2023-2024 Season

[cobweb]

38 minutes ago, vipa said:

What are they thinking? 

My thought exactly, vipa!

[California]

As others are noting, terrible program! If Londoners want to see Balanchine at its best, this isn't it! Hard to explain, especially after their visits to Spain and Paris. Are they thinking they want to say: "we can do more than Balanchine," much as Royal Danish seems to say, "we can do more than Bournonville." Fine. Do that at home. The world wants to see the choreography that these companies do better than anybody on the planet -- their schools, their training, their heritage. 

[California]

Apologies! Duplicate posting, for unknown reasons. Please remove, if possible.

As others are noting, terrible program! If Londoners want to see Balanchine at its best, this isn't it! Hard to explain, especially after their visits to Spain and Paris. Are they thinking they want to say: "we can do more than Balanchine," much as Royal Danish seems to say, "we can do more than Bournonville." Fine. Do that at home. The world wants to see the choreography that these companies do better than anybody on the planet -- their schools, their training, their heritage. 

Edited February 23 by California

[meunier fan]

9 hours ago, California said:

As others are noting, terrible program! If Londoners want to see Balanchine at its best, this isn't it! Hard to explain, especially after their visits to Spain and Paris. Are they thinking they want to say: "we can do more than Balanchine," much as Royal Danish seems to say, "we can do more than Bournonville." Fine. Do that at home. The world wants to see the choreography that these companies do better than anybody on the planet -- their schools, their training, their heritage. 

 

I - and so many others who appreciate the balletic idiom in London - agree with you, California.  

I live in London - in the sense that I own property and pay taxes there.  I lived in NYC for 19.5 years between 1978 into the upper 90's - having visited regularly before and after - and happily throughout the so-called dance-boom.  It was Balanchine (and before him Ashton) who not only taught me to love ballet but appreciate music.  NYCB is the ONE THING I ALWAYS miss about NYC when I'm not here.  If IT wasn't here I can promise you that I wouldn't be either.  Now - and for the past bit -  (now that I can) - I plan my work around NYCB seasons.  I come to NYC for basically three and a half to four months a year to do projects and attend the VAST majority of NYCB performances and rehearsals.  Certainly I didn't miss a single one of the Fall '23 Balanchine Celebration.  I see it as a pilgrimage of grace; an expedition of life-defining joy.

I will go to the NYCB performances in London in March at Sadler's Wells  - but it will, I fear, be tinged with chagrin as I - for at least one - will know what might have been.  This programme is not IT.  This programme was selected by one Sir Alastair Spalding - head of the Wells' empire - who has done so, SO very much to define 'dance culture' in the UK for the past couple of decades.  I doff my hat to him.  He has built a devoted audience based on his selected morays.  They are NOT I think the core ones to be seen at NYCB.  That, I suppose, makes our world rich.  In tandem with his concerted direction other institutions have been swayed.  The Royal for instance.  I think Dame Monica Mason could see the winds of London change and decided 'if you can't beat them, join them'.  Thus she instituted the beginnings of the 'McGregor Culture' - which you can definitely see as being a logical progression from LATE MacMillan.  I have come to appreciate this - and both of these idioms are things that the the Royal dancers - and they have some VERY fine ones - excel in.  Indeed, they are now specifically - and understandably - trained for such.  When you see the Royal dance McGregor now - McGregor at his best that is - Woolf Works, Untitled, Chroma, Infra, Yugen, Osidian Tear, Dante Project, etc., for instance - they do it with a kind of ease - a sense of comfort - of being 'at home'.  This is much like NYCB - at its best - in Balanchine, Robbins, Evans (last night the magnificent Ava Sautter and Gilbert Bolden III literally blew Albert's Landscape out of the park again - Please Wendy bring it back - and thank you so much for reviving in the first place - You have done us ALL a favour) and Ratmansky.  There is so much promise in Tiler Peck's first NYCB ballet - much as the one she did for UK's Northern Ballet.  It is oh, so very different from the work of the Royal's current Choreographic Associate - one Mr. Joseph Toonga - whose work I fear is completely against my own particular taste but clearly held dear by many of the Royal's patrons and I can only suppose fiscal supporters.  NOW perhaps more than ever before these cultures are completely separated by their dedicated idioms.  Peter Martins may be many things but at least he kept his promise to Balanchine to maintain the balletic idiom.  There was no such promise sadly made to/for Ashton in London.  The idiom celebrated there - outside of the the major historic work horses/cash cows of course - is now very much of a contemporary slant - and often a contemporary slant that NYC audiences would understandably see as 'Old Hat'.  You can see this even in the works that Chris Wheeldon creates for the Royal.  They are of a very different camber certainly than those he would ever make - or has made - for NYCB.  

