Quiggin Posted February 17 Share Posted February 17 (edited) 14 hours ago, balletsoiree said: For one thing, while Stanley may consider himself non-binary but to my knowledge he has only danced male roles at NYCB. I think the "he" is the part Stanley is dancing in "Racing" and as accommodating as Stanley is, the two of them seem to be in different ballets. Unfortunately, art depends on dialectics and binaries where two different ideas impact each other. it doesn't have to be male and female but it has to be two oppositional forces and those don't seem to have been worked out here. . Edited February 17 by Quiggin Link to comment
deanofdance Posted February 17 Share Posted February 17 (edited) A few thoughts on last night’s performance: 1) The 4 T’s: Jules Mabie — what a fine — well, actually very fine debut for this young dancer. So calm and steady — no nerves at all — and how this calmness generated his movements to match the solemnity of the music. It’s one thing to debut in Melancholic — but to debut well — now that’s a feather in his cap! Ashley Hod — she started well — confident and sharp, but then something happened in the middle of her performance and a double pirouette became a single and then a bit of the choreography went missing. Davide Riccardo — to see a young dancer be given an opportunity and then to see them leap in the sky — perhaps the best thing of following NYCB (well, other than seeing Balanchine ballets) — but what line, extension and flexibility — plus sensitivity and beauty and glamour — when the 4 tall, tall girls came out to dance with him — Davide’s line was the most lyrical, his extension as high, and he has a matinee idol’s looks, a star’s aura. Mira — well, I’m the self proclaimed president of her fan club, so I’m biased. But she surprised me by adding colors and nuance to her performance in Choleric — most dancers I remember dance this as a full on attack — but then she is beginning to dance in a world of her own. I recall reading somewhere that Balanchine once commented on Farrell, “She is like a whale in her own ocean” (or something like that). 2) LW — how so very interesting to see Sara dance after Mira’s performances in LW — so, so different — but still beautiful, still radiant. I like to think that Mira’s performances last week pushed Sara last night — because last night’s Sara was the Sara I know and adore — regal, confident, and able to lose herself in the music. I had thought that Indiana was underused this season — so she was like a bird set free — alive and happy — her epaulement and other dance qualities finding a home in LW. I wish Ashley was given Isabella’s role — as Isabella was the odd man out — lacking an inner life, lacking color, nuance — a glance, a smile, a look away, yearning, anything other than a wan smile and a stiffness. But I can understand why Isabella was cast in LW — perhaps to see if there is something more there. Well, not yet. The men all were gallant — and there was a real sweetness between Preston and Indiana. Edited February 17 by deanofdance Link to comment
cobweb Posted February 17 Share Posted February 17 I very much enjoyed last night's performance of the Four Temperaments-Liebeslieder Walzer program, finding both casts a big improvement over last week's performances of this program. In 4T's, both Jules Mabie as Melancholic, and Davide Riccardo as Phlegmatic, made fabulous debuts. As someone said up-thread about Ava Sautter (was it you, @deanofdance?), I knew Mabie was looking good, but I didn't know he was THAT ready. He was just beautiful, fully inhabiting the role with clear shapes, elegance, authority, and a yearning emotional warmth. It is wonderful to see a young person grow up enough to get a big chance and to deliver something beautiful. Of all the night's performances, this is the one that most lingered in my mind! Davide Riccardo is someone who's gotten a lot more attention, so it wasn't a surprise to see him attack Phlegmatic with clarity and purpose. Mira Nadon was a captivating, thrilling Choleric. Alston Macgill was one of Melancholic's two sidekicks and it was great to see her back in action and looking sharp and fierce. Olivia Bell led the four buzzing ladies of Sanguinic, and she really stands out. She somehow seems to have the movement more in her body in a way that's different from the other three, it seems more organic to her. She also seems mature beyond her years. Overall, a very exciting Four Temperaments. Liebeslieder cast a far better poetic spell than it did last week. Overall a far more engaging cast, with an inner rapport that also radiated out and included the audience. Sara Mearns and Chun Wai Chan are beautiful together, so handsome to look at that it almost hurts the eyes, and they