2023-2024 Season

[vipa]

2 hours ago, California said:

 What is so important about that performance is that it has been so widely available, first on the bootleg tape for many years on YouTube and then on the release during the COVID lock-down by Lincoln Center. Most of us have never seen the other performances people mention. But the tape does give us a "baseline" for what's possible when we do see it in the theater. 

Great point California. It is wonderful that the performance has been so widely viewed, and is accessible to so many people.

[Marta]

  4 hours ago, California said:

 What is so important about that performance is that it has been so widely available, first on the bootleg tape for many years on YouTube and then on the release during the COVID lock-down by Lincoln Center. Most of us have never seen the other performances people mention. But the tape does give us a "baseline" for what's possible when we do see it in the theater. 

1 hour ago, vipa said:

Great point California. It is wonderful that the performance has been so widely viewed, and is accessible to so many people.

Agree!  Am I correct to say that T&V is not often done, period?  I seem to remember that 10 or so years ago ABT did it.  At the last minute. the male dancer dropped out and they got Veyette to dance it.  Also, I saw ABT do it last year with Teuscher and Joo Won Ahn.  She was pretty good but made little impression beyond the steps, while  he was stiff and looked effortful. 

 

[nanushka]

NYCB also released a video with Tiler Peck and Andrew Veyette during the pandemic. It was a 2015 performance, with a finale from 2016. (I think I recall hearing there'd been an injury during the original recording.)

For at least awhile now, other than that release and their performances this season, NYCB has I think only done the piece as part of the complete Suite No. 3. Does anyone know when's the last time they regularly performed it on its own? (Possibly not since the Suite premiered in 1970 — but I haven't been following the company long enough to know.)

Edited October 13, 2023 by nanushka

[California]

Interestingly, Colorado Ballet does T&V in rotation with their other Balanchine ballets -- Serenade, Concerto Barocco, and now Prodigal Son (last season) and Rubies (next spring). Normally, they do one Balanchine a year on the Masterworks program in the spring. It's been a while since they've done T&V and I'm not sure they currently have principals who could manage it. (All the Russian emigres have retired, alas!) 

[Roberta]

2 hours ago, nanushka said:

NYCB also released a video with Tiler Peck and Andrew Veyette during the pandemic. It was a 2015 performance, with a finale from 2016. (I think I recall hearing there'd been an injury during the original recording.)

For at least awhile now, other than that release and their performances this season, NYCB has I think only done the piece as part of the complete Suite No. 3. Does anyone know when's the last time they regularly performed it on its own? (Possibly not since the Suite premiered in 1970 — but I haven't been following the company long enough to know.)

 

The full Tchai Suite no. 3 was performed at the Kennedy Center-DC in March 2013, as part of an All-Tchaikovsky program. I'm assuming that it also was performed in NYC during that season. At the Kennedy Center I saw the following cast leads:

 

I. Elegie - Krohn/Catazaro

II. Valse Melancholique - A. Stafford/J. Peck

III. Scherzo - Scheller/Carmena

IV. Tema con Variazioni - Bouder/Garcia

[nysusan]

8 minutes ago, Roberta said:

 

The full Tchai Suite no. 3 was performed at the Kennedy Center-DC in March 2013, as part of an All-Tchaikovsky program. I'm assuming that it also was performed in NYC during that season. At the Kennedy Center I saw the following cast leads:

 

I. Elegie - Krohn/Catazaro

II. Valse Melancholique - A. Stafford/J. Peck

III. Scherzo - Scheller/Carmena

IV. Tema con Variazioni - Bouder/Garcia

They did it in NY a couple of years after that and they did T&V as a standalone more recently - maybe just a couple of years ago.

As an aside, although I saw ABT do that T&V with Veyette a few years ago I particularly remember ABT doing this 10-15 years ago with Ashley Tuttle & Angel Corella. Tuttle was awful and Corella was sublime.

[Quiggin]

18 hours ago, BalanchineFan said:

I was glad they included Orpheus. You need something darker between Concerto Barocco and the Bizet. It is a tricky ballet, and sure, the conventions may be dated, but less than the many classics where the corps play peasants standing in B+ as they show their wares at market. I love the Stravinsky music, I love Noguchi, and there's something about the story that always reels me in. Plus the ppd! I think the first time I saw Orpheus was on television, with Karin von Aroldingen as Eurydice. Her death was so quick it just killed me. I don't know how Orpheus can stand it. What range to choreograph that and Stars & Stripes, as just one example. The film mentioned NYCB challenging their audiences. It's true.

