meunier fan Posted February 20 Share Posted February 20 (edited) 2 hours ago, abatt said: If memory serves, Altson was tapped to lead one of the movements in Symphony in C when the company toured in Paris. It will be interesting to see if she gets a Symphony in C lead in the Spring season. I was in the house for that performance at the Chatelet (just prior to its closure for restoration which now, happily, is completed) and the Paris audience adopted MacGill with cheers. You'd think she was French! It was a thrilling three-week season and I was glad I was able to attend all of the performances. A true celebration. NYCB was produced on that occasion - as they had the previous one and the one following at La Siene Musicale - by Les Etés de la Danse. Sadly that fine organization - which brought so many glorious companies to Paris especially from the Americas - including famously SFB - seems to have bit the dust with the pandemic. Their loss is definitely felt. No question of that. Summers in Paris will NEVER EVER be quite the same. Edited February 20 by meunier fan Link to comment
cobweb Posted February 21 Share Posted February 21 I see it's a new cast for Tiler Peck's new piece tonight, or new principals anyway. Would love to hear reports on Miriam Miller and Gilbert Bolden. I don't know if I've ever seen them together, but I imagine that would be a dynamite duo. Reports please! 7 hours ago, meunier fan said: I was able to attend all of the performances. I salute you, meunier fan!! Link to comment
meunier fan Posted February 21 Share Posted February 21 (edited) I was at this evening's performance. I doubt if Justin Peck's Rotunda will ever be listed amongst my favorite ballets but I enjoyed it more this evening than a few previously. Perhaps it was a tad more focused tonight - or more likely it was simply that I was. Fairchild truly shone in the solo as she did in the PDD with Walker. The PDT with the always entrancing Ms. Woodward was a much appreciated refreshment. I have to say I often find - at least to some extent - SVV cumbersome and I fear this was yet another occasion where such held true. Danny Ulbrecht was just so much more concentrated in his polished engagement. I fear too this musical score just does not sit well with me. Somehow - in my ear at least - it limps. Those reservations were completely disbanded in Tiler Peck's new work - which I think I was seeing for the fourth time. I had briefly seen the choreographer herself earlier in the day rehearsing the PDD with Miller, Bolden and Mejia. Roman went all out gangbusters tonight - perhaps knowing that it was the last time he would dance it for a while. This score is just so brilliantly illuminating and Peck's transitions become ever more mature as they are shaped within the Company's own growing confidence. Miller and Bolden literally sang in the PDD - with Bolden making - ultimately - an effortful triumph of that sky-high lift. Seductively Miller's arms consistently hung with grace within the framework of the music's abundant radiance. Bolden's own thrill of rifling barrage was totally infectious. Certainly it and the entire work were filled with drama. I love how the corps is here a major character and Von Enck and Bradley yet again sliced the air with ever-thickening aplomb within their dedicated soloist roles. Theirs, as indeed ours, was a privileged existence being equally en-wrapped within this life-enriching architecture. The cherry on this and many performances' cake was, however, Ratmansky's Odesa. What a masterwork it is. Here is MacMillan's Manon minus the overt vulgarities and choreographic padding. Both have equally ravishing scores. This too is about a depraved community of abusive gangsters and their victims. Joe Gordon outdid his own celebrated balletic authority in that stunningly shape-shifting variation and a truly glorious Von Enck - oh, so VERY telling - met him at every point - (rat-a-tat-tat) - for point - and then some. Veyette was the very picture of an aged Andalusian lothario whose once deafening strings had perhaps been plucked one too many times. Equally, the enervating Alexa Maxwell was mesmerizing as his victim; all steel within her mock-kid glove. Eventually she would literally toss herself in his mind - one gloriously shaped by this ALL persuasive music - as he dashed around her until that final buffeting slap brought not only him but all the community - including herself - down towards an ever-darkening death. The one couple remaining - our final dim hope - was the spectacularly defined duo of Tyler Angle and Sara Mearns. They were SIMPLY OUTSTANDING - ultimately earning their place in the light and she - the ultimate SHE - saw that the feline wills would - each in tandem - conquer and ultimately crush the defeated mind's eye of a churlish man's world. This was narrative - in the true sense of the word - (i.e., storied) - balletic fare of the highest order. Edited February 21 by meunier fan Link to comment
