2023-2024 Season

[nanushka]

4 minutes ago, vipa said:

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

Odd indeed. I'm trying to imagine what last-minute casting change might have required them to separate two of the pieces (to give a dancer a break) instead of placing them in the original order — and trying to think of other possible reasons for the change.

[Peg]

I suspect that PC2 has been moved at Tiler Peck’s request. She’s been flying back and forth to snd from California to be with her ailing father. Yesterday on Instagram she reported that he had had a setback. I’ve been worried that she wouldn’t dance today and will be grateful to see her in the role. 

[Kathleen O'Connell]

9 minutes ago, Peg said:

I suspect that PC2 has been moved at Tiler Peck’s request.

I hadn't been thinking of this specific reason, but my idle speculation is that either someone involved with TP2 has to leave early or someone involved with Apollo his having trouble getting to the theater.

[BalanchineFan]

14 hours ago, vipa said:

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.

They changed the costumes for the leads in Wheeldon’s American Rhapsody after it premiered. I don’t see why they can’t do it again. They could probably auction off the costumes and make a fortune. 

[cobweb]

Wondering what the program order will be this afternoon. Hope they put Apollo second and Sonnambula last... 

[Helene]

Chances are, we'll learn the reason via (official) social media, even if after the fact.

[cobweb]

I wonder who else might be rehearsing Theme & Variations. Indiana Woodward?

[GB1216]

I’m currently stuck on the east side and can’t get crosstown because of an issue on 57th street and a parade on fifth.  Odds are going to be missing PC2 at this rate and was so looking forward to it! Hopefully will get there in time for the other two.  The city is a mess! 

[cubanmiamiboy]

Today Tiler Peck has moved to my top five ALL TIME favorite performances EVER.

Her Ballet Imperial needs to be studied by future generations of dancers.

[matilda]

3 hours ago, Peg said:

I suspect that PC2 has been moved at Tiler Peck’s request. She’s been flying back and forth to snd from California to be with her ailing father. Yesterday on Instagram she reported that he had had a setback. I’ve been worried that she wouldn’t dance today and will be grateful to see her in the role. 

She just posted on Instagram stories that she's on her way back to California, so yes that does sound like the reason. 

[Helene]

I'm so glad she was able to dance!

[cubanmiamiboy]

1 hour ago, Helene said:

I'm so glad she was able to dance!

Even more now knowing of her personal issues. I really hope for the best outcome for her family, and will always cherish this OUTSTANDING performance she gave us today.

[cubanmiamiboy]

The tree ballets presented today have had re invention history. I personally see it more with Apollo, being more used to Villella's birth/Olympus/stairway staging and Alonso's even older one with full sets, costumes and headdresses, so I cannot help but feeling it lacking. 

Ballet Imperial, I have seen it with tutus at ABT, many years ago...but this badge of unsurpassed performances by Peck and Mearns will be next to impossible to top, so they will stay as THE ones.

La Sonmambula...well....I think is the one that have suffered the most. From old pictures and the accounts of Sir Freddie, it is obvious that it originally had a more surreal ambiance and more luxurious costumes. Mme Danilova with her long black wig and accentuated makeup...paired with her elaborate , tassels infused nightgown and Sir Freddie with his elegant black tuxedo-("we didn't have tights!"), plus the bizarre animals headpieces for the party ladies and the original design of the divertissement characters obviously made for something different as to what we're presented today. The sets were also different...less realistic...more surreal as well. However...the finale is still very effective. And a million questions ensue, because this ballet is all about what we don't know. We don't know who the sleepwalker is...we don't know what type of relationship she has with the Baron...we don't know what sort of strange things might be happening up there in the tower, and we don't know for sure what type of occult, even evil rituals will the participants of the space -( the Sleepwalker, the Baron and the deceased Poet)- engaged in when the curtains go down. It's neo-Gothic, and quite effective. And I'm sure Allegra was splendid in the role. She had the right personality in real life for the role. It is known she has been involved at times in her life, on a personal level, with various beliefs systems, so I'm sure she was able to convey the right sense of danger, uneasiness and tragedy necessary. As she said.... dancing the role she would be "getting signals"😎

 

[vipa]

34 minutes ago, cubanmiamiboy said:

Ballet Imperial, I have seen it with tutus at ABT, many years ago...but this badge of unsurpassed performances by Peck and Mearns will be next to impossible to top, so they will stay as THE ones.

