cobweb Posted January 26 Share Posted January 26 I see Mejia is still listed for tonight. The casting sheet was updated just yesterday (showing him being replaced by Taylor Stanley last night), so I guess that means he's still expecting to go on tonight. Wish I knew for sure. I'm tempted to go again tonight (possibly skipping Fancy Free), just to see Peck, Mejia, and Takahashi in Fall. Link to comment
abatt Posted January 26 Author Share Posted January 26 I hope Mejia is coming back tonight, but I don't necessarily trust the casting sheet in the lobby. Link to comment
Papagena Posted January 26 Share Posted January 26 (edited) On 1/25/2024 at 11:26 AM, BalanchineFan said: Third week casting is up. Tiler Peck is alternating with Megan Fairchild in Ballo. Lots of debuts in the soloist roles. Also, there's only one cast for Liebslieder. I wonder if they'll stay with that for all four performances. https://res.cloudinary.com/new-york-city-ballet/image/upload/v1706053481/NYCB_Casting_February_6-11_2024_lobby.pdf I love the idea of one cast - this is one of my top 3 favorite Balanchine ballets and I always go for the second or third performances so the dancers have time to settle into it. Surprised Bouder is not featured here (although I wouldn't want to swap out any of the women listed - I'm so excited about this cast). I do wish Joseph Gordon were in this run, although I think he and Angel both usually play the same role (the man who shields his face). Edited January 26 by Papagena Link to comment
matilda Posted January 26 Share Posted January 26 (edited) I think it's likely there will be a second Liebeslieder cast for those weekend performances during week 4, and it will include Mearns and Gordon. Some time ago, Woodward posted a photo or video of herself learning or rehearsing one of the other roles, so I would expect her to be cast too. Also, Laracey danced the ballet the last run. That would leave one ballerina spot for Bouder... IF she's dancing. Also worth pointing out that Furlan currently has an Instagram story up from yesterday, showing all four couples from the first cast rehearsing but with Chamblee dancing in place of Mejia. Edited January 26 by matilda Link to comment
cobweb Posted January 26 Share Posted January 26 I would like to see a second cast of Liebeslieder with Mearns and Laracey. Since this is a role Mearns does, I'm guessing that means there will be a second cast. Also, I can totally see Preston Chamblee in this (more than I can see him as his other upcoming debut, Sanguinic). His restrained elegance would be perfect here. Link to comment
abatt Posted January 26 Author Share Posted January 26 Per the lobby casting sheet veyette replaces Mejia tonight. Bummer Link to comment
cobweb Posted January 27 Share Posted January 27 Any reports on the Wheeldon-Martins-Peck program from Thursday night? I would also like to hear reports from today's programs. I'm hoping that Olivia MacKinnon repeats her delightful, buoyant performance in Spring. Link to comment
BalanchineFan Posted January 28 Share Posted January 28 (edited) Olivia MacKinnon was great. Flirtatious, bouyant, expansive, daring at times. She filled the stage. Roman Mejia, Aaron Sanz, David Gabriel and Jovani Furlan were "out due to illness or injury." The other highlights for me were Joseph Gordon and Indiana Woodward in In the Night. So smooth and effortless. She just glided along the floor in all the lifts. Really swoony. He is just a masterful partner. Tiler Peck and Gilbert Bolden III as the passionate (YES! NO!) couple. It's like the choreography is saying "I love you! I can't stand you!" all the time. They were very dynamic and all the spectacular lifts were amazing. They made a bit of noise on one lift where she slides along the floor but I don't think anything was amiss. They were quite the passionate couple. I've seen this ballet before and I don't remember it being so vivid. Also, Daniel Ulbricht dances and jumps like a 20 year old. Phenomenal. He replaced Mejia in Fancy Free and danced the Faun in the Fall section of The Four Seasons. He hung in the air and made the most of the silliness, too. Fancy Free was quite charming and well danced. Still, I'm a bit tired of it. Edited January 28 by BalanchineFan Link to comment
Fernie M Posted January 28 Share Posted January 28 According to IG, Chan replaced Furlan in Spring. Link to comment
BalanchineFan Posted January 28 Share Posted January 28 On 1/26/2024 at 6:57 PM, cobweb said: I would like to see a second cast of Liebeslieder with Mearns and Laracey. Since this is a role Mearns does, I'm guessing that means there will be a second cast. Also, I can totally see Preston Chamblee in this (more than I can see him as his other upcoming debut, Sanguinic). His restrained elegance would be perfect here. I've seen several casts of Liebeslieder in the past and I've never seen Mearns dance it. Which role does she typically do? Link to comment
