cover entire spaces in a matter of seconds. And the quick sharp turns...it is all there in Sonmambula.

Edited October 7, 2023 by cubanmiamiboy

[abatt]

Davide Riccardo is taking the TBA role in serenade next week per the lobby cast sheet.

[bellawood]

1 hour ago, abatt said:

Davide Riccardo is taking the TBA role in serenade next week per the lobby cast sheet.

Wonderful! I love that role.

Just watched Chun’s debut, very very successful. He wasn’t perfect but was dancing so free. Mira was beyond. I mean, what a dancer and artist. As she did in Emeralds, she showed me Terpsichore as something totally new. What a treat, honestly. The PDD was incredible. Isabella was quite excellent too. Emily was ever so slightly off in the infamous shhh! turns. She flubbed the last one. But for a debut an excellent version and I highly recommend getting a last minute ticket for tomorrow if you can!

[nanushka]

I completely agree about Chan’s and Nadon’s debuts. Apollo has never been one of my top Balanchine favorites but I really enjoyed the performance. While I’ve always found Chan to be good, he’s often underwhelmed me a bit after reading others’ views here. But in this, he was fantastic throughout. Nadon’s every movement seems both luxuriant and crystal clear.

Having just seen Sonnambula recently and found it a snooze, I’m skipping that but very much looking forward to Ballet Imperial.

[cubanmiamiboy]

Chan's Apollo was a success. Honest....engaged...elegant.  

Two thumbs up!! 👍👍

And Tiler...well, what can I say about Tiler. She's Queen Tiler for sure. But....does that always work...? Not sure. She's so secure about her power that she allows herself to quite forget all about it around her, as I noticed today. Whereas Mearns was totally engaged and pleasantly relaxed while dancing for Angle, Peck was in a physical high engaging her dancing not with ber partner, but with the audience. If yesterday I quite "saw" a love story between Sara and Tyler, today Peck was having a blast at the party with her anonymous cavalier. Joseph Gordon danced beautifully, but he was not Peck's lover. Her lover was us...the audience. And so she did all her usual little mouth/eyes tricks. Very cute for sure, and all based in a formidable technique, buy I still pick Sara.

Edited October 7, 2023 by cubanmiamiboy

[nanushka]

I thought Tiler Peck was phenomenal in Ballet Imperial. I’ve always loved her dancing but didn’t expect to appreciate her so much in this role. (Maybe I wasn’t expecting there to be enough glamour? Even so, there was plenty of excitement.)

Her opening cadenza solo was the best I’ve seen. Those turns where she skims her foot so close to the floor and stops on a dime — I don’t think I’ve seen them so cleanly done.

Adding a lot to the performance was the very good playing of pianist Hanna Hyunjung Kim; I don’t think I’ve heard of her performing for the company before, but both she and the orchestra sounded better than I recall hearing any piano/orchestra piece at NYCB — no small feat with this particular concerto. Kim’s musicality was of course well matched by Peck’s own.

Joe Gordon was, as usual, excellent as well. I can’t wait to see them in T&V  next week.

[volcanohunter]

The company posted a little clip of Indiana Woodward in Who Cares? She had a bit of trouble with her fouettés, and I don't know whether it was the skirt, Vanessa Williams singing too slowly or perhaps the cumulative effect of too many danged distractions.

https://fb.watch/nxCY604Sz5/?mibextid=NOb6eG 

Meanwhile, the company and the press are busy trying to sell those dresses as "elegant" and "sophisticated." 

https://www.surfacemag.com/articles/carolina-herrera-new-york-city-ballet-fall-fashion-gala-2023/

[cobweb]

I loved the all-debut Apollo this afternoon. Maybe because it was all debuts, maybe because it's all dancers I love, or just that they're all dancers with a star presence, but I found it far more affecting than I usually do. I loved Chan, who I found very dramatic, showing an internal narrative and thought process, in a way that I found more clear than I have in the past. When he hears the call (not sure how else to put that, you know the moment I'm talking about), it was a moment of great drama as he hears, wonders, and registers what it means for him. Like the reverberations of a bell sounding, you could see his demeanor and bearing gain grandeur and godlike as he walks toward his destiny. FWIW, my partner was not as enthusiastic as I am about Chan's interpretation. According to him, Chan did not clearly enough distinguish his initial isolated state, from the later one of finding a way to coexist with others, with the muses. Anyway, that's my understanding of his objection. He says that the last person we saw (he's not sure who, but I think Adrian Danchig-Waring) had a more coherent interpretation. 

Ballet Imperial was again stunning. Tiler is incredible. Joseph Gordon is beautiful. The corps is incredible! And I absolutely loved the piano. Alternating tenderness with thundering along, it is irresistible. 

