2023-2024 Season

[choriamb]

19 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? 

I thought that Semionova made the adage section references to The Sleeping Beauty's vision scene sing. I never had an opportunity to see Murphy in the role, but I'll bet she was equally good or better.

Edited October 14, 2023 by choriamb

[volcanohunter]

1 hour ago, choriamb said:

I never had an opportunity to see Murphy in the role, but I'll bet she was equally good or better.

I never saw Semionova in the ballet, but I remember a very fine performance with Murphy and Maxim Beloserkovsky at City Center 23 years ago. In particular he did really beautiful things with his croisés and épaulement in his first solo. That's what has stayed with me most vividly. But I also remember her allegro being very clear.

The ballet looked cramped on that stage. By 2000 dancers were a lot taller than they had been in 1947.

[deanofdance]

A few thoughts on last evening’s performance.  Bounty!  What delight to see this season’s ballets — and with crowds — in the fourth ring!  And last night’s performance seemed to be to one where I enjoyed ALL three different ballets and all three were danced very well.  Last night it was young patrons night — with a lively crowd of youngsters dressed up — and I hope more than a few of them come back after seeing the music and hearing the dance!

1) Concerto Barocco — so many wonderful surprises here!  First, Bolden appeared transformed — suddenly on stage was a danseur noble with his regal ballerina — and while it wasn’t perfect, he and Mira danced like a dream (they are tied with Russell and Sara for the best pairing this season so far).   Did we say he should be promoted to soloist?   Now, I’m thinking principal.  Second, Isabella was wonderful as well, finally not her usual cautious self — letting go and enjoying everything about CB (though I wish her smile didn’t seem so pasted on, but that’s just me).  And lastly, there is Mira — who now appears to be lapping her fellow female ballerinas in artistry and imagination.  CB has always been a favorite of mine (it was my gateway Balanchine ballet where I actually did see the music, actually did hear the dance — and have been hooked ever since) — and to see Mira stretch, contour and curl her body and her lines to this beautiful music, to actually make her moves and poses into metaphors of emotion to Bach (Clotilde got the orchestra to play Bach with more solemnity than Litton), she’s capable of going places other dancers cannot.  Her body’s energy and movement have a unique relationship with music and space - not only she is wonderfully musical, but her energy and talent makes her capable of details that allows the music to resonate into the physical.  I’m trying to describe something about the experience of watching her dance last night — but I could also just say her dancing made me happy!

2] Prodigal Son - I found Huxley’s interpretation the most realistic I’ve seen so far — since he doesn’t overact, ham it up, or play to the audience — so it doesn’t seem like he’s play acting in a biblical parable.  And Sara’s siren — while of course, very alpha female, had a realistic quality as well, a seductress still, but not one dimensional.   And this made PS more palatable for me, enjoyable even.

3)the Bizet!   Chan was impressive, he is the first male dancer I’ve seen who did not appear stressed by the speed of the music in the first movement — he actually appeared relaxed and danced with time to spare.  And Tiler danced like when she was first made principal — free and secure and faster than anyone — she made me happy as well!  First movement of the Bizet for Chan and Tiler - easy, peasy, lemon squeezy!  I was glad to see Emily in the 4th movement — as I recall when she was a soloist (I know, not that long ago) that she was capable of dancing with speed and power — so it was good to see her move with a bit of fire in her.

 

Edited October 14, 2023 by deanofdance

[cobweb]

Just a few more thoughts on recent performances as I gather my thoughts. 

Last night Concerto Barocco -- Nadon, LaFreniere, and Bolden all brought a wonderful freshness and largeness to this. This is a bold, beautiful cast in every way. Bolden looked wonderful in his debut. It would be insane not to promote him right now. He is on a track straight to principal. Thinking about his evolution since he joined the company, he first impressed as a big guy (somewhat too big) and don't I recall something where he was wearing excessive makeup in a couple of performances? He always was noticeable, but not always in the best way. This season it's as if (just speculating on what I see from the audience) he got himself together and got singularly focused on becoming the best dancer he can be. I believe he's slimmed down somewhat. And added elegance, polish, and attention to every detail. My partner asked me, "Where has this guy been?" All I could say is, "He's been young." Now he's coming into his own. 