I agree. I saw Orpheus twenty or so years ago (with Wendy Whelan) and was a bit perplexed in that it didn't stylistically match up with Apollo and Agon with which it was often programmed, once as a "Greek Trilogy." But there was something so minimalist and unusual about the moving curtain, and the pas de deux is full of Balanchine invention. It is time-locked in art deco modernism, but Noguchi and Balanchine make it into a superior variety.

Just remembered the play about its making, "Nikolai and the Others" –

https://www.nytimes.com/2013/05/05/theater/nikolai-and-the-others-relates-the-making-of-orpheus.html

[BalanchineFan]

2 hours ago, Quiggin said:

Just remembered the play about its making, "Nikolai and the Others" –

https://www.nytimes.com/2013/05/05/theater/nikolai-and-the-others-relates-the-making-of-orpheus.html

Thank you Quiggin, and thank you Helene for the screen capture of the names in the NYCB 75 film!

I hadn't thought of the story of Orpheus in terms of the Russian emigrés and their connection to Imperial Russia, carrying it with them, but unable to look back. It adds depth and context to Orpheus. I had also forgotten that Balanchine commissioned this score from Stravinsky as well.

[Belka]

I remember seeing the entire Tchaikovsky Suite No. 3 at Kennedy Center in 2013 and was absolutely blown away by Ashley Bouder stunning performance of the Theme and Variations portion. I remember it well, because sometime soon-ish before (or possibly after, need to check my records) Michele Wiles performed it for ABT. I think that was my first "Theme" experience, and from what I recall she looked very labored and not comfortable.

In Feb of this year, The Washington Ballet performed a week of all-Balanchine programming, including T&V. I saw the cast with Maki Onuki, one of my favorite TWB dancers, and she did well (much better than Wiles)!

[Papagena]

38 minutes ago, Belka said:

I remember seeing the entire Tchaikovsky Suite No. 3 at Kennedy Center in 2013 and was absolutely blown away by Ashley Bouder stunning performance of the Theme and Variations portion. I remember it well, because sometime soon-ish before (or possibly after, need to check my records) Michele Wiles performed it for ABT. I think that was my first "Theme" experience, and from what I recall she looked very labored and not comfortable.

Come to think of it I've actually never seen an ABT dancer really nail female T&V lead. I'm always relieved with they just get through it with no obvious issues. Have they had a great interpreter in the past 20 years? 

Edited October 13, 2023 by Papagena

[ABT Fan]

10 minutes ago, Papagena said:

Come to think of it I've actually never seen an ABT dancer really nail female T&V lead. I'm always relieved with they just get through it with no obvious issues. Have they had a great interpreter in the past 20 years? 

Sarah Lane was great in this. But, her last performance of this at ABT was with Gorak, which was shy of a disaster. With Cornejo it was pretty magnificent.

[vipa]

3 hours ago, ABT Fan said:

Sarah Lane was great in this. But, her last performance of this at ABT was with Gorak, which was shy of a disaster. With Cornejo it was pretty magnificent.

I remember a performance of T&V Lane did with Cornejo when she was a young corps member. If memory serves, it was good and quite refreshing. I also remember the later one with Gorak. It was, as ABT Fan said, shy of a disaster.

Edited October 14, 2023 by vipa

[Helene]

The only stagings listed in the Balanchine Catalogue for Tchaikovsky Suite No. 3 are:

2005   Ballet de San Juan
2012   Ballets de San Juan

Whereas the only T&V's I can see on my browser go through 1986, since there is no scroll bar:

https://balanchine.org/see-also/cat-369/

(This is one of the worst websites I've ever used in the modern era; it's predecessor was actually functional.)

I never liked it much and even preferred it when NYCB did the pas de deux through the ending of T&V.  Darci Kistler did it in the 1993 Balanchine Celebration, and I saw Lourdes Lopez dance it in what I think was one of the Dancers Emergency Fund programs.  (PNB did a gala performance in which Carrie Imler danced the variations, and Patricia Barker danced the pas de deux through the ending.)

