2023-2024 Season

[cobweb]

On 1/29/2024 at 1:14 PM, Peg said:

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.

Thanks for mentioning this, Peg. I'm not a big podcast person, but I enjoyed this. Farley is a terrific interviewer and host. I just wished they could have illustrated their comments with video snippets!

[deanofdance]

On 2/1/2024 at 12:02 PM, deanofdance said:

Just a few thoughts on last night’s performance — which was the first of 3 performances with all tickets $40!  Just a festive atmosphere — with tons of younger people all dressed up — for this special occasion/night of ballet!  Wonderful to be a part of!  And there was an after party — crowded with revelers!

1) Polyhonia — a better, tighter performance from this cast than on Wednesday night — but still in the realm of nondescript — also Sara Mearns joined this time — and I thought — now here is the preeminent American ballerina for the past 15 years — with such a wealth of dance qualities at her disposal — luxurious expansiveness, unique power and musicality, etc… — who has danced all the great Balanchine roles, and who has had a legion of choreographers create ballets for her — and if I was one of those younger audience members who was seeing their first NYCB performance — I would be very hard pressed to even (positively) notice Sara in this ballet — I will just say she was underpowered.  
2) Barber — I wrote that Preston had a mini breakthrough on Wednesday evening’s performance.  Well, last night it was Miriam’s turn  — something of a shock (in the best way) of seeing a dancer perform outside of their usual expectations — but it’s like caffiene — you’re jolted awake — now here was Miriam dancing and projecting like you thought she could — moving with such expansiveness, she seemed ten feet tall,  gobbling up the stage, like a beautiful tornado!  But also with an emotional connection to Preston — when they are alone on stage — I thought of the song, “The Dark End of the Street” — their pas de deux had real, yet wonderfully understated emotion (their facial expressions remained straight faced).  Now, again if I were a youngster seeing NYCB for the first time — I would have thought Miriam was the star ballerina!

@cobweb I had the same question — who is the sleepwalker on the screen?  At first, I thought Unity — but at second, I don’t think it’s Unity…

@BalanchineFan for me, what was wonderful wonderful about Ashton and Taylor was their emotional connection — the times are indeed racing — in the best way — to have 2 non-binary dancers of color in these roles — it brings new life to this ballet — and allows it to develop as art, as well as a reflection on social justice, acceptance and diversity in ballet — all good things!  And I got a sense of Ashton understanding the opportunity they were given in their young career, and how they were going to make the most of it — there was hunger on the stage, the hunger to dance and the hunger to be true to oneself and the hunger for representation — and that hunger became infectious happiness and infectious energy — as all the dancers on the stage became part of Ashton and Taylor’s joyous connection — and what dancers Taylor and Ashton are — moving and dancing and loving life!  They were wonderful wonderful wonderful.

 

Edited February 4 by deanofdance

[BalanchineFan]

Thank you @deanofdance for writing more about Ashton and Taylor’s duet. How wonderful!

I went twice this weekend. I’m officially concerned about Sara Mearns. Her physical dancing is fine, but she looks unhappy, miserable, like someone turned the lights off behind her eyes. It was difficult to watch, after years of seeing her joy, artistry and courage onstage. It seems obvious something is going on and my heart breaks for her.  

Daniel Ulbricht had a very different kind of weekend. Sailor in Fancy Free, Faun in The Four Seasons, solo figure in Rotunda (just stupendous, mature, nuanced, searching, GORGEOUS dancing, soft, surprising ends to phrases) and then Odesa, too. It was a different side of him (perhaps several different sides to his artistry). He can really act and carry darker, more introspective moments… along with  jumping, spinning like a top and making us laugh. 

I enjoyed Tiler Peck’s new piece. Really enjoyed it! Roman looks amazing. He hangs in the air, and such charisma. I didn’t feel much connection between Mira Nadon and Chun Wei Chan, though they both danced beautifully. I loved the duo of Emma Von Enck and India Bradley. Visually they are so different but they matched each other in energy and polish. There was a lot of movement to the ballet, groups swirling in and out configurations changing. I hope I get to see it again. 

Edited February 4 by BalanchineFan

[bellawood]

Was at the matinee today --

Rotunda: not worth discussing, really. I had seen it right before the pandemic and had been underwhelmed. It felt like a bargain-basement Cliffs Notes version of Dances at A Gathering in athleisure and pantyhose. That feeling was reinforced today. It is so lazy! The circle motif is so obvious. As for the dancers, if they must bring it back again, why not do it with all baby corps? Unity Phelan in this ballet makes no sense. Sara Mearns looked tired and tentative. I hate the Muhly music which sounds like a soundtrack to a depressing indie movie. An added thumbs down for the extremely performative "everyone gets a bow" sequence at the end. The tepid applause did not warrant that plus two curtain calls. BUT . . . are we in a Daniel Ulbricht renaissance? He was by far the best thing in this and excellent in Odesa, as well.