make poetry together. Hard to describe how beautiful they were in that final section where he carries her backwards across the stage, she turns and does an arabesque penchee, then back bend, and he reaches under for her hand. Her piques around the stage have a soaring quality like the wind. Indiana Woodward and Preston Chamblee also were wonderful together, Woodward with so much imagination and care to detail, and Chamblee looking extremely appealing. Ashley Laracey and Andrew Veyette brought far more depth than Fairchild and Danchig-Waring did last week. As usual I have mixed feelings about Isabella LaFreniere, and I'm struggling to understand and articulate it, but I liked her here more than I thought i would. Link to comment
BalanchineFan Posted February 17 Share Posted February 17 (edited) I thought last night’s 4T was electric! So many fine debuts, so many dancers who performed with a single driving purpose, bringing out all the colors and dynamics in the choreography. Jules Mabie… DEFINITELY among them. What a long limbed, broad shouldered hunk of burgeoning artistry. Davide Riccardo, equally so, perhaps more languid and “beautiful” as one might expect from his role. I loved Ashley Hod’s crispness and drive as Sanguinic. Positively stunning in the devil’s backbone pizzicato section, too. (What is that part called? It’s in Choleric when the three Theme women and Sanguinic gather around Choleric for a lot of fast footwork). All three themes solid, though I particularly enjoyed Nieve Corrigan & Andres Zuniga and Megan Dutton OHara & Alex Knight. Knight has matured and is “giving prince” as a younger generation might say. I almost didn’t mention Mira Nadon’s bright, sharp Choleric. She is an amazing stage animal. I sat closer than my usual seats and, though you could see her working things out to end with the music on the various crashes in her first variation, it was seamless. Alston MacGill seems to have fully recovered from whatever injury/setback she had awhile back. She dances like a predator; no dainty poses for her. She’s seen what she wants and she’ll hunt it down and shake it out of a tree. That energy and attack, that appetite for movement are what I love most about NYCB. The whole cast had it. And then, Liebeslieder! Edited February 17 by BalanchineFan Link to comment
meunier fan Posted February 17 Share Posted February 17 (edited) So agree with the comments about last night. After some unsettling - and certainly unsettled - opening themes, Mabie (love the name - well, maybe not - sorry, couldn't resist) came as a refreshing tonic in this particular 4T's presentation. So much promise, I only wish his port de bras had the same authority and weight that his legs were given in this glittering gift of choreography. The vigorous air of his gift deserves to fully saw. Riccardo literally sizzled in the precision of his focused vulnerability. He was electrifying as was Nadon - a legend in the making if there ever was one - who simply - or so it seems - only has to stroll, bound or slink onto a stage to re-define whatever glory has been rightfully tossed her way. The sense of fullness in each aspect and in every assignment pulls focus only because it so well deserves to. In each instance it helps release the whole - much as she did last week in LW. Talking of which - LW that is - I so agree with Cobweb that last night's was a much more balanced affair all round. Certainly it led to much purring in my second ring vicinity and happily no one was getting up to depart during the two-minute curtain-down connecting this smorgasbord of choreographic desire; one oh, so wondrously varied in its exhilarating arousal. (If only they could find singers who were at least adequate. That contralto's German is STILL almost as wide of the mark as her vibrato. I'm sorry, but it's embarrassing.) Woodward specializes in the rich detail of her ravishment and Chamblee was buoyant in the well-healed succor of her surround. The ever wondrous Chan beckoned and Mearns blessedly on this occasion beamed - as well she might. Angle should be given a medal for theatrical steerage literally building the fabric - foundations up - of LaFreniere's response. She only needed to paint by the well defined glow of his numbers which happily she did. (I'm afraid I find her a really quite inconsistent artist and still struggle at times to remove the traces of that historically abysmal Aurora she delivered from my mind. She was on more comfortable ground here, seemingly firing her bird within the confident wrap of Angle's arms.) Laracey is of greater value to the Company. She is a principal without title and always delivers her charges with subtle elegance and wit. If you closed your ear to the all-too-occasional mush of the German strictures you could, here, simply lounge back and luxuriate in the sound of the dance - and what an exhilarating communion it is. So often - as it was and as it should be - so very potent. Edited February 17 by meunier fan Link to comment