[bellawood]

Saw the program tonight. Mira and Isabella made a wonderful pair. They really carved those shapes. The deep 4th, the épaulement were all there. I think 2nd violin is LaFreniere at her best. She absolutely shines. Bolden was terrific in his debut and he and Mira are well partnered. She was beautiful, expansive and mysterious. Her extension in those “scissor” lifts at the end were so beautiful. He also made the series of quick lifts towards look effortless. She bounded into his arms.

Symphony iN C — Tiler danced with Chun and they were so musical and easy together. You expect it of her but he has really grown into the Balanchine style. The steps felt natural and perfect. This is the second time I’ve seen Phelan/Knight (the first time was their debut) and they were more secure, She is working her way into the role, though she constantly has trouble turning in the 4th movement. Cainan Weber danced in place of Sebastian V-V in the third movement and amplified the jumps well, but I wish he had done a little more with his final series. Jones was fine but not a standout. Peter Walker was a nice surprise in the 4th movement; if he can build his stamina I think he might grow. Emilie Gerrity was underwhelming. It’s an unfortunate comparison for her to dance 4th movement and then have Tiler run on for the 1st movement reprise. It’s just not the same level of dancer. But I also feel 4th movement is not a natural role for her?

[matilda]

29 minutes ago, bellawood said:

Symphony iN C — Tiler danced with Chun and they were so musical and easy together. You expect it of her but he has really grown into the Balanchine style. The steps felt natural and perfect. 

I was thinking the exact same thing ! He's developing more of that Balanchine crispness I associate with great NYCB danseurs like Joe Gordon. I also agree with the above praise for Peter Walker; I think he may have one of the best sissones in the company and this was a good role for him. I know Tiler has been going through a lot in her personal life and I was grateful to see her dance tonight. 

Sara sizzled as the siren in Prodigal. Anthony wasn't quite as impactful as Daniel Ulbricht in this role but I did enjoy his more elegant approach to the beginning solo. 

Mira and Isabella were so perfectly matched in Concerto Barocco. Mira's arabesque is truly breathtaking. I like how the company is pairing together women of the same height and physique (like Unity and Emilie in the other cast)... it's hard to remember how this looked with Teresa Reichlen and Abi Stafford dancing side by side. 

[cobweb]

1 hour ago, matilda said:

I also agree with the above praise for Peter Walker; I think he may have one of the best sissones in the company and this was a good role for him.

So agree with this; I was impressed with Walker's sissone from right when he came into the company!! I was there tonight, enjoyed a lot. This is probably my last performance for the season, unless there is some major debut in the next two days (and of course, if anyone hears of such, please post or PM me!). I was so happy Cainan Weber got a big debut tonight in the 3rd movement of Symphony in C and thought he did very well. Will try to compose some more thoughts on the season. So many great principals, and a lot of promise in the corps. Gilbert Bolden is my big new love of the season!!

[BalanchineFan]

5 hours ago, Papagena said:

Come to think of it I've actually never seen an ABT dancer really nail female T&V lead. I'm always relieved with they just get through it with no obvious issues. Have they had a great interpreter in the past 20 years? 

In the past 20 years ABT has had more and more JKO trained dancers. They used to have a lot of dancers from SAB. Maybe that’s what you’re seeing. 

[BalanchineFan]

8 hours ago, matilda said:

I like how the company is pairing together women of the same height and physique (like Unity and Emilie in the other cast)... it's hard to remember how this looked with Teresa Reichlen and Abi Stafford dancing side by side. 

I like this approach as well. I remember enjoying the Reichlen/Mearns pairing because their styles contrasted but there were also great similarities. And having some trouble with the Kowrowski/Stafford pairing because they were visually so dissimilar. 

I’m really looking forward to seeing Gilbert Bolden III in CB. In fact, if I had an armchair I would name it Gilbert Bolden III and throw myself into it 😍. (this is a Suzanne Farrell reference, IYKYK)

[abatt]

11 hours ago, bellawood said:

Saw the program tonight. Mira and Isabella made a wonderful pair. They really carved those shapes. The deep 4th, the épaulement were all there. I think 2nd violin is LaFreniere at her best. She absolutely shines. Bolden was terrific in his debut and he and Mira are well partnered. She was beautiful, expansive and mysterious. Her extension in those “scissor” lifts at the end were so beautiful. He also made the series of quick lifts towards look effortless. She bounded into his arms.