matilda Posted February 21 Share Posted February 21 (edited) I saw the show last night too. First, a rant: I hate Rotunda. It's a total snooze and the music and costumes are nearly unbearable. Note to choreographers: if you choose terrible music, I'm not even going to be interested in the choreography. Not even this mostly-good cast (Sebastian Villarini-Velez was OK but lacks the lushness and introspection for that ending solo) could make me enjoy this. Not sure why it was brought back--was it because reviews were positive when it premiered? I should note that I'm far from a Justin Peck hater; I do like a lot of his other work. Thankfully, Concerto for Two Pianos was a total delight and absolutely worth keeping in repertory. Mejia literally soared as the virtuoso solo lead, and Miller and Bolden made a successful and vibrant debut as the lead couple despite one precarious--but saved!--overhead lift. Bolden totally held his ground sharing the stage with Mejia, looking like a principal. I thought the contrast of Von Enck dancing side by side with Bradley worked well. A major triumph for Tiler Peck and one of my favorite premieres of recent years. Thank god NYCB decided to bring Odesa back after its original New York Times reception because I think it's one of Ratmansky's best. Overall an amazing cast, with pyrotechnics from Von Enck and Gordon, lushness from Mearns and Angle, and delicate drama from Maxwell and Veyette. Gordon is a total gem of an artist and I'm thankful to be watching him at his peak. In the end, a great, great night at the ballet after a mediocre start! Edited February 21 by matilda Link to comment
FauxPas Posted February 21 Share Posted February 21 (edited) On 2/18/2024 at 6:45 PM, 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? All I will say is that I saw Ashton Edwards and Taylor Stanley in TTAR and I didn't get a sense of opposition or of being in two different worlds. What I got were two individuals who were were isolated/lacking community and joyously found one in each other. That sense of connecting and finding yourself in the right place with the right people and being in your community. There was a feeling of joyous bonding. Edwards was radiant onstage and projecting JOY and Stanley was very present and engaged. We like to sort of push sexuality into black and white extremes on the furthest opposite poles of the Kinsey Scale. There are infinite shades of gray. But there are also different forms of self-identification and presentation. Edwards is biologically male but was presenting very female. Taylor Stanley is biologically male but was more cisgender in his presentation in this ballet. The way that a dancer may present onstage is not the way they present offstage. For example, the Broadway actor Brandon Uranowitz can play very serious masculine guys onstage but I saw him interviewed on the Tony's red carpet and he is extremely flamboyant and effeminate offstage. I don't have a problem with that. The "Brandon Uranowitz" of NYCB is Gilbert Bolden who can present very serious, weighted and masculine onstage (as in the Barber Violin Concerto) and sexy in a macho way. However, in his real life and attending galas Bolden loves to genderfuck and wear high heels and cross dress in very outrageous feminine fashion like a peacock. Per instagram, Bolden uses the pronouns "He/Him". Meanwhile checking Taylor Stanley's instagram they present as cisgender in private life (and seems happily partnered with Alec Knight). So the pronouns are a very personal thing and the self-presentation and self-identification can vary widely. In ballet we have all seen very gay and feminine male dancers who have had to "butch it up" onstage and in the studio in order to get cast. In standard ballet, traditional gender roles are rigidly enforced. So the debut of Ashton Edwards with Taylor Stanley partnering was a joyous opening up to more diversity. I think the community of Peck's "The Times are Racing" is open to trans, non-binary, whatever... I didn't get a sense of compromise or political correctness or virtue signaling at the expense of artistic integrity but a sense of joy, connection and discovery from the pairing. The world of that particular ballet is about finding and creating community - there is room in that community for the very different alternative gender identifications of Edwards and Stanley. And it added another level of narrative and message to the ballet. Edited February 22 by FauxPas Using the wrong pronoun! Link to comment
abatt Posted February 21 Author Share Posted February 21 (edited) I thought parts of Rotunda were okay, and other parts were intolerably dull. I think a lot of costumes selected by Justin are unattractive, although these are the worst. I was expecting and hoping for a lot more from Concerto for Two Pianos. It was a good effort that was pleasant, but it is no masterpiece. It was better than most of the recent commissions from modern dance choreographers that have been presented under Whelan's artistic leadership, but that's not saying much in my opinion. The Ratmansky work was the only work on the program that was completely engaging at all times and had masterful choreography. Last night was my first and will be my only viewing of this program. Edited February 21 by abatt Link to comment