Symphony in C. This was also wonderful. Tiler Peck was absolutely brilliant. I'm not sure I've ever seen her look better. Chan was dazzling, beautiful and totally at ease. It was thrilling. In the second movement, Phelan and Knight did not cast the same sublime spell as Mearns and Tyler Angle. Knight did not appear totally at ease or regal. It was fine, but not moving. In the third movement we had Baily Jones and Cainan Weber, in for Sebastian Villarini-Velez. I thought it was a debut for Weber, but looking at the casting sheet it's not marked as such, so I don't know. Anyway, I was glad to see him get a bigger opportunity, he is a very appealing dancer and I thought he looked good. As noted above, Peter Walker was a surprising dazzler in the 4th movement, with a sissone so large it was hard to take in! 

A few comments on the corps. In the first movement the demisoloists were Davide Riccardo and McKenzie Bernardino Soares. This made me realize that we haven't seen Aaron Sanz or Daniel Applebaum (who did these roles recently) all season. Very unfortunate. Sanz has a had a lot of injuries, stalling his career significantly. I love his elegant, very refined dancing. Riccardo is a favorite on this board, but I had not seen Soares in a featured role before. He didn't look totally at ease, but he is tall and has an elegant line and I look forward to seeing more of him. In the corps of the first movement, Lauren Collett was a beautiful standout, so polished and committed. More please. 

I was noticing the beauty of the patterns in the 2nd movement of Symphony in C. Being less frenetic than the other movements, and having slightly fewer corps on stage, you can really see the shifting patterns as Balanchine moves them around. He sets up striking, crystal clear tableaux again and again. You see a shape, then it dissolves and suddenly a new shape is formed before you even realize how the dancers got there. Just watching that is worth the price of admission!

[cobweb]

On 10/12/2023 at 5:58 PM, deanofdance said:

Unity seemed more utilitarian — as if much of the luster of her promise has dimmed.  Yes, she is in all these great roles, the greatest roles of the repertory really, and I was trying to find something special and noteworthy in her dancing

Hello, deanofdance. You are a new voice here, but I for one greatly appreciate your vibrant and enthusiastic contributions. About Unity Phelan, I have wondered about the apparent dimming of her promise and luster. We all loved her when she was on the way up. Now many find her, to quote a friend of mine, "bland and boring in the extreme." My guess (and hope) is just that she's spread too thin right now. She has debuted I don't know, like 10 (more?) major, major roles over the past couple of seasons. It's too much. They should have spread some of these debuts around - for example, Ashley Laracey could have very ably taken on Sonnambula and Rosenkavalier while Unity focused on other roles. Hopefully with time she can develop all of these roles more deeply. 

[fondoffouettes]

This afternoon’s Serenade was quite strong. Phelan and Danchig-Waring looked great together. Phelan danced beautifully but lacked that undefinable special something that takes a performance to the next level. I was pleasantly surprised with Pereira. Her leaps were underwhelming but she otherwise danced very well and more expansively than I’ve seen in the past. Grant did a great job with all the partnering, though the part where he rotated Gerrity using her leg was pretty shaky. 
 

I never want to see Orpheus again. I don’t have much to say, but I think Danchig-Waring did as much as is possible with the role. 
 

Theme and Variations was a thrill. Peck was brilliant in her solos (if slightly less so than usual, understandably), but was her wonderful, musical self throughout the entire piece. A highlight for me was the adagio. She and Gordon were gorgeous in that section. If their rehearsal time was limited, you’d never know — the partnering was fantastic. Gordon was very good in his solos. He only did six tour/pirouette combos. The music was played so quickly in that section that luckily it didn’t really feel like he was killing time. LeCrone stood out in a bad way among the demi-soloist women. Her extensions were super low and she seemed to be having trouble getting her leg up into a decent arabesque. She had her characteristic scowl plastered on her face the entire time, even during the curtain calls when everyone else looked pleasant and happy. She looked like she’d rather be doing anything else than dancing that piece. 

Edited October 14, 2023 by fondoffouettes

[matilda]

I think Unity is best suited to neoclassical and contemporary ballets. She doesn't (at least yet) have the gravitas to make something like Symphony in C second movement really magical. She looked beautiful; the choreography is beautiful. But I wasn't moved. Isabella LaFreniere and Mira Nadon could be great here. 

[fondoffouettes]

3 minutes ago, matilda said:

I think Unity is best suited to neoclassical and contemporary ballets. She doesn't (at least yet) have the gravitas to make something like Symphony in C second movement really magical. She looked beautiful; the choreography is beautiful. But I wasn't moved. Isabella LaFreniere and Mira Nadon could be great here. 

I think management believes she can be the successor to Kowroski, Reichlen, and eventually Mearns, but she’s nowhere near their level of artistry. I agree she’s best in neoclassical works.  