[vipa]

1 hour ago, cobweb said:

I loved the all-debut Apollo this afternoon. Maybe because it was all debuts, maybe because it's all dancers I love, or just that they're all dancers with a star presence, but I found it far more affecting than I usually do. I loved Chan, who I found very dramatic, showing an internal narrative and thought process, in a way that I found more clear than I have in the past. When he hears the call (not sure how else to put that, you know the moment I'm talking about), it was a moment of great drama as he hears, wonders, and registers what it means for him. Like the reverberations of a bell sounding, you could see his demeanor and bearing gain grandeur and godlike as he walks toward his destiny. FWIW, my partner was not as enthusiastic as I am about Chan's interpretation. According to him, Chan did not clearly enough distinguish his initial isolated state, from the later one of finding a way to coexist with others, with the muses. Anyway, that's my understanding of his objection. He says that the last person we saw (he's not sure who, but I think Adrian Danchig-Waring) had a more coherent interpretation. 

Ballet Imperial was again stunning. Tiler is incredible. Joseph Gordon is beautiful. The corps is incredible! And I absolutely loved the piano. Alternating tenderness with thundering along, it is irresistible. 

I'm so excited to see be seeing this cast, tomorrow. How did Maxwell fair in La Sonnambula?

[sanity]

23 hours ago, cubanmiamiboy said:

I'm in orchestra right third row, and have been able to study this Sonmambula up close. I know I will get grilled by saying this, but Taylor Stanley was absolutely misscasted as The Poet. Here's the thing...what does The Poet has to do but looking dashing and prance around like a matinee idol...? Right. Absolutely NOTHING.  Stanley might be a great dancer, but dancing he's not doing here....and I'm sorry,  but pretty...pretty he's not.  I have seen pictures of Franklin on this, and there's definitely a Rudolph Valentino aesthetics going on, which Stanley didn't convey AT ALL.

Why then....????

Taylor Stanley uses they/them pronouns. And I think they are very pretty.

[vipa]

3 hours ago, volcanohunter said:

The company posted a little clip of Indiana Woodward in Who Cares? She had a bit of trouble with her fouettés, and I don't know whether it was the skirt, Vanessa Williams singing too slowly or perhaps the cumulative effect of too many danged distractions.

https://fb.watch/nxCY604Sz5/?mibextid=NOb6eG 

 

Thanks volcanohunter. On this brief viewing I'd say that adding vocals didn't add anything to the experience of watching the piece. It feels like an unnecessary, even a distracting element. The costumes are awful. I hope they don't plan on using them going forward. Please tell me it was a one time thing.

Edited October 8, 2023 by vipa

[nanushka]

Sara Mearns heroically powered through her performance in Symphony in C tonight, despite some very painful-looking visible bruising on her inside left ankle. (She'd showed her foot in ice on social media earlier in the day.) She was obviously more comfortable on her right foot throughout the piece (luckily the one she has to stay on for that looooong stretch in the final third of the movement, as she repeatedly plies in arabesque over and over). There were a few dicey moments early on, with the tricky partnering after the big développé, e.g. when he leaves her balancing and moves to the other side, and another moment shortly after that (I think both on her left foot). It was so good to see her in this piece again, after such a long time (for me — I haven't seen it live in way too long). 

Megan Fairchild was good in the first movement, though I miss Tiler Peck's expansive musicality and verve. Joe Gordon was fantastic in his solo.

Roman Mejia's jumps in the third movement were unbelievable, stunning, and super exciting. Emma Von Enck was a good match for him, if not quite as soaring.

Indiana Woodward had a startling fall in the fourth movement, slipping as she and her partner were rushing upstage, her feet just slid out from under her and she nearly went down on her face. Lots of gasps, but she got right up and gave a great rest of the performance.

I just looked up when the Prodigal Son video with Daniel Ulbricht was from, the one the company released during covid, I think — amazing that it was 10 years ago, and he still looks about as good as he did then. He looked just super energized and delighted to be dancing the role. I found his post-revelry scenes to be the least impactful parts of the performance, though.

I think Concerto Barocco is a great role for Unity Phelan, and all three principals were strong.

I don't think they should perform that piece along with Symphony in C after this season, though (even if they were both on the company's very first program). While it's interesting to see the similarities — in both style and steps — between the second movements of both, the repetitions ultimately diluted the impact of those moments in the latter piece, which was unfortunate.

Edited October 8, 2023 by nanushka

[fondoffouettes]

Interestingly, Mearns just posted on Instagram that "tonight felt off not b/c of my foot, just a weird energy." I'd also noticed the discoloration around her left foot (the one she was icing on Instagram earlier today). Despite those couple dicey moments, which she and Angle did a good job of correcting, Mearns was really quite wonderful. Fairchild danced very well, but I really missed the musicality and imagination Peck brings to this role. This is one role where I feel Fairchild's dancing still feels small (something she has overcome in much of the rest of her repertoire). Mejia's soaring leaps were thrilling, and Gordon was fantastic. Woodward was lovely and didn't let the fall throw her off at all.