abatt Posted February 17 Author Share Posted February 17 Agree that Mabie was very good in his Melancholic debut. Great attention to detail. So much better than Villarini - Velez last week. More Mabie please. Davide also made a wonderful debut, but he doesn't yet have control in the opening of his solo where he has to hold his foot and remain still. He kept wobbling and moving. Mira was thrilling in Choleric. Hod was doing well until the mishap mentioned above. I enjoyed all of the LW cast, but I found the pairing of short Woodward and super tall Chamblee a distracting partnering mis-match of sizes. Link to comment
Kathleen O'Connell Posted February 17 Share Posted February 17 5 hours ago, meunier fan said: If only they could find singers who were at least adequate. New York is stuffed full of talented musicians looking for work. I cannot for the life of me understand why NYCB can't find a vocal quartet that can do Liebeslieder justice. Last night's quartet was uneven at best: if I'd been there for the music alone, I would have walked out because life is just too short. (Apologies for sounding harsh: I sing with an amateur chorus; we've performed the first set of Liebeslieder Walzer several times and it's not particularly difficult.) The dancing, however, was glorious. All the young'uns in 4Ts did themselves and the company proud. I have a few quibbles about the Liebeslieder casting, but they are only quibbles. (e.g. Chamblee is too tall for Woodward. Both he and Chan need more experience with their respective roles to turn them into theater.) I wasn't sure LaFreniere's particular talents would be suited to Liebeslieder, but she danced a lovely and secure debut. Laracey was born to dance Liebeslieder as far as I'm concerned. Mearns looked much more at home on stage than she did earlier in the season, and I consider her only dialing things up to nine or ten rather than eleven a welcome development: there was lots of nuance where there has sometimes been bombast in the past. If I hadn't known it was Woodward's debut, I would never have guessed. Finally, Liebeslieder is a wonderful fit for late-career Angle and Vedette: they do know how to turn partnering into drama. For those keeping score, here's how the Liebeslieder casting sorted out: Verdy's role: LaFreniere (w/ T. Angle) Jillana's role: Laracey (w/ Veyette) Adams' role: Mearns (w/ Chan) Hayden's role: Woodward (w/ Chamblee) Link to comment
BalanchineFan Posted February 17 Share Posted February 17 5 hours ago, abatt said: I enjoyed all of the LW cast, but I found the pairing of short Woodward and super tall Chamblee a distracting partnering mis-match of sizes. I loved the difference in their heights. All of the duets have such a depth and mystery to the relationship, who has the power, who is chasing whom, I think it gives Chamblee and Woodward a lot to play with. I will say, and I've seen both casts this year: no one dips as low as Patricia McBride in Nein Geliebter where she does that forward leg gesture. The man, standing behind her, clasps his hands around her pelvis and takes her forward. I was watching the film on youtube and she's practically right hip on the ground, and still (McBride) manages to gesture her leg forward without it really touching the floor. All the couples I've ever seen (past 5-7 years) could work on that, if they deemed it important to their interpretation. I believe this role was choreographed on Melissa Hayden. And kudos to Tyler Angle, partnering both Tiler Peck and Isabelle LaFreniere in the role created by Violette Verdy. Link to comment
BalanchineFan Posted February 17 Share Posted February 17 5 minutes ago, Kathleen O'Connell said: For those keeping score, here's how the Liebeslieder casting sorted out: Verdy's role: LaFreniere (w/ T. Angle), Tiler Peck - w T Angle Jillana's role: Laracey (w/ Veyette) M Fairchild w Danchig-Waring Adams' role: Mearns (w/ Chan) Nadon w P Walker Hayden's role: Woodward (w/ Chamblee) Phelan w Mejia Thanks for the chart! I added last week's cast. Link to comment
Kathleen O'Connell Posted February 17 Share Posted February 17 1 minute ago, BalanchineFan said: I added last week's cast. Thank you! I'm always interested in how the company casts these roles! Link to comment
Kathleen O'Connell Posted February 17 Share Posted February 17 6 minutes ago, BalanchineFan said: no one dips as low as Patricia McBride in Nein Geliebter I cried every time I saw Whelan and Hübbe dance Nein Geliebter. No one has matched them since. Link to comment