But back to the NYCB season at the Wells.  There is only ONE PERSON to answer for this - and that is Spalding himself.  Will he respond?  You can bet your bottom dollar he won't .  He will see that element of noblesse oblige as his birthright and I can only suppose as his gain.   I sincerely think that much of it boils down to economics.  The Wells were one of the two producers the last time that NYCB was presented in London in 2008 at the Coliseum.  It seems they lost their proverbial shirt.  On that occasion they did bring major NYCB works.  I remember being at all the performances of one programme which featured Serenade, Agon (with Wendy and Albert no less) and Symphony in C.  Swathes of red there were.  For a couple of performances I actually got free tickets.  Even then there were large segments of seats left vacant.  This will have understandably, I suppose, defined Spalding's approach - oh so different from the ones in Paris, Copenhagen and Spain - all where I have seen the Company as well.  Practically Rotunda has a limited requirement for musicians.  Love Letter is performed to recorded music.  All have - in NYCB terms - limited numbers of dancers.  This is a programme that certainly is not fair to Justin Peck - nor to London audiences.  Still, I can see Spalding's justification - were he brave enough to make it.  The UK is a country crippled by debt - to which Brexit and the pandemic has clearly put definite and some think 'final' paid.  Support for all of the arts / cultures are at the moment unquestionably struggling.  It is also a country of very limited significant exposure to many major 'balletic' creations from the 20th - let alone the 21st - Century.  (Think Balanchine, think Robbins, think Neumeier, think Ratmansky, think Peck, etc., etc., etc.)  With the wars currently going on this has become - indeed as it has in NYC - even more restrictive for very practical/understandable reasons.  There is no question but that London has become ever more conservative in its creative define IN THE BALLETIC regard.  It is, I suppose, THAT which Spalding is responding to  ... but then - in significant part - it is THAT which Spalding himself is in part responsible for.   He has, again in part and certainly in tandem with current and 'balletic' leaders of the recent past in the UK, created the very risk he will think he is shielding from.  Depending on your view point it is the British audience's loss or gain.  The British punters - those that attend the programmes at the Wells - (and clearly Spalding can see it has now done relatively well in this small venue) - will be able to make up their minds for themselves.  Those who remain hungry - and I know they are in number out there - can - like me - choose to come to State Theater and - on the good nights - of which there are oh, so many - revel in the NYCB feast.  They will have to save, of course, and that is progressively difficult.  Taxes in the UK are now higher than they have been since the end of the last World War.  Still, it could be worse - blessedly they HAVE that choice thanks to NYCB.  It does not only survive, but strive and thrive.  Long may it do so.    Those who celebrate McGregor and MacMillan (and you certainly would NOT want to see NYCB do these - can you imagine????) - now have every reason to run to London.  There is certainly value there.  I can attest to that.  Moreover, they will find it cheap at the cost - certainly theatrically speaking  - compared to NYC.  It is - globally speaking - respectively - a buyer's market.  

 

 

Edited February 23 by meunier fan

[BalanchineFan]

Thank you so much @meunier fan for your insight into the programming. I'm glad there is someone in London who wants to see these ballets, someone who (doubtless) chose this program as what they wanted to present. I hope Sadler's Wells recoups its money this time. They certainly have a chance bringing fewer than 20 dancers and just a handful of musicians.

 

[NinaFan]

5 hours ago, California said:

As others are noting, terrible program! If Londoners want to see Balanchine at its best, this isn't it! Hard to explain, especially after their visits to Spain and Paris. Are they thinking they want to say: "we can do more than Balanchine," much as Royal Danish seems to say, "we can do more than Bournonville." Fine. Do that at home. The world wants to see the choreography that these companies do better than anybody on the planet -- their schools, their training, their heritage. 

Ditto!!!!!!!!! I did a double take when I looked at the program.  What a let down.

Edited February 23 by NinaFan

[Fernie M]

4 hours ago, NinaFan said:

Ditto!!!!!!!!! I did a double take when I looked at the program.  What a let down.

Totally agree! I’m going to be in London during this time, I was so looking forward to seeing NYCB. But this program is such a dud. I really hate to say this, but no desire to see this program.

[Kathleen O'Connell]

22 hours ago, vipa said:

What are they thinking? 

Probably budget.

That being said, I happen to like every single work on the program and would cheerfully trot on uptown to The Theater Formerly Known as State to see it. 

[BalanchineFan]

I'd be happy to see that program, as well. I wonder if Daniel Ulbricht will do Rotunda. He was so fabulous! Seeing his performance deepened the way I experienced the ballet. Londoners should get a chance to see him. 

And I wonder who'll do Duo Concertante. Will they get a debut before NYC?