Edited October 14, 2023 by fondoffouettes

[vipa]

28 minutes ago, fondoffouettes said:

 I was pleasantly surprised with Pereira. Her leaps were underwhelming but she otherwise dance very well and more expansively than I’ve seen in the past.
 

 

Glad to hear you mention Pereira @fondoffouettes. I thought the same thing when I saw her in the role Thursday evening. Her dancing was sweeping, musical and joyful. I believe she's been a soloist for 14 years, and seems to have been stuck in every way for a long time.  Her casting is quite limited. She performs so infrequently, I sometimes wondered why she was still in the company. It would be wonderful, if this bigger, fresher dancing continued and grew and she had a blossoming of sorts.

[nanushka]

I agree that Pereira did quite well as the Russian Girl this afternoon, with the exception of her jumps. Especially those immediately after she's been lying on the floor — one of my many favorite moments in the piece — were quite underwhelming. Her legs barely seemed to scissor apart. I also wish that she hadn't been matched with a quartet of such comparably tall dancers. The lovely parts during the slow opening of the 3rd movement weren't as visually impactful with Pereira as the shorty in the center. But she was very good in all her solo parts. Not what I've seen (or heard about — both here and in numerous Gia Kourlas reviews) in other roles in the past several years.

I wasn't particularly looking forward to seeing Phelan in this either, but here too I was pleasantly surprised. I didn't feel the emotional journey with her that I have with some others in the role, but I liked her quite a lot.

Danchig-Waring looked great in Serenade both in solo moments and in his partnering. And I too thought Grant did quite a good job — though yes, the turning arabesque was not at all smooth, and the impact was lost.

I'm always a bit disappointed to see Andrew Litton take the stand. Things are always just a little off with him, I find. Today, the first movement of Serenade was too slow, as was the triple-meter portion of the T&V pas de deux.

I've never seen Orpheus before; I'm glad to have seen it once, as a historical curiosity. I hope to avoid it completely in the future. Unlike so many of the Stravinsky scores, the music (while it has some moments that are interesting to listen to) does not seem at all suitable to Balanchine dancing — and as a result, I think, Balanchine seems to have choreographed one of his least Balanchinesque works to the score. Dull dull dull. At least the sets and costumes were interesting to see.

Today's was one of the most satisfying performances of Theme and Variations that I've seen live. Not a perfect performance, and I think Peck has probably performed the solos even better in the past (probably in the 2015 performance with Veyette that was taped, though I'll need to rewatch), but she was really lovely and crisp and musical throughout, with some definite wow moments. She always looks like she's just loving it, and that's infectious. And while last weekend I thought her playing with rubato was a tiny bit overdone at a few moments in Ballet Imperial (which isn't, say, Tchaikovsky PDD, after all), that wasn't the case here.

Gordon is such a beautiful dancer. I was noticing his amazingly sculpted calves this afternoon. His jumps simply float. Boo on cutting the double tour/pirouettes from eight to six, though. Not enough impact. Very disappointing that that's how it was done in all performances.

I agree about Megan LeCrone, too. She was the weak link in the demi-soloist quartet; Olivia Boisson was the strong link, I thought.

6 hours ago, cobweb said:

Bolden looked wonderful in his debut. It would be insane not to promote him right now. He is on a track straight to principal. Thinking about his evolution since he joined the company, he first impressed as a big guy (somewhat too big) and don't I recall something where he was wearing excessive makeup in a couple of performances? He always was noticeable, but not always in the best way. This season it's as if (just speculating on what I see from the audience) he got himself together and got singularly focused on becoming the best dancer he can be. I believe he's slimmed down somewhat. And added elegance, polish, and attention to every detail. My partner asked me, "Where has this guy been?" All I could say is, "He's been young." Now he's coming into his own.

I agree with this assessment of the change. Previously, I've never understood the praise I've heard lavished on him. Though tall and with definite stage presence, he always struck me as too bulky and too made-up. (Yes, there was definitely a season or two when the makeup was extreme.) But now I'm finally starting to see a bit of what others see. He's definitely slimmed down, and he’s toned down the camp. I have yet to see him in a really significant role, though. But he looked good in T&V.

Edited October 15, 2023 by nanushka

[Kathleen O'Connell]

6 hours ago, Belka said:

Is it unusual for a dancer to dance all of the pieces in a mixed bill?

Not at all. I've seen any number of performances where someone in the corps dances in every piece on the program.