Tiler's Ballet: I really enjoyed this! It was so interesting to watch other dancers pushed to Tiler-esque daring, She is a witty choreographer! From the moment the curtain went up there was a crackling energy, and all her quirky arm positions and syncopations really worked. Of course, she had the A+ cast; I wonder if it will be as good when say, Miriam Miller dances in place of Mira .  . . and there's no one in the company who can do the male lead except for Roman. The Poulenc was terrific; I love two pianos. The ballet was very well received by the audience.

Odesa: I saw this in 2017, but I think this is the first revival. I was really absorbed by it. The sleazeball polyester 70's shirts on the men really give it a louche quality. The choreography is compelling, particularly for the Fairchild/Ulbricht pairing (I guess originally Hyltin/deLuz?). Why did Sara choose to dance the sub-par Rotunda instead of the role that Ratmansky made on her in this ballet? Unity Phelan danced it instead. 

 

 

Edited February 4 by bellawood
mispelling!

[matilda]

5 minutes ago, bellawood said:

Odesa: I saw this in 2017, but I think this is the first revival. I was really absorbed by it. The sleazeball polyester 70's shirts on the men really give it a louche quality. The choreography is compelling, particularly for the Fairchild/Ulbricht pairing (I guess originally Hyltin/deLuz?). Why did Sara choose to dance the sub-par Rotunda instead of the role that Ratmansky made on her in this ballet? Unity Phelan danced it instead. 

At least Sara is in the 2nd Odesa cast, starting week 4. Very surprised to hear of her low-impact performances this past week after such a superb fall season, just a few months ago. 

[abatt]

I saw Mearns in Spring this Saturday, and I have to agree that she does seem off at the moment. I felt her dancing was conservative for her, and she does indeed look very unhappy.  This is new, because she was completely enthralling in Barber Violin Concerto the prior weekend.  Hopefully she will get back to her normal self soon.  She is a treasure.

Hod was replaced in Winter in Four Seasons. 

Ulbricht is having a remarkable season.  There are some seasons where they almost never use him.  This season he is on multiple times per week.  Good for him.  He will be out the weeks of Feb 13 and Feb 20 because he will be appearing with Twyla Tharp's company at the Joyce..

Edited February 5 by abatt

[vipa]

I just got back from Inside New York City Ballet: Mr. B. & Jerry. It was delightful, and I have some thoughts to share later. For now I have to mention the final piece was the principal woman's solo from Ballo Della Regina danced by Emma Von Enck. WOW. Fast, articulate, joyful, breathtaking. She is made for this role and is ready.

[BalanchineFan]

Hi @vipa I was there, too. 
Emma Von Enck was just lovely!

I’ve been to NYCB three times so far this season. I’ve seen Fancy Free twice (same cast, unfortunately) and was a bit tired of the ballet. Then tonight at the lecture demo, Alexa Maxwell utterly changed my experience of the ballet. She was transcendent! All the characters’ hopes and hesitations  made the pas de deux so moving. Heartbreaking. The guy is so ready for romantic adventure and she’s capable of being swept away, but a little too sensible in the end. From the first moment Harrison Coll reached for her hand it was a completely different experience from what I saw before. They elevated it, brought out all the colors and emotional beats in complete fullness. What a performance ! What a couple the two of them made.

There was good dancing all around, however Emma von Enck, in a short solo variation from Ballo, was the other real highlight of the evening. Sprightly, musical, fleet of foot and utterly charming. Get your tickets now. 

[Jacqueline]

I have a ticket for what I think is the last performance of Ballo for the season on Feb. 29.  Flying in from Texas at the crack of dawn that morning.  I would love to see Emma, so fingers crossed, but I can't be unhappy at the prospect of Megan or Tiler.  I've never seen Ballo performed live so counting my blessings.

[vipa]

I agree about Maxwell @BalanchineFan. She and Coll really created an emotional narrative  in the Fancy Free pas. I find both Maxwell and Emma VE to be more compelling, accomplished and consistently interesting than some of the current principals. 

The program began with a Stars and Stripes excerpt done by the SAB advanced class, rehearsed by Suki Schorer. I hope the young dancers had as much fun doing it as I had watching. They were bursting with energy.

All the excerpts were well done and there was quite a range. Stand outs for me, other than Emma VE and Maxwell, were Huxley's excerpt from Opus 19/The Dreamer and Laracey & Stanley in the Symphony in 3 pas. The musical sensitivity brought to those pieces was lovely.