cobweb Posted January 28 Share Posted January 28 2 hours ago, BalanchineFan said: I've seen several casts of Liebeslieder in the past and I've never seen Mearns dance it. Which role does she typically do? It is the same role that Kowroski did. I don’t know which original cast member that corresponds to. Link to comment
dirac Posted January 28 Share Posted January 28 3 hours ago, cobweb said: It is the same role that Kowroski did. I don’t know which original cast member that corresponds to. Didn't Kowroski dance a lot of old Farrell roles? If so, the original cast member would be Diana Adams, who danced the girl who has the "whispering" pas de deux if I recall correctly, which role then went to Farrell and then to von Aroldingen after Farrell left. The ballet was then out of repertory until a revival not long after Balanchine's death, when it was staged by von Aroldingen and Farrell was first cast in her old role. (Robert Garis' theory was that Balanchine didn't want to take the role from von Aroldingen but he didn't want her to dance it with Farrell back in the company either.) Link to comment
cobweb Posted January 28 Share Posted January 28 3 minutes ago, dirac said: Didn't Kowroski dance a lot of old Farrell roles? If so, the original cast member would be Diana Adams, who danced the girl who has the "whispering" pas de deux if I recall correctly, which role then went to Farrell and then to von Aroldingen after Farrell left. The ballet was then out of repertory until a revival not long after Balanchine's death, when it was staged by von Aroldingen and Farrell was first cast in her old role. (Robert Garis' theory was that Balanchine didn't want to take the role from von Aroldingen but he didn't want her to dance it with Farrell back in the company either.) Yes, after doing a little more research I conclude the role Sara Mearns does is the Diana Adams role. Thanks for reminding me about Garis' theory about von Aroldingen! Every time Liebeslieder comes around, I try to focus on distinguishing the couples, learning which couples correspond to the original cast, and what each couple's "story" is. A little research this afternoon enabled me to set up a spreadsheet with the song lists, Op. 52 and Op. 65. I wish that I could correspond the song list to which couple(s) dance for each song. As it is, I'm cobbling things together from my memory of the performances -- i.e., "whispering pdd," "liner on the high seas," "levitating woman," "man running around woman," and whatever else stands out to me about that number. Looking at casting for the first two current performances of Liebeslieder, I come up with the following. Someone please correct me if I'm wrong. Diana Adams -- Nadon Bill Carter -- Walker Melissa Hayden -- Phelan Jonathan Watts - Mejia Jillana -- Fairchild Conrad Ludlow -- Danchig-Waring Violette Verdy -- Peck Nicholas Magallanes - T. Angle Link to comment
BalanchineFan Posted January 29 Share Posted January 29 This is great, @cobweb! I have (somewhere) a list of the poems in German and their English translations. I can't find a print out, but they are listed here. https://oxfordsong.org/song/liebeslieder-walzer I'll keep looking for something more user friendly. Link to comment
cobweb Posted January 29 Share Posted January 29 (edited) As we wait to see if there is a second cast of Liebeslieder Walzer, I took a closer look at who on the current roster did the last revival in 2019, aside from the ones in the first week's cast. My info is cobbled together and may be incomplete, so anyone please correct me if you have better info. In other words, if there is a second cast, here is who would presumably be cast, and which roles would require someone new. Diana Adams -- Mearns Bill Carter -- no one on current roster; someone new would be needed (LaCour, Janzen, and Stafford did this most recently) Melissa Hayden -- no one aside from Phelan in the first cast; so for a second cast someone new would be needed (recently done by Lovette and Hyltin) Jonathan Watts -- Taylor Stanley (here I also note reports up-thread that Preston Chamblee was rehearsing this per Instagram) Jillana -- Laracey Conrad Ludlow -- someone new would be needed (recently done by J. Peck and Finlay) Violette Verdy -- Bouder Nicholas Magallanes - Gordon ETA: I just recalled that Daniel Applebaum danced last time, although I can't recall which role. But, he didn't dance in the fall and I don't think he's been cast this season either. If there's going to be a second cast, my choices for some of the gaps would be: Alexa Maxwell for the Melissa Hayden role, Indiana Woodward for the Verdy role (in case Bouder is not dancing), and Gilbert Bolden for one of the male roles. Edited January 29 by cobweb Link to comment