Edited February 24 by BalanchineFan

[abatt]

Solitude was mind blowing.  Ratmansky has made some excellent work over the years, but this work is his deepest reflection on humanity.  A masterpiece.

Gordon's performance in this is the best I have ever seen him..  Surely we already knew he is a technical whiz, but Ratmansky has pulled out of him a charismatic presence that I have not previously seen in him.  The depth and meaning here does not come from overt emoting and making faces.  Rather it comes from the choreography itself.  Every position was fully stretched, and his phrasing was seamless.  He danced with a sense of urgency.  I need to go back a few more times to figure out exactly how Nadon fits into this story.  She danced brilliantly, as usual.  Solitude is  Ratmansky's most personal and deepest  work of art.   May it live on in the NYCB rep for a long, long time.

I thought Phelan's performance in Opus was quite good.  This role suits her.  I was less impressed wtih Stanley, whose energy sometimes flagged.  With memories of Boal and Woetzel in this role, Stanley's performance just didn't make an impact.  

Tiler Peck was back and looking good in Symphony in 3 Movements.  Agree that Erica P. is looking underpowered these days.  More Mabie please..

 

 

 

Edited February 24 by abatt

[abatt]

I hope when Solitude returns it is shown on the same program with Pavane.  

[uptowner]

Solitude was stunning. 

[BalanchineFan]

On 2/24/2024 at 7:37 AM, uptowner said:

Solitude was stunning. 

I love that ballet. I got tickets to see it a second time this winter. Is there any indication why Joseph Gordon isn't doing more performances? I think he and Adrian Danchig-Waring were always sharing the leading role, but now I think Adrian has all the remaining performances.

[Thank you @abatt for the correction. I'm wrong about the casting.]

Edited February 26 by BalanchineFan

[abatt]

39 minutes ago, BalanchineFan said:

I love that ballet. I got tickets to see it a second time this winter. Is there any indication why Joseph Gordon isn't doing more performances? I think he and Adrian Danchig-Waring were always sharing the leading role, but now I think Adrian has all the remaining performances.

Gordon is doing the ballet at tomorrow's matinee.  So Gordon and Adrian DW each have three performances in total. 

Edited February 24 by abatt

[Kathleen O'Connell]

14 hours ago, BalanchineFan said:

I wonder if Daniel Ulbricht will do Rotunda. He was so fabulous!

He was! At the performance I saw he poured everything and more into the role, and, kudos to Peck, it was capacious enough to hold it all. He danced De Luz's role in Odesa at the same performance, and was magnificent. I hope the company will give us more of this Ulbricht and lets him hand the jester roles off to the next generation. Not that he can't do those roles justice, but the current level of artistry in his dancing is too rich to be limited to them.

[abatt]

While I was watching Gordon do his solo in Solitude last night, a memory of an article I read about him several years ago came into my mind.  It was an article that recounted how his father died when Gordon was 9, and his mother died when he was 22.  Everyone suffers loss, but in a way I think his life experience informed his dancing in this role.  Any thoughts?

 

It will be interesting to see what Adrian does with this role.

[Marta]

Here's that interview of Gordon abatt mentioned:

https://www.nytimes.com/2020/01/22/arts/dance/joseph-gordon-new-york-city-ballet.html?unlocked_article_code=1.X00.-b0d.a0G7i3fXp-Sr&smid=url-share

[Peg]

And here’s the link to Amanpour’s interview with Ratmansky this week.  It contains a clip of Solitude. 
https://www.cnn.com/videos/tv/2024/02/21/alexei-ratmansky-amanpour-solitude-ballet.cnn

[MarzipanShepherdess]

Was able to get a last minute ticket to yesterday's opus 19/solitude/symphony in three movements program, to my delight.

Solitude is such a rich, powerful, layered work: I know it will reward repeat viewings. Bummed it's not coming back in the spring, fingers crossed for the fall! The whole cast was excellent, especially Joe Gordon who was searching, solemn, heart-broken yet not crushed, and Sara who was radiant and expansive, a Dark Angel with more tender shadings. Mira and KJ also stood out, their dancing adding some lift to contrast with the aching solos by Joe Gordon. Thinking of the dedication to the children of Ukraine in the program, I interpreted their roles as being child-like, in the way they whirled and leapt and hopped around, each paired with a kind of guardian dancer who often manipulated their body, catching them and pulling them back as they leapt away as a worried parent might with a child. The still form of the dancer playing the dead child felt all the more chilling with this contrast. I thought the piece ending as it had began, with Joe Gordon kneeling beside Theo Rocios (the student dancing the dead child) was so moving: though I felt there was something of hope in Gordon's final solo, Ratmansky ultimately reminds that this individual and international grief for those lost in the war will endure.