Ballets represented were: Stars & Stripes, Opus 19/The Dreamer, Symphony in 3, In the Night, Fancy Free,  Liebslieder, The Concert and Ballo." Stirling Hyltin was a disarmingly charming host and Suki Schorer was brought on to say a few words.

 

[Ballerinayogi225]

Long time reader but new BA member! Has anyone seen or heard anything from Bouder? The last I saw she responded to someone's IG comment asking if she was performing this season and she said something along the lines of it's "not up to her." She also posted an IG story from a rehearsal room and alluded she was always rehearsing alone. I'm not a fan of hers lately, but starting to feel sorry for her. I'm sure there is much going on behind the scenes, but I thought they would at least cast her in Liebeslieder. 

[vipa]

58 minutes ago, Ballerinayogi225 said:

Long time reader but new BA member! Has anyone seen or heard anything from Bouder? The last I saw she responded to someone's IG comment asking if she was performing this season and she said something along the lines of it's "not up to her." She also posted an IG story from a rehearsal room and alluded she was always rehearsing alone. I'm not a fan of hers lately, but starting to feel sorry for her. I'm sure there is much going on behind the scenes, but I thought they would at least cast her in Liebeslieder. 

Glad you decided to join the conversation. Casting is up to management, and they have to do what they think best for the ballets and development of dancers. I don't always agree with NYCB casting, but recognize there is a lot to juggle in making those decisions. Casting Bouder in Liebeslieder would mean denying another dancer the opportunity. It is a zero sum game. I don't know what kind of shape Bouder is in these days, and the "pointe shoe" section is technically difficult. I wish Bouder the best, and hope to see her back on stage, but I don't think she'll be cast until management is sure she's ready. That's my guess.

[abatt]

I think there are a lot of factors that play a role in how things are cast that have nothing to do with what is best for the ballet and the development of dancers.  However, those are internal decisions that will never be articulated.   These are very subjective decisions.  As a general rule, though, at NYCB I think talent does eventually win out in determining who rises to principal.  

 

 

[pirouette]

Week 5 Casting is up: https://res.cloudinary.com/new-york-city-ballet/image/upload/v1707258668/NYCB_Casting_February_20-25_2024_lobby.pdf

I'm surprised Emma Von Enck is not getting her principal debut in Ballo Della Regina, since she performed the solo yesterday and Sterling Hyltin seemed to hint that she will debut it later this season. Perhaps they're giving her the last show on Jan 29? 

[cobweb]

9 hours ago, abatt said:

As a general rule, though, at NYCB I think talent does eventually win out in determining who rises to principal.  

I wish I felt as confident about this as you do, abatt. I look at the rosters right now and have some doubt about recent decisions. But it is good to see Maxwell getting big opportunities. 
I’m just in from to tonight’s show. Briefly, 4T’s looked kind of ragged until Adrian Danchig-Waring walked on. Boy was I glad to see him! Emily Kikta also blazed. She is a great, committed performer. Will try to add some more thoughts tomorrow. 

[BalanchineFan]

4 hours ago, pirouette said:

Week 5 Casting is up: https://res.cloudinary.com/new-york-city-ballet/image/upload/v1707258668/NYCB_Casting_February_20-25_2024_lobby.pdf

I'm surprised Emma Von Enck is not getting her principal debut in Ballo Della Regina, since she performed the solo yesterday and Sterling Hyltin seemed to hint that she will debut it later this season. Perhaps they're giving her the last show on Jan 29? 

Sterling didn’t hint. She said Enck’s Ballo debut was coming up, she just didn’t mention a date. 

I so enjoyed the performance tonight! I have lots of thoughts on it. You could tell there were a lot of debuts. I agree, Adrian Danchi-Waring was a highlight in 4T (he really moves his back!) , along with Kikta. I also loved India Bradley eating up space, and MT MacKinnon matching her. 

So much promise onstage. I have tickets for next week, too. I love the 4T Liebeslieder program. 

[abatt]

I thought Mejia and Phelan were a complete mis-match in Liebeslieder.  He is too short for her.  Was he a replacement for Sanz?

Nadon was ravishing.  

[matilda]

Liebeslieder was gorgeous last night, especially Nadon, who is so sophisticated beyond her years as an artist. And she's just getting started! How lucky are we NYCB goers to have her. She and Tiler Peck in particular turned the romantic drama up to 11. Phelan and Mejia didn't strike me as too much of a mismatch, although it's puzzling why they were paired together when Chamblee and Woodward in the other cast would have been better height matches for both. I liked Phelan a lot in that beautiful pas de deux at the end with the dragging ronds de jambes. Fairchild looked stiff to me -- the least liquid and musical of the four ballerinas. 