So agree, cubanmiamiboy. I feel privileged to have seen both Mearns and Peck in Tschai Piano #2. Peck was amazong today technically, musically, artistically. She absolutely swept me away with her dancing. Joseph Gordon, who is always technically wonderful, partnered Peck with a lovely feeling of grace and elegance. The 2nd ballerina role was well done by Olivia McKinnon. It is a challenging role. and she conquered it, I just wish she looked more relaxed. Never-the-less, this was the first time I started to understand why she was promoted to soloist.

I enjoyed Apollo with Chen Wei Chan. To my eye, Adrian D-W gave a more complete, thought-out performance, with every phrase and step shaped and musical. Chen Wei Chan, had beautiful moments, but it didn't hand together as a whole concept. Because of those wonderful moments, and the beauty of his look and dancing, I can't wait to see where he takes it with more experience. Nadon is a wonderful Terpsichore. She amazes me in the way she can bring both drama and spontaneity to every role she takes on. Funny, she looked small standing next to Kikta and LaFreniere. I very much enjoyed LaFrienere's Caliope. Her variation had a freshness that was delightful. Kikta (one of my favorite dancers) had a struggle with the pique turn into arabesque step in her variation, but she didn't let it effect the rest of her performance.

I did not stay for La Sonnambula. I saw Allegra Kent in the theatre this afternoon and the other night. 

[cobweb]

I too bailed out of today's matinee before La Sonnambula. One thing I wanted to mention from last night's performance of Sonnambula was Cainan Weber in the Harlequin role -- fantastic. He has impressed in a number of virtuoso roles over the past few years and is ready for bigger opportunities. Also Rommie Tomasini was sparkling, and David Gabriel was elegant. 

Last night and today, I liked Olivia MacKinnon, in the soloist role of Ballet Imperial, more than I have liked her before. Buoyant and expansive. Her facial expression often looks tense and dour, and she can appear effortful. Still, it was good to see her looking better, and like @vipa said, this gave me the first sense of what they were seeing in her to promote her to soloist. 

Ballet Imperial was just so stunning. Tiler and Joseph Gordon of course, but also the corps de ballet seems to relish the challenge, and the piano playing was thunderously rich. Please please bring this back regularly!!

[eduardo]

Disclaimer # 1: I live in South America and I don’ t visit NYC very often, but whenever possible I try to attend a NYCBallet performance, especially if they are dancing Balanchine. Disclaimer # 2: I’m not knowledgeable about ballet. I just enjoy it (I guess, in a more simple way than most forum members, based on  what I read here).
That being said, I couldn’t agree more with @cubanmiamiboy about Peck and Gordon today. I think she was incredible, but I also think she didn’t seem to connect with him at all. This is one of those things I don’t notice by myself, but after reading what cubanmiamiboy said I thought he is absolutely right!

On the other hand, I was amazed by Apollo. I love that ballet and I’ve been lucky enough to see it several times here. To my eyes it never looked as fresh as this afternoon. Sometimes I felt like the performers were dancing an early twentieth century choreography, something venerable but old, like a painting from an old master. Sure I thought the dancers in those performances were giving their best, but I felt they were not “living” the ballet (sometimes I’ve felt similar with my all time fav: 4Ts). Today I had a cmpletely different feeling, like it was a brand new work, in particular with Chan and Nadon. I had tears in my eyes when the curtain came down.

Unfortunately, 4Ts Isn’t part of this All Balanchine season, but I consider myself lucky that I’ll hace the chance of attending programs IV and V next week😊 

 

[deanofdance]

A few thoughts from today’s matinee (this season of all Balanchine is an embarrassment of riches, but still - would have loved to have seen Union Jack, Chaconne or Duo Concertant included as well — but I’m being greedy…).

