2023-2024 Season

volcanohunter · February 7

1 hour ago, cobweb said:

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.

Yes, they said it was John Neumeier who asked whether the curtain could be left up because he was convinced it would help sustain the ballet’s mood for the audience. (Neumeier always watches his company’s shows from the audience--front row, house-right side in Hamburg, so he has a thorough understanding of audience behavior.)

Quiggin · February 7

6 hours ago, abatt said:

seeing Taras Dimitro of SFB do this role at City Center many years ago.

Saw his Melancholic several times in San Francisco. The best – beautifully sustained, completely in character of a kind of stripped down non-character.

Josette · February 7

1 hour ago, Quiggin said:

Saw his Melancholic several times in San Francisco. The best – beautifully sustained, completely in character of a kind of stripped down non-character.

Yes, he was remarkable in it.

chicagoballetomane · February 8

Just left tonight’s performance! What treasures these two ballets are and how lucky we are that NYCB continues to perform them. I enjoyed the see the music session before the performance. I did not know the history of the music being commissioned by Balanchine for personal use with his friends - how incredible!

Kitka was spectacular in her Choleric entrance and Danchig-Waring’s Phlegmatic was particularly compelling as well. I very much enjoyed Olivia MacKinnon and Sara Adams in the theme section. Isabella LaFreniere was confident and assured as Sanguinic as well - no technical mishaps tonight. The weak spot was SVV…I’ve seen the Melancholic role performed better, but what he may have lacked technically he made up for in expression. Christina Clark kept drawing my eye - would love to see more of her! The choreography of this piece is so wonderful- I always enjoy seeing it.

Tonight was my first time seeing Liebeslieder and wow…all four of the principal couples were amazing. Tiler and Mira were just breathtakingly gorgeous. I would see this ballet over and over again!

vipa · February 8

I'm laughing a little, @chicagoballetomane. I also just came from tonights performance, and have the opposite reaction to the, See the Music, sessions. I want to see the dance and go home! I wish they'd find a way to do these sessions at intermission, or before the show so they are optional.

I enjoyed 4 T's particularly Kitka's Choleric and Adrian D-W's Phlegmatic. I'm still not taken with LaFreniere. She is a beautiful woman, with a gorgeous body, and a strong (not totally dependable) technique. I always feel like she is holding back, playing it safe and dancing smaller than she could. I'd love to see her dance bigger and much bolder.

I fell in love with Liebeslieder again, as I always do. I know there. were complaints about the singers last night. I agree the vocal sound was not the greatest. My husband, who is more analytical about this than I, said a problem was all the singers had a lot of vibrato, so they didn't blend as well as they would with purer tones. Regardless, the music always touches my heart and the ballet is a masterpiece of musicality and invention. Tyler Angle is such an extraordinary partner that his duets with Tiler Peck were particularly mesmerizing. Mira Nadon dancing with Peter Walker continues to amaze me with her sense of drama. I enjoyed the other couples too (Phelan/Mejia and Fairchild/Adrian D-W) but they didn't create as great as impact.

As always, with this ballet, every time I see it I notice new things - motifs established by a couple in the first section, embellished on in the second. An amazing work.

A fine night at the NYCB.

deanofdance · February 8

Just a few thoughts on both tonight’s and last night’s performances. First, though — seeing NYCB as often as I do and for as long as I have — it’s a great pleasure to get to know the dancers — even some of the Corp dancers — and finding out what their dance qualities are, and how they develop and the opportunities they get, and what roles they are given and how their careers grow or stall. Dance is not an easy profession, and I know everyone is trying as hard as they are able at the time — but there are only so many roles and opportunities to go around, as well as the unique manner in which principal roles are cast at NYCB — for example, only a few female principals will be cast in, say, Diamonds or Mozartiana or the second movement of the Bizet (for me, these are the grandest of roles). This is to say that a life in ballet will not be a fair one — but perhaps it will be fair enough for most dancers.