Symphony iN C — Tiler danced with Chun and they were so musical and easy together. You expect it of her but he has really grown into the Balanchine style. The steps felt natural and perfect. This is the second time I’ve seen Phelan/Knight (the first time was their debut) and they were more secure, She is working her way into the role, though she constantly has trouble turning in the 4th movement. Cainan Weber danced in place of Sebastian V-V in the third movement and amplified the jumps well, but I wish he had done a little more with his final series. Jones was fine but not a standout. Peter Walker was a nice surprise in the 4th movement; if he can build his stamina I think he might grow. Emilie Gerrity was underwhelming. It’s an unfortunate comparison for her to dance 4th movement and then have Tiler run on for the 1st movement reprise. It’s just not the same level of dancer. But I also feel 4th movement is not a natural role for her?

I loved the Concerto  B.  All three leads were wonderful.   Nadon is a wonder and LaFreniere is terrific in this ballet.  Promote Bolden now.  

I was disappointed in Huxley's performance.   It was fine, but he doesn't have enough skill as an actor to bring much depth to this role.  Mearns was terrific.  There were many newbies in the audience because last night was young patron night.  I could hear gasps when Huxley stuck his head under Mearns' crotch and lifted her.  

Yes, Phelan still has trouble with the turning in this role.  Same as when she debuted it two years ago.  Additionally, she cut short a portion of the pas when she has to rotate on pointe numerous times, left to right over and over again, on the same foot in arabesque position.  Mearns did the full number of these rotations, filling out the music.  Phelan cut it short at about 3 or 4 and then remained in arabesque to kill time  during the remaining music.  This was clearly planned out with Knight.  I'm not a fan of dumbed down approaches to choreography.  Disappointing that diminishing standards seem to be creeping in at the company.

 

On a positive note, I was pleasantly surprised by Walker in the 4th movement.  And Peck/Chan were wonderful in the first movement. 

 

It was a great fall season overall. 

 

Edited October 14, 2023 by abatt

[bellawood]

14 minutes ago, abatt said:

was disappointed in Huxley's performance.   It was fine, but he doesn't have enough skill as an actor to bring much depth to this role.

Yes, between Prodigal and the poet in La Sonnambula there was a lot of acting this season for Huxley. He is at his best in interior roles like Melancholic, I think. 

[Royal Blue]

11 hours ago, matilda said:

I know Tiler has been going through a lot in her personal life and I was grateful to see her dance tonight. 

 

I only know what is posted here by others, and I am similarly grateful for her performance last evening. She was brilliant in Symphony in C, as she was last Sunday in Tschaikovsky Piano Concerto No. 2. All the ballets performed by New York City Ballet this week are made more affecting and meaningful by the awareness of the difficult moments she and her family are currently going through. Theme and Variations is a work I strongly associate with Tiler Peck.

[Belka]

10 hours ago, cobweb said:

I was so happy Cainan Weber got a big debut tonight in the 3rd movement of Symphony in C and thought he did very well.

Hooray! He caught my eye immediately on the onstage class in late September, and again as a policeman in the Sep 30 evening performance of Slaughter on Tenth Ave. Also on that night, India Bradley did triple overtime as a featured dancer in Bouree Fantasque AND Agon, and then returned to stage as one of the Ladies of the Ballet in Slaughter. (She, Sara Adams and Taylor Stanley were great in Agon pas de trois).

Is it unusual for a dancer to dance all of the pieces in a mixed bill? She looked to be having the time of her life in Slaughter, at the end of a long evening (or so I imagine).

[cobweb]

5 hours ago, BalanchineFan said:

In fact, if I had an armchair I would name it Gilbert Bolden III and throw myself into it 😍. (this is a Suzanne Farrell reference, IYKYK)

I don't know this reference, BalanchineFan, but I endorse the sentiment!

[volcanohunter]

Suzanne Farrell on her childhood "armchair":

 

[Helene]

They couldn't have played the music from Diamonds, could they?  (Grrrrrrrrr.)

She also wrote about this in her memoir.