I enjoyed Phelan so much more in Concerto Barocco than in Apollo and Sonnambula earlier this week. The roles shows off her best qualities, and I feel like she was really bringing more of herself to the role rather than just going through the motions. 

[deanofdance]

A few thoughts on tonight’s program:

1) Concerto Barocco — honestly, Emily and Unity should have switched roles — as Emily was fresher and had that willingness to say something, to communicate something personal.  I think Unity is being stretched too thin, and to me she appears to be getting by (she is very technically sound, though not overtly so, so getting by is not difficult for her)  — she is becoming more of a cipher for others to put their emotions on.  But my eye really went to Ava Sautter in the corps — how wonderfully graceful and stretched she was and there is something inherently dramatic in her epaulement, and she moves so big in space.  I think she may have that rare gift — of being able to conjure illusions of movement.

2) the Bizet!   When I tell people that I love NYCB, they say, “Oh, you love ballet.”  No, I love Balanchine!   Then if someone were to ask (which no one ever has), “What Balanchine ballet would you recommend I see?”  I would answer Symphony in C.   The speed, the attack, the regal gravitas of the 2nd movement, the whirlwind which is the rest of the ballet, and that ending, which used to have the 4 ballerinas compete as whirling dervishes (now they are in sync).  Tonight’s performance made me stand up and cheer!  I didn’t really  look at the full casting till I got there tonight (as I usually just want to know who is doing the first and second movements) — but wow!  In the first movement Meghan and Joseph were excellent (but they are excellent to begin with), and I was excited to see Ashley Hod paired with Davide Riccardo (now those are 2 gorgeous dancers being gorgeous together!  More please!). In the 2nd, Sara seems to be entering a new phase of her career, her high summer, of being relaxed and calm and breathing and enjoying and luxuriating in the music — she senses perhaps that she no longer needs to be that powerhouse dancer, and now there is a sweetness, a joy that moves her — and it adds a youthful quality to her movement — which combined with her years of experience in these prima roles — gives her current performances nuance and depth and — I don’t want to jinx her — a culmination about to begin, that after all these years, of being able to say more with less.  And Tyler was her gallant partner.  But just when I thought the Bizet couldn’t get better - BAM! — out from a cannon comes Roman and Emma — like they were filled with helium bounding across the stage — and both of them glittered like stars.  How does this happen?  So glad it does — a dancer that had talent and spark last  season — suddenly it seems, this season blooms and blooms and becomes a ballerina — such is the case with Emma.  
 

Edited October 8, 2023 by deanofdance

[cargill]

12 hours ago, volcanohunter said:

The company posted a little clip of Indiana Woodward in Who Cares? She had a bit of trouble with her fouettés, and I don't know whether it was the skirt, Vanessa Williams singing too slowly or perhaps the cumulative effect of too many danged distractions.

https://fb.watch/nxCY604Sz5/?mibextid=NOb6eG 

Meanwhile, the company and the press are busy trying to sell those dresses as "elegant" and "sophisticated." 

https://www.surfacemag.com/articles/carolina-herrera-new-york-city-ballet-fall-fashion-gala-2023/

"Surface" is certainly a good name for the magazine!  It seems they just augmented a press release, and the idea that Wes Gordon is the first fashion designer NYCB ever had designing their costumes is so historically wrong.  Karinska designed women's dresses--I remember seeing one of her designs from the 1920's in an FIT exhibit. 

[cubanmiamiboy]

14 hours ago, sanity said:

Taylor Stanley uses they/them pronouns. And I think they are very pretty.

I don't find him attractive, but I know this is a subjective thing.

[cubanmiamiboy]

OMG!!! Can we talk about Fairchild's demeanor as if she was dancing in her living room, so calm and in control....Mejia literally FLYING and Mearns luxuriating in her Adagio as if walking on clouds...? Aside from the unfortunate slip and fall of Woodward, it was a Symphony in C for the ages. 

I kept looking at Megan, and thinking...."how in earth does she look as young and powerful as a ballerina half her age.....? She's a treasure for sure. The right middle ground in between Mearns and Peck. I adore her dancing.

Ulbricht made me tear up with his Prodigal. Miriam was LETHAL!!! 

I ran into Eddie Villella at the lobby, and spoke to him and his wife, and took some selfies. I asked him what did he think of Ulbricht, and he said..."I never jumped that high!" Can you believe the humbleness..? Of course he could and more!!😎

[cobweb]

I got an email from NYCB about today's performance -- Tschai PC#2 (Ballet Imperial is such an easier name!) will be performed first on the program rather than last. I wonder why?? Also, what will the order of the remaining two pieces be?

[vipa]

I'm going to the matinee today (Sun) and just got an email from NYCB that Tchai Piano Concerto #2 will be first on the program instead of last. Wonder why? Strange programing