1) 4 T’s — first, the music was grander and more propulsive these past 2 nights than usual — and last night I looked at the conductor to see who it was and saw the reason, it was a guest — Tara Simoncic — bravo! Comparing the nights — I thought the first night was more like the practice round — everyone seemed to have an abundance of nervous energy — all pent up and excitement — and the dancers moved if as repeating the mantra “attack and risk, attack and risk”. And it was good to see and feel this energy and to hear this music and to be in the land of Balanchine — but I think it left them exhausted midway through. And yes, Isabella had a stumble and Emily looked near the end as if she were in a kickboxing match — but tonight everything appeared better paced and measured — and it came together beautifully.
More notes on individual dancers: last Fall I thought Sebastian was looking like principal material — he had clarity and electricity — but oddly his current dancing is lacking both. Davide has the making of a wonderful partner — he has a way of making his ballerinas look a bit more relaxed than usual. Mary Thomas MacKinnon caught my eye — now here was a dancer who wanted to be noticed. I was thinking that NYCB currently lacks really good male partners for their taller ballerinas — and then Preston appeared this season, refreshed — he has such presence on stage, and his body reverberates — so he gives the illusion of being larger than he is. I hope Preston continues his progress — I still don’t know how good of a dancer he is — of what he is really capable of. The 4 tall, tall girls with Adrian — they were stunning! I did like Isabella and Emily more tonight — they both took more measured approaches — with not much loss of power and with a bit more grace.
2) LW — one word will suffice — Mira!
well, now a whole paragraph: she was doubly more enchanting tonight. I was thinking while watching her tonight — do the other 3 ballerinas on stage know what they are witnessing when they see her dance? Because Mira was like a young Garbo — inhabiting a world of imagination — as if she stepped out of 1869 Vienna. She was playful, alive and in the moment — the belle of the ball — letting the music move her and not counting steps. She also makes the back bend the most beautiful move in ballet. The other 3 ballerinas remained themselves, dressed in funny gowns, dancing as they usually do — technically dazzling (Tiler) to proficient (Megan) to somewhere in between (Unity).
Shoutout to the chandelier!

Edited February 8 by deanofdance

meunier fan · February 8

Won't dribble on, but I, too, thought last night's 4T's much improved. Chamblee's variation was much more assured and precise and he - as many - looked more confident than on their previous outing; LaFreniere has all the necessary parts but they seem - for all her obvious effort - placed rather generically. I witness the congrats for her not falling out of her solo turn last night but surely that was in part due to a simplification of the choreography in that one specific regard. Talking of generic I find S-V-V's port de bras particularly woolly - as much in this segment as elsewhere. He seems to have to have to push the dial to get any semblance of focal target. Would so love to see Victor Abreu given a go in this particular assignment. He is well equipped I frequently notice in that department and is a consistently fine partner. In the corps tonight MT MacKinnon, Starner and Corti stood out for immersed precision. Would love to see them given more opportunities.

LW too was better off. The singing elements were a tad more assured and the stunning dances moved with a more comfortable inter-related precision. Agree Mira does seem to float on a heavenly cloud almost at times unto herself - PW can I fear seem pointedly awkward at times - and Roman happily managed to zero-in offering Phelan a more relaxed ploy to her devoted churn. What a stunning work of genius this is. It never fails to astonish and delight. Talk about variations on a sublime theme. This is the very personification of such.

Between the afternoon NYCB rehearsal and the evening performance (with a little interruption trying to cross the road while the world according to the NYCPD seemed intent on stopping for the President's motorcade - took a subway fare simply to bypass such) I attended the Works in Process programme in the Lincoln Center division of the NYPL. This centered around a charming octogenarian, George Lee who - when Li - created the role of Tea in Balanchine's famed Nutcracker. His very unabashed humbleness harnessed the capacity audience's delight and his steely entrechat six from the Bluebird PDD seen in a documentary segment would put but a few of the current NYCB retinue (Hello Mr. SVV) to shame. Now a blackjack specialist in Las Vegas - where he has been resident for the last 40 years - his dedication to the memory of his dancer mother brought the audience to their admiring feet.