4Ts: Agree with the praise of Danchig-Waring and Kikta! I enjoyed LaFreniere as Sanguinic despite one little stumble. She frustrates me at times because watching her dance, she has the full package of technique, attack, proportions, beautiful épaulement, and a magnetic artistry in both classical and neoclassical. But too often she's hesitant or fumbles the steps. I hope she can get past that. I thought Chamblee was miscast. Not enough wit and attack, and he looked uncomfortable. 

Edited February 7 by matilda

[cobweb]

4Ts. I found the three themes lacking. Boisson has done this before and looked very polished but here she and Melnikov were bland. Olivia MacKinnon and Kennard Henson came out for the second theme in a refreshing blaze of energy but then seemed to struggle to keep up with the music. Davide Riccardo and Sara Adams were bland. In Phlegmatic Sebastian Villarini Velez was a step up in energy and commitment but lacks clarity in his steps. For his two sidekicks, I like India Bradley’s flexibility in other roles but here it made her seem flimsy and insubstantial, whereas Mary Thomas MacKinnon’s solidity and attention to form made her much more forceful and formidable. In Sanguinic, Preston Chamblee’s first entrance had surprising sharpness and attack, but he faded after that. LaFreniere was indeed frustrating, in her difficulty in marshaling her considerable talents. When Danchig-Waring came on, I thought: here’s a pro, he will get the job done! Same with Kikta. 

[cobweb]

Rethinking the 3rd theme, Riccardo was sharp and Adams was bland. 
Liebeslieder did not cast the spell I hope for. First, the music and singing were fine, but I’ve been spoiled by the Vienna Staatsoper 2022 performance. The Viennese know their music! … and no doubt have ready access to the finest singers, and more resources for rehearsal, than does NYCB. Not surprisingly, Nadon and Walker, and Tiler and Tyler, were the most poetic. Fairchild and Danchig-Waring were very polished but not magical, and Phelan and Mejia were a bizarre, what-were-they-thinking mismatch. He does look very dashing in evening wear though. 

Edited February 7 by cobweb
Vienna Staatsoper - actually it was probably 2021. The one that was live-streamed.

[abatt]

I found Villarini Velez particularly frustrating in 4T's because  it can be such a profound section of the ballet.  Often his movements were clipped and his body was rarely fully stretched.  Still savoring the memories of Bart Cook on video and of seeing Taras Dimitro of SFB do this role at City Center many years ago.

Shout out to Tyler Angle, who brought such refinement and drama to his role.

I had to roll my eves when Mejia stepped on the hem of Phelan's dress in one partnering segment where he had to circle her. 

The singers were, in my opinion, pretty awful.  

Looking forward to Alexa Maxwell's debut in Opus 19.  I question whether Huxley has the requisite dramatic insight for the Dreamer, but I guess we will find out.

 

Edited February 7 by abatt

[MarzipanShepherdess]

39 minutes ago, abatt said:

I found Villarini Velez particularly frustrating in 4T's because  it can be such a profound section of the ballet.  Often his movements were clipped and his body was rarely fully stretched. 

Agreed.  I found the 4Ts performance to be disappointing overall, but most of all Sebastian in Melancholic.  I'm thinking of those "drooping" sections, especially, where the dancer's body appears weighed down; it can be so emotive and impactful, but last night it actually looked silly, like someone parodying sadness rather than inhabiting it. 

It felt like a real shame to see such an underpowered performance of one of the greatest Balanchine ballets. In the opening sections, I wanted so much more sharpness, definition, and speed from nearly everyone in the cast. India Bradley, to me, was the dancer who "got it": she looked like she was really meeting the choreography's challenges with a relish no one else in those early sections was. Brava to her.

I thought Isabella came out strong and I was hopeful: I think Sanguinic COULD be a really good role for her, but she stumbled coming out of that series of turns early on and never seemed to recover her confidence. Emily Kikta was able to sustain her momentum; I still wanted more (Choleric can be so thrilling when someone really goes for broke in it, as Teresa Reichlen used to) but Emily's finding her way into this role and it suits her.

Adrian deserves some kind of MVP award for showing the audience what 4Ts can be with an assured, committed performer. He was moving and really inhabited Phlegmatic fully. He saved the day!