1) TPC2 — everything about this performance was sublime — cheers to Tiler, cheers to Joseph, cheers to the orchestra and the pianist, and cheers especially to the Corp — shoutout to the tall young men!  Bravo, bravo, bravo!

2] Apollo — this was the ballet performance of the season for me so far (and that is saying a lot)  — this performance expanded my understanding of dance and movement and partnering and performance.   Chan was a fine Apollo — but the the muses stole the show — how could they not, all three were Amazons — wonderful and majestic and enveloping more space than the newly born sun god  — so it was the first time that I saw this dance from the perspective of the muses — especially when Mira came out fully formed, dancing and moving as Terpsichore like no one had before.  How sinuous and sensual  were her moves — but what else does one expect from the muse of dance?  Before today I had concerns that Chan would be overwhelmed by his muses in a negative way, but in reality he was overwhelmed by the muses in a positive way — and the ballet Apollo began to make more sense to me.   So interesting to recall certain images — at times it seemed like Apollo with 3 wild horses that he was trying to control, and yet at any minute, they may break free… And Mira Nadon was free — to see her dance a new role is to see that role refreshed and reshaped and reimagined.  I expected great things from Mira in her debut as Terpsichore — but she exceeded expectations.  Her Terpsichore was alive and in the flesh — the other dancers on stage were play acting to be Apollo, Calliope and Polyhymnia.

 

 

 

 

 

Edited October 9, 2023 by deanofdance

[cubanmiamiboy]

A note of appreciation for Miriam Miller. Her lethal Siren towered over the Prodigal like I haven't seen in years. She's so tall!

[BalanchineFan]

 

Chan looks beautiful as Apollo. He’s just not at home in the role yet.  For one, he has trouble lowering his weight and getting down onto the floor.  There are two moments in the choreography when Apollo pirouettes and spirals down to his knees, sometimes sitting right afterwards. Chan seems physically unable. Once he even put his hand down. He had similar trouble in the Rodeo section of Copeland Dances. Taylor Stanley, who originated the role, would turn, drop to the floor and lie back with hands behind the head in one smooth, sigh-inducing moment. Chan clunked. It could be injury (knees, hips, back), lack of mobility, his long proportions or just a lack of experience. Certainly, “princes” don’t study how to get down to the floor in Vaganova training. I’m confident he’ll get it with time. It’s just not there yet. 

 

Another example is when Apollo tries his first turns. Most Apollos turn, flail off balance, regain their balance, and then end their turn in a classical fourth. Four separate impulses. Chan, instead, does a turn in a strange shape. One impulse. There was none of the change in dynamics that show the young god attempting something he has not yet mastered. 

 

Chan got a good reception. I enjoyed his performance more than my companion. I’m not sure most casual ballet goers would notice a difference. It was a good debut. He looks godly and makes the things he does look good. He is just not a master of Balanchine’s choreography and storytelling. 

 

The muses were spectacular, more familiar with the idiom. I have a few notes for them, as well, but Nadon, LaFreniere and Kikta were a delight. 

 

I don’t see any impediments to Kikta becoming a principal. If they don’t have roles or partners for her, they will need to create them… For all of our benefit. I hear there are some pretty good choreographers at NYCB. 

 

 

Edited October 12, 2023 by BalanchineFan
Pronouns

[BalanchineFan]

18 hours ago, matilda said:

She just posted on Instagram stories that she's on her way back to California, so yes that does sound like the reason. 

Tiler’s IG post doing tendus in her dad’s hospital room is so moving. I hope things go well. My own father died last year about this time, after a long illness. It’s a big deal. 

She was just stupendous onstage Sunday. 

[bellawood]

I have been reflecting on the discussion around the lack of connection between Tiler and Joe in PC2 and I have some thoughts:

1. Unlike other grand ballets, PC2 doesn't have a "real" PDD when they are on stage alone. I last saw this ballet in 2019 with Joe and Ashley Bouder (and her squeaky shoes). I had the same feeling then -- they are apart. At the time, I considered it an issue of Ashley's, since she has often felt separate on stage, even in her spectacular heyday. But PC2 is very much about the ballerina. She is in command. In other instances, as when TP & JG did Swan Lake together, I thought they had terrific rapport, and Joe has had great stage rapport with other partners (most notably Lauren Lovette).