Edited February 8 by meunier fan

abatt · February 8

13 minutes ago, meunier fan said:

Between the afternoon NYCB rehearsal and the evening performance (with a little interruption trying to cross the road while the world according to the NYCPD seemed intent on stopping for the President's motorcade - took a subway fare simply to bypass such)

They already had the barricades up all over Broadway by Tuesday night in prep for the Wednesday visit of Biden to NYC. Major challenge getting out in front of the barricades to flag down a bus on Broadway on Tuesday night. The bus driver was perplexed as to why there were barriers all over, so the NYPD never informed the NYC Transit as of Tuesday night. Gotta love it.

cobweb · February 8

I too found Four Temperaments considerably improved last night. Both Sebastian Villarini-Velez and Isabella LaFreniere managed far better than the first night. No doubt both have a lot of room for improvement. Also Preston Chamblee looked wonderful. It seems like he's been out for long stretches at a time, but here he looked ready for more. Adrian Danchig-Waring beautifully and confidently articulated Phlegmatic, and Emily Kikta was a blazing, towering Choleric. I look forward to seeing Davide Riccardo and Jules Mabie debut Phlegmatic and Melancholic next week.

cobweb · February 8

... continuing on from the above, I also enjoyed Liebeslider Walzer more last night versus Tuesday. This is such a beautiful piece, so full of invention and variations on the waltz. I'm hoping the fact that they are fielding two casts, including lots of debuts, means they will bring it back soon (maybe even next year!). I didn't find the Phelan-Mejia pairing quite as jarring on the second night. It's good to see him in a non-bravura role, and work on developing his artistry. Nadon is an incredible talent.

FauxPas · February 8

I was there last night and must agree with all of the above - everyone seemed to have settled in, worked out the kinks and were more on their game. Mira Nadon was on another exalted level from her very fine colleagues.

I too was impressed with Preston Chamblee who was looking beefy and out of shape last season - he is lean and mean and on form these days. He is needed.

Another possible improvement is that in the pause between the halves of "Liebeslieder Walzer" the curtain came down but so the lights were only put on at a lower level - so clearly it wasn't like another intermission with the lights full on.

MarzipanShepherdess · February 8

17 minutes ago, FauxPas said:

Another possible improvement is that in the pause between the halves of "Liebeslieder Walzer" the curtain came down but so the lights were only put on at a lower level - so clearly it wasn't like another intermission with the lights full on.

Agree keeping the lights lower could help. A number of people in my section seemed quite confused when the lights went up and started bundling up to leave, thinking the ballet was over. All the talking and shifting around did certainly feel like a rather rude awakening from the dreamy spell of LW's first section. They could also just have an announcement at the beginning of the evening that Liebeslieder is performed in two sections with a pause in between (like when they announce 11th hour casting changes).

lmspear · February 8

1 hour ago, MarzipanShepherdess said:

Agree keeping the lights lower could help.

At performances I've seen that use this option with the curtain coming down (operas covering a scene change during what would have been an intermission in olden days) audience members couldn't wait to grab their phones. Either they were trying to read their programs, send out a few quick texts, or play a round of solitaire while there was nothing to look at on stage.

volcanohunter · February 8

Although I hate the idea, paper playbills will gradually disappear. There have been times when I have pulled out my phone during a pause to read a digital program. It's inevitable that if venues give viewers a QR code instead of a printed program, phone use inside auditoriums will increase, especially since a lit screen is easier to read in the dark than glossy paper. It's a repeat of performing arts organizations encouraging audiences to tag them and use hashtags on social media posts. This inevitably resulted in more people taking photos and videos during performances, since it was undeniably exciting to be reposted by a company or star performer with a large online following. And the internet is addictive. I can still remember attending the Proms at Royal Albert Hall in the summer of 2016 during the Pokémon Go craze and seeing a man directly in my sight line playing it straight through the concert. He probably wasn't the only one.

BalanchineFan · February 8

14 hours ago, deanofdance said:

I was thinking that NYCB currently lacks really good male partners for their taller ballerinas — and then Preston appeared this season, refreshed — he has such presence on stage, and his body reverberates — so he gives the illusion of being larger than he is. I hope Preston continues his progress — I still don’t know how good of a dancer he is — of what he is really capable of.

Preston Chamblee has a commanding stage presence. I remember him partnering Taylor Stanley in Not Our Fate, how great they were together, and thought he could probably partner anyone.