meunier fan Posted February 18 Share Posted February 18 (edited) A brief note about this afternoon's Copeland Episodes - Suddenly - with the theatrical impact of Gilbert Bolden - the (now) second act came into a focus it hadn't ever done for me previously. Such a stunning dramatic arc Bolden found in 'The Split' - It was as if the witch inside of him had been doused with water and he was now firmly set on a slow burn. Riveting. The diminution of this character's oh, so harbored machismo had here become robustly compelling. Sincerely I had never witnessed this before. At least for me this was a different ballet. Moreover the set-up with Dinner For One - which I had always found beyond awkward - too suddenly made sense in the delicate hands, arms, feet and mind of Mr. Placement Plus, David Gabriel. At the tale end the literal relief of Roman Mejia spiraling off with an incandescent Alexa Maxwell was - at long last - able to frame the remains of the completing white. That was all that was starkly left following the ever-blackening might of Miriam Miller and Bolden's sorrow so persuasively surrounded by an unremittingly deft - but, as we now see, deaf - field of primary color. Edited February 18 by meunier fan Link to comment
abatt Posted February 18 Author Share Posted February 18 59 minutes ago, Kathleen O'Connell said: I cried every time I saw Whelan and Hübbe dance Nein Geliebter. No one has matched them since. Agree Link to comment
cobweb Posted February 18 Share Posted February 18 What a lovely performance of the Four Temperaments-Liebeslieder Walzer program. As with last night, this week's casts make a whole different impression from last week's casting of the same program. Last night Jules Mabie captivated me as Melancholic, and I was wishing to see him again. As soon as Anthony Huxley walked onto the stage, that feeling vanished. Instead I had the experience I've often had -- while I might love someone in a role, when I see Huxley do the same role it's as if the scales fell from my eyes, or some objet d'art was dusted and is now sparkling -- when Huxley dances it is so clear and pristine that everyone else looks dull and smudged. Alston Macgill again danced with ferocity and gusto, you go girl!! Davide Riccardo gave an even more riveting Phlegmatic than he did last night. He was going full force, hitting everything with authority and clarity. As he's made his way into bigger roles I've sometimes found him lacking in confidence or impact, but not so here. Great to see. Mira Nadon's Choleric again like a bolt of lightning. Overall a thrilling Four Temperaments. Liebeslieder Walzer. I hope they bring this back soon (in the fall would be great!), but next time better singers please. To go through the cast of women: best prepared, most thought-through and richly detailed performance: Indiana Woodward. She is a gem. She does have a significant height differential with Preston Chamblee, but despite that it totally worked for me, I found them wonderful together. Most naturally suited to this ballet: Ashley Laracey. The tilt of her chin, flutter of her eyelashes, and flick of her wrist radiate throughout the theater. She and Andrew Veyette have no doubt known each other since they were teenagers, and they give a sense of old colleagues and veterans dancing roles that show each at their very very best: she in poetry and delicacy, he in protective partnering. Most dynamic and dramatic presence: Sara Mearns, no doubt!! I've already commented on the handsomeness that she and Chun Wai Chan have together, all I can say is tonight was another transporting experience, with Sara's soaring arabesque and piques like a hurricane blowing through the theater. Finally we come to Isabella LaFreniere. With her innate grandeur, incredible smile and physique, and touching vulnerability, my heart is always touched by her. Despite some very dubious performances (as mentioned by @meunier fanearlier today), I just love her. I have many criticisms, but I won't even go into that right now. All I can say is I'm a fan, waiting for her to pull it totally together. Tyler Angle -- I'm getting used to the bald head, and very glad to see his protective guidance with Isabella. To conclude: this was a great program of Balanchine at his very, very, very best!! Link to comment
BalanchineFan Posted February 18 Share Posted February 18 13 hours ago, Kathleen O'Connell said: I cried every time I saw Whelan and Hübbe dance Nein Geliebter. No one has matched them since. I SO wish I'd seen them dance it. Link to comment
California Posted February 18 Share Posted February 18 Joe Gordon posted his blooper in Ballo - entering too soon, leaving, then returning. Gotta love it! https://www.instagram.com/reel/C3fe0MgAIHH/ Link to comment