[Kathleen O'Connell]

2 hours ago, deanofdance said:

though I wish her smile didn’t seem so pasted on, but that’s just me

Oh, it's not just you. I think she maybe overthinking her "performance face."

[nanushka]

1 hour ago, Kathleen O'Connell said:

Oh, it's not just you. I think she maybe overthinking her "performance face."

As a child, I had quite an overbite, and until it got fully corrected with four years of braces and a later (semi-related) jaw surgery, holding my lips closed was not a particularly comfortable facial expression, as it took a bit of effort. Looking at LaFreniere when her lips are closed, I get the sense that it's not comfortable for her either (as it appears she too has an overbite or something similar).

My personal suspicion is that that's a factor in her (IMO) excessive smiling. Not smiling at all might take more effort, and it's probably something she's had to work on. (I think it's gotten better over the past few years; when I saw her in Apollo recently, I didn't notice too much excessive smiling.) 

Edited October 15, 2023 by nanushka

[matilda]

I think tonight's Serenade was my favorite performance I've seen of this ballet. Mearns, Woodward, and Miller were perfection. This is definitely one of Miller's best roles. She danced gracefully and expansively with an endless arabesque, and the supported spin with Riccardo looked super clean. My only complaint was that Stanley and Danchig-Waring should have switched casts. Stanley is too short for Mearns but would be fine with Phelan. 

I don't recall seeing Orpheus before tonight. As others have noted, it's an interesting piece of ballet history but doesn't need repeat viewings. I liked it because it reminded me of surrealist art and cinematic dream (nightmare?) sequences from the 1920s-50s. Ashley Laracey was a perfect Eurydice; this was a great role to show off her lines. I love Joseph Gordon and was wishing he had more to do. 

T&V wasn't the cleanest performance overall but Fairchild's second solo (with the traveling pirouettes and pas de chats) was fantastic. Huxley's double tours/pirouettes weren't a knockout success but he didn't lose control. Why is Megan LeCrone dancing this? She was consistently ahead of the other demis and looked sluggish. I think we're due for a new lead ballerina (obviously, Woodward or Emma Von Enck) and at least one new demi for the next run of this. 

All three ballets got three curtains calls -- even Orpheus!

[deanofdance]

First — Thank you Cobweb for your kind words of welcome!

A few thoughts on last night’s performance.  Overall, every ballet was much better than on Tuesday night — it seemed everything and everyone came together.

1)Serenade - My eye kept going to corps dancer Savannah Durham — who vibrated with a wonderful presence — she is ripe for an opportunity.  I recall 2 nights ago in the 3rd movement of the Bizet — she danced with Ava Sautter and Naomi Corti — and I thought those 3 tall girls are brimming with excess in these corps roles.  And after Bolden’s eye popping debut in CB earlier that evening — thought wouldn’t it be great if NYCB had a night just of corps dancers in every role — and an Apollo cast with Bolden and these 3 - Ava, Savannah and Naomi?  Just a thought amongst a few…
2) Orpheus - watching Ashley Laracey dance this season in Emeralds and Orpheus — I get a sense that she made peace with not being promoted to principal and decided to dance for herself and for her love of ballet — and the affect is that her dancing has become more nuanced and notable, and in a way, refreshed. She was always a dependably lovely dancer — but now her dancing has a sweet (bittersweet?) perfume…

4) T&V — I think this ballet has gone up a couple of notches on my list of favorite Balanchine ballets  —the joy I got from seeing T & V performed last night —  who needs drugs?

And today is the last performance of this wondrous season — this has been, hands down, my favorite NYCB season (and I’ve been coming to NYCB for over 25 years).   

 

 

[Papagena]

53 minutes ago, deanofdance said:

2) Orpheus - watching Ashley Laracey dance this season in Emeralds and Orpheus — I get a sense that she made peace with not being promoted to principal and decided to dance for herself and for her love of ballet — and the affect is that her dancing has become more nuanced and notable, and in a way, refreshed. She was always a dependably lovely dancer — but now her dancing has a sweet (bittersweet?) perfume…

Agree wholeheartedly. Her épaulement might now be my favorite in the company. Even newer ballet fans I brought this season have mentioned how captivating they found her. Orpheus isn't much of a dancer showcase (at least not in comparison to most other pieces this season) but she turned it into one!  

[MRR]

Also attended last night's mix rep. Decided to come into NY to catch the last of NYCB and beginning of ABT, and this is my first time seeing NYCB since the 2017 Jewels festival.