I thought he had a strong debut in 4T, big, clear, rhythmic. He looked a touch nervous. I wasn’t sure if he exhaled the entire section, but my friends who sat in the orchestra were sure they saw him breathing. 😜

BalanchineFan · February 8

4 hours ago, FauxPas said:

I was there last night and must agree with all of the above - everyone seemed to have settled in, worked out the kinks and were more on their game. Mira Nadon was on another exalted level from her very fine colleagues.

I too was impressed with Preston Chamblee who was looking beefy and out of shape last season - he is lean and mean and on form these days. He is needed.

Another possible improvement is that in the pause between the halves of "Liebeslieder Walzer" the curtain came down but so the lights were only put on at a lower level - so clearly it wasn't like another intermission with the lights full on.

They currently keep the lights low. I think it’s clear it’s not an intermission. There are just certain people who need to use the restrooms.

meunier fan · February 8

1 hour ago, volcanohunter said:

Although I hate the idea, paper playbills will gradually disappear. There have been times when I have pulled out my phone during a pause to read a digital program. It's inevitable that if venues give viewers a QR code instead of a printed program, phone use inside auditoriums will increase, especially since a lit screen is easier to read in the dark than glossy paper. It's a repeat of performing arts organizations encouraging audiences to tag them and use hashtags on social media posts. This inevitably resulted in more people taking photos and videos during performances, since it was undeniably exciting to be reposted by a company or star performer with a large online following. And the internet is addictive. I can still remember attending the Proms at Royal Albert Hall in the summer of 2016 during the Pokémon Go craze and seeing a man directly in my sight line playing it straight through the concert. He probably wasn't the only one.

The cast-lists at the Royal Opera House are all digital. I have to say I now prefer it. If you want to save them you can in an electronic file - and during the interval you can always reference if you need a refresh. I always consult them just before leaving home - which is about 15-20 mins away. Certainly it saves on having unnecessary mounds of good intentions. What is it Wilde has Miss Prism say: 'Memory is the diary we all carry about with us'. Of course, some of those pages - certainly in my own case - are somewhat crinkled.

Edited February 8 by meunier fan

volcanohunter · February 8

To my mind, the biggest drawback of the digital playbill is that it does not include a complete listing of company members - dancers, orchestra players, artistic staff. In my experience with digital programs, these have been available only on company websites, and since turnover among dancers tends to be high, leavers are simply deleted from the site. There is no longer a printed record of company membership, and it's suddenly impossible to determine who danced in the company in the previous season and at which rank, particularly if performers of a large ensemble in a piece are identified only as "artists of the ballet."

Kathleen O'Connell · February 8

45 minutes ago, volcanohunter said:

There is no longer a printed record of company membership, and it's suddenly impossible to determine who danced in the company in the previous season and at which rank, particularly if performers of a large ensemble in a piece are identified only as "artists of the ballet."

I've gotten into the habit of simply saving a copy of the webpage that list company members at the beginning of each season. I prefer that to keeping copies of the paper programs. I also scan the program pages with the cast lists—and only those pages—and store them on my hard drive for future reference.

volcanohunter · February 9

No doubt I have an inadequate machine, but scanning anything fills me with dread. :pinch: It's something I do only when absolutely necessary. Do you keep a file that tells you which ballets you saw on which day? I have always found it easier to quickly flip through a printed publication rather than searching in an electronic copy. Even a playbill cover can jog my memory.

I do read books on my phone or reader while traveling, but prefer a bound paper version. I spend enough of my day staring into screens. :blink:

volcanohunter · February 9

A potentially perilous consequence of eliminating printed programs is that the rear section is often devoted to pages and pages of donor names, and there may be some people who like seeing their names in print there and value the playbill as a keepsake. It would be interesting to find out from organizations that switched to digital programs a few years ago whether or not individual donations have been affected as a result.

California · February 9

33 minutes ago, volcanohunter said:

A potentially perilous consequence of eliminating printed programs is that the rear section is often devoted to pages and pages of donor names, and there may be some people who like seeing their names in print there and value the playbill as a keepsake. It would be interesting to find out from organizations that switched to digital programs a few years ago whether or not individual donations have been affected as a result.