deanofdance Posted February 18 Share Posted February 18 (edited) Just a few thoughts from last night’s performance: 1) 4 T’s — have to say that I was feeling quite cool to the performers (even to Huxley — who is one of my favorites) until Davide showed up — and yes, he was even better than the night before — more solid, more secure. And then, of course, there was Mira — the energy and musicality that can pour out of this dancer! I was thinking about how Callas fans — how they worshipped her — that she should/could sing everything — Callas sings the Beatles! Callas sings Cole Porter! Well, I think Mira should/could dance everything. To start, she can do every role in Jewels! 2) LW — the best of the 4 performances. The men were so gallant and chivalrous — and all the women (yes, even Isabella) breathing and moving in the perfume that makes LW unique in the Balanchine canon. Sometimes I got a sense that Sara was conveying a last chance at love — not desperate, but yearning, ever hoping, more than willing to take that chance at happiness. And Chun — how he seemed to worship Sara. At moments their dancing was glorious with emotion. But the real bond was between Indiana and Preston — they both seemed giddy to be dancing together, to be in this dream that can be and was Liebeslieder Walzer. Edited February 18 by deanofdance Link to comment
mille-feuille Posted February 18 Share Posted February 18 2 hours ago, deanofdance said: Well, I think Mira should/could dance everything. To start, she can do every role in Jewels! Hear, hear!! I have never seen Emeralds done like Mira did it last season. It was revelatory. I adore Mira's Tall Girl, but Kikta also has a great Tall Girl. Of the 3, Rubies is the one I'm most willing to give Mira up in. Mira's Diamonds, whenever she gets it... that will truly be a thing to behold. For years I felt so regretful that I wasn't alive in the 60s/70s to see Gelsey and Suzanne, but now I just feel so grateful and joyful to be able to see Mira in all her glory. Link to comment
Fernie M Posted February 18 Share Posted February 18 3 hours ago, deanofdance said: Well, I think Mira should/could dance everything. To start, she can do every role in Jewels! I agree 1000%. Not to take anything away from Unity, but cast Mira in everything. Link to comment
Fernie M Posted February 18 Share Posted February 18 1 hour ago, mille-feuille said: Of the 3, Rubies is the one I'm most willing to give Mira up in Agree. A number of people in the corp would be fantastic in it. Link to comment
abatt Posted February 18 Author Share Posted February 18 I'm still waiting to see Mira in Scotch Symphony, the role she did at the SAB workshop which all the critics raved about. Link to comment
BalanchineFan Posted February 18 Share Posted February 18 On 2/16/2024 at 11:37 PM, Quiggin said: Unfortunately, art depends on dialectics and binaries where two different ideas impact each other. it doesn't have to be male and female but it has to be two oppositional forces and those don't seem to have been worked out here I’m really not following your point. It seems to me that if there are two people, then you have two oppositional forces. We’ve seen the duet in TTAR as male/female, male/male and non-binary/nonbinary. It’s still two people doing the steps, doing their best to dance together. How do dialectics and binaries come into it? Link to comment
cobweb Posted February 19 Share Posted February 19 10 hours ago, California said: Joe Gordon posted his blooper in Ballo - entering too soon, leaving, then returning. Gotta love it! https://www.instagram.com/reel/C3fe0MgAIHH/ Just hearing that frothy music makes me wish I could see this again and again! I only wish it was on the program with some pieces I wanted more to see. I will probably only get to the show with Von Enck, but hopefully they will keep this in rotation for next season. Link to comment
mille-feuille Posted February 19 Share Posted February 19 7 hours ago, Fernie M said: Agree. A number of people in the corp would be fantastic in it. For new faces in Tall Girl, I'm partial to Ashley Hod and Naomi Corti! Link to comment
Quiggin Posted February 19 Share Posted February 19 4 hours ago, BalanchineFan said: I’m really not following your point. It seems to me that if there are two people, then you have two oppositional forces. We’ve seen the duet in TTAR as male/female, male/male and non-binary/nonbinary. It’s still two people doing the steps, doing their best to dance together. How do dialectics and binaries come into it? It may not have been the intention, but it looked non-binary/male to me. But I should have said more directly that I didn't think the casting worked. Link to comment
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