Sara Mearns is arguably cast against type as Waltz Girl relative to Dark Angel. Though I found her allegro brittle in a couple of places (the section with the consecutive pirouettes comes to mind), she imbued the role with great sensitivity and drama. Her "late for class" moment was riveting; as was the acceptance of her fate when she is lifted into the uncertain beyond. Her extension is still high and grand in arabesque penchee if less so in a la seconde.

Indiana Woodward was lush and buoyant in Russian. Each series of jumps and turns floated into the next, and what a jump she has! Miriam Miller was elegant with the longest arms imaginable but otherwise not that memorable. The double arabesque promenade had no issues (apparently a problem earlier in the week?) but ended in a fairly skewed, a la sebesque position.  Taylor Stanley seemed fairly earthbound and too short for Mearns in the waltz.

Can't add a lot about Orpheus. The score is not one to remember or review over and over and neither is the ballet. Not a place to see anyone dance up a storm, Joseph Gordon in the title-role does a lot of walking and being led around the stage. From my first time seeing him in anything, he looks strong, boyish, and nimble, capable of good dancing in a variety of ballets. Ashley Laracey was committed and sinuous as Eurydice and Emily Kikta made something of the brief but dynamic Bacchante section.

T&V ended mostly a success. Robbie was in the front row to cheer his sister to rapturous applause from the first solo. Megan is not a star, but a veteran, leading her company to an accomplished and worthy performance. The first solo got squirrely on the opening soutenu pirouettes but ended with relatively good entrechat six and controlled pirouette to the knee. The second solo was excellent, and from there her confidence only grew, glowing in the finale.

At this stage of her career the extension and arabesque, never her strength, is diminished with her penchee not getting past 150 degrees, bent and off to the side, with shoulders frequently up to her neck. Despite this, her clarity of the steps was consistently shown, and while not my favorite ballerina, she assumed the authority of the virtuoso role with a certain calm and elan.

Anthony Huxley had great success in the opening solo with a diamond plie, strong six, and good line. The multiple pirouette section stayed mostly centered with triples and a quad thrown in. The second solo which is an easier version than ABT's had double tours gradually dipping to the side as he "popped" the last one to a single. Partnering was a bit jittery, frequently catching Fairchild's tutu as she improvised the part with the swinging battements. The fouette catches were also a touch awkward and the final shoulder sit barely held. The promise he showed early in the ballet will hopefully develop into the latter parts.

Megan LeCrone was stiff and unexpressive relative to her demi counterparts, almost like she were marking. Hope she's OK. The whole company had a rousing finale, one of my favorites in all of classical ballet.

[abatt]

If I had to sum up the fall season, I would say that the standouts were Emma V.E., who was spectacular in every new role she was given, and Nadon.  But I think we all already knew that Nadon  is a special talent.  I have also been very impressed with Kikta.

With respect to the men, please promote Bolden and Riccardo ASAP.

In my opinion, Phelan has not made much progress as a principal.  She has plenty of great roles, but doesn't make much of an impression in any of them.  She improved a lot in Agon, but her take is still too polite and lacking in sharpness.

 

 

[matilda]

3 hours ago, abatt said:

With respect to the men, please promote Bolden and Riccardo ASAP.

Bolden and Riccardo were indeed promoted this afternoon, according to lots of dancers' social media 

[ABT Fan]

14 minutes ago, matilda said:

Bolden and Riccardo were indeed promoted this afternoon, according to lots of dancers' social media 

Bolden has an IG story showing them celebrating and has already updated his profile to soloist. Congrats to them both! 
 

https://instagram.com/dancerdude56?igshid=MzRlODBiNWFlZA==

[Balanchinomane]

Great news, so well deserved. We heard yelling and applause from behind the curtain as we filed out. Bravo for the Fall for Balanchine Season!

[nanushka]

It seems like it's been a really successful season overall. It's very impressive how strong the company is looking now, after all the turbulence of recent years (covid, Martins, etc.).

[Fernie M]

Fantastic! So well deserved for these two and HUGE congratulations!

[FPF]

Congratulations to both of them!

 

[meunier fan]

I thought Bolden danced like a principal this afternoon - so MORE than deserves his promotion.  Well done him.  Well done them both.  Had thought Nadon moved from good to potentially great with her debut in SVC.  This afternoon I thought she may well be up there in the legendary league.  It seemed - at least for me somehow - a spiritual awakening.  What an extraordinary and rightly festive season it has been.  To see the Fourth Ring open so often and so much filled is life enhancing.  The future - so strained elsewhere - looks oh, so very bright here.  Rightly so.