Along with names of donors, printed programs typically also include a lot of full-color advertising, both for local companies and future offerings by the company, its academy. and related performing arts.

vipa · February 9

Just got back from tonights show of "New Combinations." Tiler Peck came on stage before the performance to speak briefly. I think it was the official opening of the art installation, but I don't know why she was the one to speak. It was fine, and mercifully short, it just seemed kind of random.

The 1st piece was Justin Peck's Rotunda. The piece is packed with a lot of busy steps and flailing arms. The way the dancers walked on and off stage in a pedestrian manner felt gimmicky. The dancing felt generic. Daniel Ulbricht fared best. He was able bring some musicality and dynamic variation to his solo. I don't find the Nico Muhly score particularly compelling, which didn't help. NYCB has a large and rich repertory. I think they should drop this work.

I enjoyed Tiler Pecks, Concerto for Two Pianos. She moved the corps around very well, and gave them a lot of nice dancing. Roman Mejia's role showed off his virtuoso technique in a light-hearted, musical way. Mira Nadon and Chun Wai Chan looked great together. Some of their lifts were stunning, and Nadon's port de bras, looked particularly full and beautiful. Emma Von Enck and India Bradley were a dynamic duo making lots of entrances. I have to admit my eye always went to Von Enck. Her technique is dazzling, and secure, and she rides above it all as if it's the most fun thing in the world. I wouldn't go to see this ballet if it was on a weak program, but as a middle ballet on an otherwise good program, I'd like to see it again.

The program closed with Ratmansky's. Odessa. Some imagery is stunning, and I love the way Ratmansky uses the corp to add drama to a moment. At the same time, I felt like there was a narrative I wasn't clued into, or catching on to.

Daniel Ulbricht looked fabulous in Rotunda and Odessa. I've always felt he was under utilized so I'm happy for every opportunity to see him onstage. On the other hand Unity Phelan was in both those ballets and I found her bland. What is going on? When she joined the company I picked her out of the corps because it seemed she had some special qualities. As a principal, it seems, she hasn't found herself.

Lastly, I thought tonight was an example of bad programing. It would have been a big improvement to ditch Rotunda, put Odessa as an opener, Concerto for Two Pianos in the middle, and take your pick of. ballets that leave you smiling, third!

cobweb · February 9

12 hours ago, vipa said:

Tiler Peck came on stage before the performance to speak briefly. I think it was the official opening of the art installation, but I don't know why she was the one to speak. It was fine, and mercifully short, it just seemed kind of random.

This awful trend of random speeches needs to be stamped out now.

Thanks for this report, vipa! I hope to get to see Tiler's piece soon. Agree about Daniel Ulbricht, he is having a great season. And also agree about Unity Phelan. I wonder what has happened with her. I also remember thinking she was a special dancer when she was on the way up. Now she regularly seems flat and bland. I don't know if she's lost some sparkle that she used to have, and if so why? Or, was she always flat but that was less evident when she was younger, and we're expecting more from her now that she's covering major roles? I am baffled about how to think about this.

Kathleen O'Connell · February 9

16 hours ago, volcanohunter said:

No doubt I have an inadequate machine, but scanning anything fills me with dread. It's something I do only when absolutely necessary. Do you keep a file that tells you which ballets you saw on which day? I

It helps to have good tools. I use a fast desktop document scanner with a proper sheet feeder and excellent OCR capabilities, not a phone or a multi-function printer-scanner-fax machine. I archive the scans using a document database application with very powerful search capabilities. I can easily search through my trove of program scans for obvious things like a particular choreographer, ballet, dancer, date, etc. I can also search for combinations like choreographer + dancer + composer. I've even searched for particular costume designers. The program also allows me to attach searchable notes to the scans, so I can add a quick note about anything that seems worth memorializing about a particular program. (I download and archive NYCB's casting sheets as a reference as well.)

I've been regularly attending performances of every kind—music, dance, theater, whatever—for decades. There's no way I could keep track of who I'd seen in what when if I was trying to do so with paper files unless I kept one of those elaborately indexed journals. Plus, I live in a Manhattan apartment without a ready place to store programs numbering in the thousands. For me, digitizing is the way to go.

2023-2024 Season

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