abatt Posted January 29 Author Share Posted January 29 Boldon and Mearns were mesmerizing in Barber Violin Concerto this weekend. Bolden definitely has incredible stage presences and is a wonderful partner. Not sure yet what his skills are as far as spinning and jumping. Not sure if anyone saw the NY Times article about Tiler Peck's new work. The Choreographer Wore Pointe Shoes - The New York Times (nytimes.com) Link to comment
deanofdance Posted January 29 Share Posted January 29 How life enhancing it is to be back to the State Theater for the Winter season! A few thoughts on yesterday’s (and Saturday evening’s - I saw both) performance: 1) Polyphonia — I’ve never been a fan of Wheeldon’s choreography — really can’t recall any of his pieces except for After the Rain— so my expectations for this were set rather low — and I actually wasn’t as bored as I thought I would be. The high points were seeing these dancers perform — especially Ashley Hod, Alexa and Davide — recently promoted soloists — it’s like race horses finally getting their chance at a big race — what can they do now? What artistry is in them now that they are beginning to be cast in major roles? What individual qualities will be displayed to be further developed? All 3 dancers impressed — Davide looked liked he’s been hitting the gym (very nice!) and his sex appeal (still boyish) lends a wonderful perfume to his partnering and appeared to make Emily smile from within (wouldn’t you?). Ashley showed a newly (to me) kinetic quality to her movement — wonderful speed and clarity with her gorgeous lines — that made me think of Wendy Whelan — who was so inimitable (was this the role that Wendy originated?). And Alexa just surprised me — confident and assured — so technically sound — telegraphing to us all “Here I am, ready for more, bring it on!” While she was on the stage, Alexa’s performance brought to mind Jenny Somogyi (which made me look up the original cast — and I saw both Wendy and Jenny were cast). What a great start to the season for these 3. Note: I realized part of why I’ve never warmed to Peter Walker — he lacks any sense of sex appeal with his partner, he’s asexual on stage — and there appears to be no chemistry between him and his partner. 2) Barber Violin Concerto — I’ve never EVER been a fan of Martin’s choreography. 3) The Times Are Racing — I’ve ALWAYS been a fan of Peck’s choreography! I remember when this dance premiered in January 2017 — and how dark and gloomy the world was — and how this ballet lifted me up. And it still has the power to lift any spirit! The energy that poured from the dancers on stage on both Saturday and Sunday — gives me hope for 2024! Takahashi and Cole were so wonderful — and how beautiful were Taylor Stanley and Aston Edwards — and this is why I go to see live performances — the energy and joy that all the dancers created on stage — no amount of Netflix can replace. Link to comment
On Pointe Posted January 29 Share Posted January 29 13 hours ago, abatt said: Not sure if anyone saw the NY Times article about Tiler Peck's new work. The Choreographer Wore Pointe Shoes - The New York Times (nytimes.com) I've been impressed by Tiler Peck's choreography and I'm eager to see what she can do with a large cast. But I didn't think it was necessary to include a discussion of her leading dancers' perceived shortcomings. They are professionals, not students, and presumably they got where they are in the company because of what they can do, not what they need to work on. It puts the dancers in an uncomfortable position before the audience even sees the piece. Link to comment
FauxPas Posted January 29 Share Posted January 29 (edited) I attended the Sunday matinee 1) Polyphonia — I didn't always enjoy the Ligeti music (not all of it is danceable) but Wheeldon's combinations are beautiful. Davide Riccardo looked very elegant replacing Aaron Sanz. I enjoyed the work for its use of space and the excellent group choreography. Emilie Gerrity looked particularly warm and engaging in her waltz section. 2) Barber Violin Concerto — I think this is one of Peter Martins' better efforts. Merrill Ashley was seated behind me - she has been coaching the women in "Barber Violin Concerto" and "Ballo della Regina". A few things - Mearns was very good but she is very different from Merrill Ashley. Ashley was always perceived as a "cool" technical virtuoso. Martins' choreographic concept keeps the "classical" couple elegant, balletic and restrained to begin with and then when they dance with the "modern" partners they loosen up. Seeing Ashley with her hair down, sexualized, abandoned and passionate was a surprise. No surprise with Sara Mearns, beautifully as she suggested the contrast, as we know Mearns can be passionate, sensual and abandoned. Gil Bolden looked great and is riveting onstage. He then joined the corps in "The Times are Racing" though he wasn't listed in the program. Suspect that he was replacing an injured colleague in an assignment he had left behind. Emma Van Enck was the "modern" girl and seemed to relish stamping her feet, throwing her hair around and jumping on the so elegant, so game Alec Knight (he is really emerging and looking great). It was fun. No masterpiece. 