BalanchineFan Posted February 21 Share Posted February 21 (edited) 11 hours ago, FauxPas said: All I will say is that I saw Ashton Edwards and Taylor Stanley in TTAR and I didn't get a sense of opposition or of being in two different worlds. What I got were two beings who were were isolated/lacking community and joyously found one in each other. That sense of connecting and finding yourself in the right place with the right people and being in your community. The was a sense of joyous bonding. Edwards was radiant onstage and projecting JOY and Stanley was very present and engaged. We like to sort of push sexuality into black and white extremes on the furthest poles of the Kinsey Scale. But there is also different forms of self-identification and presentation. Edwards is biologically male was presenting very female. Taylor Stanley is biologically male but was more cisgender in his presentation in this ballet. The way that a dancer may present onstage is not the way they present offstage. For example, the Broadway actor Brandon Uranowitz can play very serious masculine guys onstage but I saw him interviewed on the Tony's red carpet and he is extremely flamboyant and effeminate offstage. I don't have a problem with that. The "Brandon Uranowitz" of NYCB is Gilbert Bolden who can present very serious, weighted and masculine onstage (as in the Barber Violin Concerto) and sexy in a macho way. However, in his real life and in galas Bolden loves to genderfuck and wear high heels and very outrageous feminine fashion like a peacock. Per instagram, Bolden uses the pronouns "He/Him". Meanwhile checking Taylor Stanley's instagram he presents cisgender in private life (and seems happily partnered with Alec Knight). So the pronouns are a very personal thing and the self-presentation and self-identification can vary widely. In ballet we have all seen very gay and feminine male dancers who have had to "butch it up" onstage and in the studio in order to get cast. In standard ballet, traditional gender roles are rigidly enforced. So the debut of Ashton Edwards with Taylor Stanley partnering was a joyous opening up to more diversity. I think the community of Peck's "The Times are Racing" is open to trans, non-binary, whatever... There is room there. I didn't get a sense of compromise or political correctness or virtue signaling at the expense of artistic intergrity but a sense of joy, connection and discovery from the pairing. The world of that particular ballet is about find and creating community - there was room in that community for the very different alternative gender identifications of Edwards and Stanley. And it added another level of narrative and message to the ballet. I have noticed the differences you mention; in identity, presentation and choice of pronouns. Though there may be other occasions, currently and in the future, The Times Are Racing, imo, is the perfect ballet for this representation. Edited February 22 by BalanchineFan Link to comment
MarzipanShepherdess Posted February 21 Share Posted February 21 On 2/20/2024 at 10:44 AM, BalanchineFan said: She’s getting a bunch of debuts now, but in Robbins ballets, The Concert and Opus 19. Maybe they need her acting skills there more than in the Balanchine. She’s ASTOUNDING in Robbins’ work. Worth the price of admission all on her own. I agree. She's one of the best dancer-actresses in the company at the moment, which makes her a great fit for Robbins. I hope she gets a Titania spring season. I would have loved to have seen her in the Liebeslieder role Unity was dancing this season. Link to comment
matilda Posted February 21 Share Posted February 21 (edited) The Titania roster is a bit crowded right now, with Phelan, Mearns, Gerrity, and Miller, and only seven performances to go around. I feel like any debuts would probably go to Nadon or Lafreniere over Maxwell. Hope to see Maxwell in Dances at a Gathering though, and I think she'd be great in Symphony in 3 Movements. Edited February 21 by matilda Link to comment
cobweb Posted February 21 Share Posted February 21 I wish we could see Maxwell lead the Stars & Stripes regiment with the baton. But the casting's out already so that ship has sailed. Link to comment
BalanchineFan Posted February 21 Share Posted February 21 5 hours ago, cobweb said: I wish we could see Maxwell lead the Stars & Stripes regiment with the baton. But the casting's out already so that ship has sailed. Honestly, it's NYCB anything could happen with casting. (Not wishing bad juju on anyone) Link to comment
Helene Posted February 22 Share Posted February 22 44 minutes ago, BalanchineFan said: Honestly, it's NYCB anything could happen with casting. They could make a lot of money if they printed this up on t-shirts. Link to comment
abatt Posted February 22 Author Share Posted February 22 (edited) Per insta t peck seems to be nursing a foot injury. Edited February 22 by abatt Link to comment
mille-feuille Posted February 22 Share Posted February 22 16 hours ago, matilda said: First, a rant: I hate Rotunda. It's a total snooze and the music and costumes are nearly unbearable. Hey, at least the costumes weren’t this: Gorgeous Anthony Huxley, extraordinarily poignant music… and a clown costume. 🤡 Link to comment
BalanchineFan Posted February 22 Share Posted February 22 (edited) On 2/21/2024 at 8:14 AM, matilda said: First, a rant: I hate Rotunda. It's a total snooze and the music and costumes are nearly unbearable. Hey, at least the costumes weren’t this: Gorgeous Anthony Huxley, extraordinarily poignant music… and a clown costume. 🤡 I loved what Sara Mearns did with that same costume! No red shirt. No tights. The vest parted a bit as she danced to reveal her midriff. Elegant and in keeping with the ballet. *And thanks, @Helene for the laugh! Edited February 22 by BalanchineFan Link to comment