2. Tiler's incredible stage presence and charisma. She's just mesmerizing -- you just watch her. I think you can forget to take in the whole since you get so focused on the one. 

She's scheduled to dance quite a bit next week and I wonder if she'll be able to return. Best wishes to her father. 

[MarzipanShepherdess]

Attended the Friday evening Apollo/La Sonambula/Ballet Imperial program and also the Sunday matinee one.

La Sonambula: Count me in the La Sonambula fan club. I get why it's a polarizing ballet: the choreography up through the sleepwalker scene is nothing particularly special, and the whole thing really stands or falls on the ability of the dancers to act  (which not all City Ballet dancers are great at). The two performances I saw exemplified this. Ashley Laracey was fantastic as the Coquette on Friday, imbuing every moment of her performance with dramatic nuance, whereas on Sunday Brittany Pollack was quite flat in the same role. There's a sequence at the very beginning when the Coquette has glimpsed the Poet but is facing away from him: Laracey made this a moment of intense deliberation, showing us how powerfully the Coquette is drawn to the Poet against her rational judgment, subtly shifting her left hand back towards him as though being compelled by a greater force. 

I thought Unity was fine as the Sleepwalker but Alexa outshone her. Alexa's bourrées were gorgeous, so tiny and fluid and powerfully conveying that this character is propelled by forces beyond her conscious control. Assume Alexa got to work with Allegra Kent on learning the role as well; to me she more so than Unity embodied what Unity spoke about in her NYT interview on working with Kent, that the sleepwalker is searching, not just wafting around. That searching makes the ballet more powerful, and more tragic, because of course whatever she is searching for she never really finds. I find the chain of unrequited loves so moving: the Baron loves the Coquette who loves the Poet who loves the Sleepwalker who loves someone or something we don't see. It's like an Isak Dinesen story from Winter Tales, an elegant yet deeply weird Gothic romantic tragedy. I love it.

Must add that yesterday Cainan Weber got as high in the air as I've ever seen anyone leap in his first split jump as the Jester. WOW. (Of course on Friday Danny Ulbricht delighted as he always does in that role. He is pitch-perfect with the comedy and the jumps and tumbles). Sara Adams also made an impression in the divertissement pas de deux.

Ballet Imperial: Incredible Tiler was able to articulate such a regal, polished performance given the strife she's going through with her father's illness. Joe Gordon was excellent, he has such a nobility to his epaulement and his control in rapidly shifting tempo was stunning. I do prefer Sara Mearns' freer, more emotive interpretation of the ballerina role. Her performance on Friday night will stay with me for a long time, particularly the little pause she took before rushing downstage to embrace the kneeling Tyler Angle in that deep penchée: she looked at him, flung her head back and came downstage with her back arched so that it was like her heart was pulling her towards her partner. And when she embraced him in the penchées she really clung to him, both palms open and pressed against his back. So moving. I love how she just goes for broke, like with those little side to side hops where she was taking them so fast and to such an extreme you weren't sure if she'd be able to stay on pointe but somehow of course she did. Echo those noting Olivia Mackinnon looked very fine on Sunday in the lead soloist role in Ballet Imperial: confident, clear. She made more of an impression on me than Kikta on Friday but maybe Friday all I could see was Sara.

Apollo: I enjoyed Friday's performance but Sunday's really woke me up and wowed me. On Friday I felt like the dancers enabled you to see what a brilliant ballet Apollo is; on Sunday I was admiring the richness those individual dancers brought to the great work. I felt like more so than Adrian on Friday, Chun showed the evolution of Apollo from searching young god to grand deity (Adrian was grand all throughout). And wow, what a muse cast on Sunday: Nadon, Kikta, Lafreniere! All stunning and all registered as powerful beings in their own right, with more of a dynamic of exchange with Apollo: on Sunday that trio showed us how Apollo endows the muses with power but their power also inspires him. Such an exciting cast.