3) The Times Are Racing — this ballet has a great energy. Ashton Edwards had a lot of fans in the audience and a lot of support onstage from the company and their partner Taylor Stanley. Lots of hugs and cheers at Edwards' curtain calls. They looked radiant. I loved Harrison Coll in full James Dean/Jeremy Allen White mode (if they were a dancer) - great work with KJ Takahashi. Alexa Maxwell also did yeoman duty doubling in the Wheeldon and this and looking great in both roles. Edited January 29 by FauxPas Link to comment
Peg Posted January 29 Share Posted January 29 The NYCB podcast on Liebeslieder is up and it’s excellent. Silas Farley is, as always, a well-informed host who asks great questions, and he interviews Calegari and Cook. https://podcasts.apple.com/us/podcast/city-ballet-the-podcast/id1479330738?i=1000643354021 Link to comment
BalanchineFan Posted January 29 Share Posted January 29 20 minutes ago, On Pointe said: I've been impressed by Tiler Peck's choreography and I'm eager to see what she can do with a large cast. But I didn't think it was necessary to include a discussion of her leading dancers' perceived shortcomings. They are professionals, not students, and presumably they got where they are in the company because of what they can do, not what they need to work on. It puts the dancers in an uncomfortable position before the audience even sees the piece. It struck me differently. Peck talked about wanting to be challenged as a dancer, and also wanting to challenge her dancers and bring out different sides of them as choreographer and coach. "Shortcomings" didn't enter my mind, just that they're all growing and improving as dancers. As a frequent audience member I'm excited by the prospect of seeing dancers grow and develop. It's what should happen. Link to comment
abatt Posted January 29 Author Share Posted January 29 (edited) The Tiler Peck interview struck me in the same way as On Pointe. Peck walked right into the trap of giving India Bradley an underhanded compliment by stating that management thinks she is limited technically, but Tiler has confidence in Bradley anyway that she will keep up with the most technically gifted Emma V E. Edited January 29 by abatt Link to comment
Papagena Posted January 29 Share Posted January 29 (edited) 54 minutes ago, abatt said: The Tiler Peck interview struck me in the same way as On Pointe. Peck walked right into the trap of giving India Bradley an underhanded compliment by stating that management thinks she is limited technically, but Tiler has confidence in Bradley anyway that she will keep up with the most technically gifted Emma V E. I feel a bit bad for everyone involved (including Peck). What threw me off was the way she phrased it ..."People don’t think that she can do the hard technical things." No dancer wants to read that a vague group of 'people' don't believe in their technical abilities. Especially a corps dancer who is getting some upward momentum. Peck is also a colleague, albeit a senior colleague, which complicates things as well. She didn't word things very well with Von Enk either. "To bring out the fullness of her dancing" might have been more diplomatic than "who needs fullness." I see this a lot with new managers, where they aren't used to the power of words in a new position and it takes some getting used to. Do choreographers generally speak like this? I'm thinking high level like Ratmansky or Wheeldon (or even Justin Peck). We've seen Derek Deane do it but his was at a more obviously unacceptable degree. But perhaps it's generally normal and I haven't been paying attention. Edited January 29 by Papagena Link to comment
Novice123 Posted January 29 Share Posted January 29 3 hours ago, On Pointe said: I've been impressed by Tiler Peck's choreography and I'm eager to see what she can do with a large cast. But I didn't think it was necessary to include a discussion of her leading dancers' perceived shortcomings. They are professionals, not students, and presumably they got where they are in the company because of what they can do, not what they need to work on. It puts the dancers in an uncomfortable position before the audience even sees the piece. Pros have no weakness and have nothing to improve? Link to comment
Recommended Posts