deanofdance Posted February 22 Share Posted February 22 (edited) Just a few thoughts on last night’s performance: 1) Copland — Last year when this piece premiered — I saw both the first cast (heavy with principals) and the second cast. The first cast left me unimpressed and slightly disappointed (sort of like Peggy Lee, “Is That All There Is?”). But the second cast left me speechless with surprise and delight — to me it was a totally different ballet — the ballet bloomed with esprit de corps — and the bloom became many blooms — and I wondered if Peck had secretly told the second cast the meaning of Copland while keeping it secret from the first cast — as it seemed that way. Then I realized that this was a true ensemble piece — related and connected to every dancer on stage — incredibly organic in its dependence on the dancers feeding off each other’s energies and emotions — if it’s there, it’s there… And I had thought that Peck had reached a new pinnacle of artistic achievement — as his Copland seemed to me to be a dance that everyone interested in dance and performance and art should see and experience. I had seen the 3 earlier performances of the Copland this season, but waited till the fourth and last performance before jotting down my thoughts. I wasn’t quite feeling that bloom in the 3 earlier performances — and wondered if I had overestimated the artistic merit of Copland — until last night. We were informed before the performance that there would be substitutions as 4 dancers had injuries. Several of us learned that there was an emergency rehearsal right before curtain so the cast could go over the piece with the substitute dancers — one of whom was Emily Gerrity, who originated a role last January, but had not been in the piece this season. Can this explained the esprit de corps for last night’s performance? Perhaps so — the coming together in time of need, wanting to honor Justin Peck’s work in this last performance, the perhaps feelings of, “oh well, let’s go for broke”, or the pressure being slightly off with everyone having to improvise. Perhaps all of these or none of these — but the rich bloom and scent were there and it carried me through the night. Dancers to highlight — Miriam and Gilbert were like two beasts — a lion with his lioness, Gilbert using his bulk and size in a new way — and Miriam using her length and expansiveness — they were eating up space like no one else — and how they both connected emotionally — looking straight into each other’s eyes — they were giving everything — they were giving Life! The women came together — perhaps the presence of Emily bolstered and calmed them (how does she remember the choreography?) , and they all became sisters or cousins or BFF’s — there was more warmth there, relaxed and real and inviting. David Gabriel dances like he has wings on his ankles. Edited February 22 by deanofdance Link to comment
matilda Posted February 22 Share Posted February 22 3 minutes ago, deanofdance said: We were informed before the performance that there would be substitutions as 4 dancers had injuries. Several of us learned that there was an emergency rehearsal right before curtain so the cast could go over the piece with the substitute dancers — one of whom was Emily Gerrity, who originated a role last January, but had not been in the piece this season. Just curious, who were the four dancers that were replaced? Link to comment
deanofdance Posted February 22 Share Posted February 22 Spartak (SVV came in), Melnikov, Olivia MacKinnon (Emily substituted). I can’t recall the fourth Link to comment
mille-feuille Posted February 22 Share Posted February 22 4 hours ago, deanofdance said: Spartak (SVV came in), Melnikov, Olivia MacKinnon (Emily substituted). I can’t recall the fourth Christopher Grant was also out, but I don’t recall who subbed for him. Link to comment
sohalia Posted February 22 Share Posted February 22 (edited) I moved back to Europe a few years ago and haven't been able to go to the NYCB in so long, but have kept following these conversations with great interest. Hearing you all rave about Mira Nadon is having me *this close* to booking a flight to NYC 😄 Gosh how I wish I lived closer. All I get are excerpts on social media, which are great, but with all your reviews, I want more! NYCB, please tour in Europe (and take Mira with you)! Edited February 22 by sohalia Link to comment
susanger Posted February 22 Share Posted February 22 1 hour ago, sohalia said: I moved back to Europe a few years ago and haven't been able to go to the NYCB in so long, but have kept following these conversations with great interest. Hearing you all rave about Mira Nadon is having me *this close* to booking a flight to NYC 😄 Gosh how I wish I lived closer. All I get are excerpts on social media, which are great, but with all your reviews, I want more! NYCB, please tour in Europe (and take Mira with you)! The company will be in London March 7-10, 2024, if that’s convenient for you. https://www.sadlerswells.com/whats-on/new-york-city-ballet/ Link to comment
FPF Posted February 22 Share Posted February 22 Not sure that the rep for London includes roles that Mira has been doing--they're only doing Rotunda, Duo Concertante, Gustave Le Gray, and Love Letter (on shuffle). Link to comment
BalanchineFan Posted February 23 Share Posted February 23 (edited) 3 hours ago, FPF said: Not sure that the rep for London includes roles that Mira has been doing--they're only doing Rotunda, Duo Concertante, Gustave Le Gray, and Love Letter (on shuffle). How many dancers is that? You only need about 15 people. Less than 1/6 of NYCB. Edited February 23 by BalanchineFan Link to comment
vipa Posted February 23 Share Posted February 23 1 hour ago, abatt said: Awful program. Agree that this is an awful program. What are they thinking? Link to comment
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