[MarzipanShepherdess]

Also saw the Saturday night show of Concerto Barocco, Prodigal, and Symphony in C.

Prodigal: very glad Danny is still doing this role. His ability to completely convincingly convey boyish enthusiasm and bravura despite now being one of the most established, long-standing company members is magic. He gives the Son this very winning, almost goofy sweetness in the beginning, and of course you know what he's about to endure so it's got a little tragedy to it right from the start. In his final scene he gets very "small", it's a quiet performance without some of the drama others inject there but I think it works and you feel like the character is truly humbled in contrast to the initial buoyancy Danny depicts so vividly.

I found Miriam Miller to be quite flat as the Siren. I wanted more drama: icy and imperious like Maria Kowroski, maybe, or slinkily seductive like Tess Reichlen...this could be such a great role for Miller and perhaps she will inhabit it more fully in time. Chamblee was debuting as the father and he made him a bit more domineering and violent in how he forced the Son's head down than I've seen it done before. Striking.

Concerto Barocco: I think this is one of Unity's best current roles. I don't find either her or Emilie thrilling in this, but I enjoy them in it and I think they enable you to see what a stunning ballet it is. They do it justice.

Symphony in C : always a joy to see this and wow what a cast. Megan and Joe sparkled, and Emma and Roman were stupendous in their debuts. I really like them as a pair, they are both such powerhouses and have a similar energy and seem to bring out the best in each other. Sara and Indiana were both pushing through pain (Sara had a bruised ankle and Indiana had a big fall maybe 1/3 of the way through) but gave gorgeous, energetic performances. 

[abatt]

1 hour ago, MarzipanShepherdess said:

Attended the Friday evening Apollo/La Sonambula/Ballet Imperial program and also the Sunday matinee one.

La Sonambula: Count me in the La Sonambula fan club. I get why it's a polarizing ballet: the choreography up through the sleepwalker scene is nothing particularly special, and the whole thing really stands or falls on the ability of the dancers to act  (which not all City Ballet dancers are great at). The two performances I saw exemplified this. Ashley Laracey was fantastic as the Coquette on Friday, imbuing every moment of her performance with dramatic nuance, whereas on Sunday Brittany Pollack was quite flat in the same role. There's a sequence at the very beginning when the Coquette has glimpsed the Poet but is facing away from him: Laracey made this a moment of intense deliberation, showing us how powerfully the Coquette is drawn to the Poet against her rational judgment, subtly shifting her left hand back towards him as though being compelled by a greater force. 

 

Have to agree.  Pollack was instantly forgettable.  Her positions were never held or stretched.  She also is a poor actor.  Laracey in the same role was gorgeously poetic and did well with her acting.  Given that Brittany  has been removed from Western second movement , I'm getting the feeling that she  prefers to do more  softball roles at the moment.  The problem is the softball roles usually require lyricism and some acting, which are not her strong suits. 

Maxwell's debut in the lead was impressive.  However, Huxley is flat as the Poet.  He is a technical wizard, but this role requires something entirely different which he does not have.  I guess they needed a small guy for the poet so that Alexa could carry him.  I think Davide Riccardo could be interesting as a future Poet.  Hope he does well next week in Serenade.

Why hasn't Laracey been cast again in either Apollo or in Concerto B this fall?   

I very much enjoyed the all new cast in Apollo.  Return of the tall muses.  YEAH!!!  

Can't add anything more to the raves for Peck and Gordon in Tschai Piano.

Added- It took Finlay years to properly do that movement in Apollo where he has to spin down into a seated position.  Hopefully Chan will do better with that in the future.  The other major flub on the night I saw the new cast of Apollo was Kikta's difficult with those tricky spins in her solo.  

 

 

 

  

Edited October 9, 2023 by abatt

[abatt]

For those who were there on Sat evening, did Pollack and Schumacher do 4th movement of Symphony in C or were there changes.