After the disappointment of 4Ts, last night's Liebeslieder felt like a feast. I thought everyone danced well, but Mira was the belle of this particular ball for me: a perfect blend of elegance and passion. She so completely embodies her roles, truly a dancer-actress who brings dramatic nuance to every little inclination of her head or wave of a finger. Tyler and Tiler were wonderful together, his deep gravitas a beautiful contrast with her quicksilver lightness. Whenever he swept down to his knees to kiss Tiler's hand my heart leapt. 

I may be in the minority here but despite not being the best height match I'd be into seeing the Roman and Unity partnership experiment continue. She is obviously a beautiful, technically accomplished dancer but she can be so FLAT and, frankly, boring, and Roman is never boring. Could he help bring out some livelier qualities to her dancing? Unity seemed more vivid last night than she usually does for me.

 

[meunier fan]

For me, Kikta, Nadon, Peck & Angle were the heroes of last night.  Not certain who programmed this particular outing - but I thought the combination somewhat peculiar in its arrangement.  Still, I was grateful to be back in the land of Mr.  B.  As with those above, I kept seeing in many instances other past NYCB dancers I had seen (and preferred) in so many of the 4T charges; so fully fulfilling these extraordinary roles.  

I agree with Cobweb; seeing LW in Vienna and, especially, Hamburg - where I have been privileged to see it on a number of occasions - always paired with the Balanchine's triumphant BSQ - is a vastly different experience.  I think not having the curtain come down during the so-called 'break' is a definite boon.  The energy from the Teutonic audiences throughout - one in which so many in the house grew up with the verse -  (I've occasionally seen people close their eyes and mouth the words in bliss) - so potently flows over onto the stage.  (It's funny, but I found Mejia's mishap on Phelan's luxurious hem last night almost touching because it so perfectly embraced that moment's text dealing with humane 'misplacement'.  I know this was entirely accidental - as was the concerned rise of Mejia's front facing furrowed eyebrows in the exact reprise shortly thereafter.  Still they somehow made the glorious framework of Balanchine's genius especially potent given that these were entirely natural echoes in riposte.)  I must confess I now find the launch of so many lighted mobiles during the State Theater 'curtain down' break - as much as the mindless as opposed to focused chatter - which was certainly the case last night at least in the vicinity of my first ring ear -  almost an affront.  In Germany you could cut the silence of the vast house with a knife as the stars begin to embrace the scene.  Certainly, no one rises to seemingly leave.  I suspect they would be pounced upon.

Again I agree with Cobweb; the singing was at best pedestrian.  These were clearly people for whom the task was but a gig.  The words - as much as the audience - deserve so, so much more investment to rightly honor these heightened tales of the human soul.  

 

Edited February 7 by meunier fan

[cobweb]

49 minutes ago, meunier fan said:

seeing LW in Vienna and, especially, Hamburg - where I have been privileged to see it on a number of occasions - always paired with the Balanchine's triumphant BSQ - is a vastly different experience.  I think not having the curtain come down during the so-called 'break' is a definite boon.  The

Agree about the curtain during the changeover. In the recent podcast with Calegari and Cook, they mentioned that sometimes the curtain is left up, and I wish that was done here. Having the curtain come down, the house lights go up, the buzz of chatter, cellphone lights, and people getting up thinking it‘s intermission, really kills the mood. 

[bellawood]

I agree with so many reviews here -- S V-V was sloppy last night -- but he's ALWAYS sloppy. A few days ago, Chun posted an Instagram story about Tiler's new ballet where he joked about her constantly reminding her cast to point their toes. In her interview with Wendy on the podcast, Tiler mentions that Heather Watts, one of her long-time mentors, always talks to her about the feet and foot placement and making deliberate choices. These things feel so integral to ballet but so often forgotten! S V-V 's feet (and arms) are always all over the place. His exit in the deep backbend was marred by scuttling feet and bent knees. 

I have the same reservations about Isabella as many here. She was spectacular in Concerto Barocco this fall; in 4T's, dancing a role she should be perfect for, she was visibly thrown by her stumble (which she semi-saved, by the way!). ADW is an old hand in my favorite section, but my memories of this ballet always begin with Albert Evans' masterful dancing in this role (this gives you a sense of when I first started coming to the ballet!). 

LW: I am decidedly not an expert on this sort of singing, so I will leave it to others here to comment on the quality! I thought it was a lovely, moving evening; I particularly enjoyed watching Tyler and Tiler dance together. Their partnership is so strong and has been overshadowed by the flash of Tiler/Roman. Watching them dance reminded me of how much I love seeing them together in Dances at a Gathering. Mira is a gift; if Peter Walker is one of her default partners, he needs to up his game a little. I've actually seen Roman dance with Unity before -- in an ill-fated Tchaikovsky Suite No. 3 performance where she fell three times! A little treading on the hem seems like small potatoes after that.