Enjoyed Unity more in Opus 19 than anything else I've seen her in this season. The Dreamer is a perfect role for Taylor Stanley, who always registers as a dancer with great emotional depth, and here movingly conveyed the Dreamer's interiority. I find this to be a really interesting ballet as danced by Stanley: their Dreamer is playful yet narcissistic, even to the point of being casually cruel in how they pick up and drop the female lead as their attention flickers elsewhere. At the end, both dancers appear to be falling asleep with their head cradled by the other's palm. Is Stanley dreaming Phelan the whole time, or is she "real" and seduced by the Dreamer into joining his dreams? Fun ballet.

Symphony in Three Movements is always a ballet I enjoy. Gabriel and Mabie stood out, with presence and refinement beyond their years, and Isabella ate up her role with lots of big dancing and attack. She's SO good in the Balanchine leotard ballets. Tiler is just indefatigable, one would never know she was just back from an injury. Erica Pereira seemed an odd casting choice and did not seem at ease.

[sohalia]

On 2/22/2024 at 11:16 PM, susanger said:

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/

Thank you, I had missed that. Too tight on my schedule and, as many others have said, the program really is disappointing. Even if I could have made it work, I don't think I'd have spent money to travel to London for these ballets. I'd rather fly to NYC at this point!

Edited February 24 by sohalia

[matilda]

Saw the matinee today. Thought Ratmansky's Solitude was brilliant and moving, exploring the stages of grief from denial to acceptance against a larger backdrop of unfathomable human tragedy. I did not see Gordon in this so I have nothing to compare Adrian DW's performance to, but his performance was emotional, technically secure. The whole cast was amazing but Nadon as usual was an absolute standout with her signature volume and attack. 

In Opus 19: This ended up being an interesting and appropriate complement to Solitude, both ballets being solemn and focused on the emotional / psychological state of a lead male. Gordon is a first-class artist in this and brought extra virtuosity with beautifully controlled turns. Peck was somewhat more earthbound than ethereal but I will never complain about her casting in anything! She definitely brought speed and drama. 

Symphony in 3 Movements: This is one ballet where I was disappointed to not be seeing Peck, but Ashley Laracey, though not an obvious fit for this role, was better than I expected, or at least better than when I saw her fill in for Hyltin a few years ago. Her skills and style are more suited to the bendy pas de deux than the first and last sections. Stanley, Von Enck, Gerrity, Takahashi, and (to a lesser extent) Villarini-Velez brought the necessary attack, and the corps was in good form. This is one of my "desert island" ballets no matter who's cast and I can't get enough of it. 

Edited February 24 by matilda

[deanofdance]

A few thoughts on last night’s performance:

Due to how my subscriptions worked out — I was seeing this program for the 3rd time — and I hadn’t really enjoyed the first 2 times — but there are worse things in life then sitting through a so-so NYCB performance.  Of course, I was hoping that the third time would be the charm…

1) Concerto for 2 Pianos — And charm it was!  What a difference a new cast makes — this was a different ballet — for me, Gilbert and Miriam are the most exciting pair in the company right now — there’s an electric current running between them — dancing together they’re turbo charged, crackling with energy.  Crackling along with them is David Gabriel — there was a sweet connection between David and Gilbert — are the 3 of them a throuple? (Kidding!) — but how this trio can light up the ballet stage!  I only noticed David recently, but each time I see a new dance quality to admire — he just keeps on getting better.  This time it was his musicality — musical and technical — could he be the male version of a Tiler Peck?  And seeing Olivia Bell and Emma dance together just made me smile with glee!  
 

Edited February 25 by deanofdance

[BalanchineFan]

2 hours ago, deanofdance said:

Due to how my subscriptions worked out — I was seeing this program for the 3rd time

Do you realize that you can exchange subscription tickets for other dates? I believe we have up until 24 hour prior to the original performance. You could even choose a spring performance or take a credit for next year. 

NYCB subscriptions have excellent perks. Any additional single ticket purchases are also cheaper and you avoid a fee of $8/ticket. 

While I was overjoyed to see the 4T-Liebeslieder program three times this winter, I know that approach is not favored by some. 

Edited February 25 by BalanchineFan

[Kathleen O'Connell]

32 minutes ago, BalanchineFan said:

Do you realize that you can exchange subscription tickets for other dates? I believe we have up until 24 hour prior to the original performance. You could even choose a spring performance or take a credit for next year. 

I exchange my subscription tickets so often I think I've sat in my subscribed seats at the subscription program about three times in the past decade. 

[deanofdance]

Yes, @BalanchineFan — I do exchange subscription tickets — or else I would be seeing Midsummer Nights Dream five times!  And I count myself very fortunate to go to NYCB so often — so never a complaint from me — just my way of saying that this program was disappointing at first (and second) viewing.  But thank you for the tip — appreciate it.