2023-2024 Season

[bellawood]

Just back from the matinee --

Debuts in Opus 19 for Alexa Maxwell and Anthony Huxley. To me, this part belongs to Joseph Gordon right now. He embraces both the classical parts and the weirdness in the choreography. Anthony Huxley came off a little paint-by-numbers in this one. He's going to need a moment to relax into it. Alexa Maxwell was very good in her debut. She gets a bunch of what I would consider "Sterling" rep -- but Sterling's stage persona was quite different than Alexa's. Sterling was IN CONTROL. She was sometimes playful, sometimes imperious, but always at a slight remove. It was impressive to watch if sometimes chilly. Alexa is much more vulnerable on stage. It serves her well in Opus. However, with Huxley's natural reserve, it felt like a casting mismatch. 

Solitude was devastating. I cried. I'll need several viewings for a more academic analysis of this ballet. As usual, Mira stood out. My only quibble is why was Indiana Woodward in this ballet? Sometimes, the talent pool is so big at City Ballet dancers are used because they can. She was a principal in a soloist part, and there were soloists in corps roles. 

Symphony in 3 was crisper than I think it was earlier in the run. The searchlights looked great. Jules Mabie has been the lucky winner of Jovani Furlan's rep this season and he continues to live up to it, but the clear "who are you?!" sweepstakes winner is David Gabriel. He's made a major impression this season. The women were Isabella LaFreniere, who was terrific in the 3rd principal role, Tiler, who is Tiler Peck, and Erica Pereira, who was fine in this role she's done many times. 

 

 

[volcanohunter]

Brief and belated impressions of week 4. I first saw Rotunda in October 2021. I didn’t like it then, and I don’t like it now. The circular images are trite. I hate the music. I don’t think any cast could save it for me.

I did enjoy Concerto for Two Pianos. (Love Poulenc's music.) Perhaps the choreographic vocabulary wasn’t spectacularly original. Tiler Peck’s choreography for the central male seemed a little derivative of Hans van Manen, and the references to Spanish dancing each time castanets appeared in the score were a bit obvious. But I appreciated that the ballet was direct, joyful and unpretentious. Roman Mejia was brilliant, Mira Nadon was ravishing, and Emma Von Enck was dazzling.

I hadn’t seen Odesa before and thought that the choreography was strikingly original and that Leonid Desyatnikov’s music was gorgeous. It was odd to see Joseph Gordon in the role of an abusive gangster, but I have to say I particularly admired Andrew Veyette and Tyler Angle, not just as partners, but as solo dancers. And full points to Von Enck for performing fouettés en dedans and en dehors.

I’ve seen Opus 19/The Dreamer a lot over the years and am puzzled by the ballet’s longevity. For me, in any case, it’s aged badly, and on a program with ballets by Ratmansky and Balanchine, the choreography looked almost simplistic. Taylor Stanley danced it beautifully, and Unity Phelan was very fine, but I think the ballet’s central position in the company’s repertoire should be reevaluated.

Alexei Ratmansky’s Solitude was immensely powerful. I was glad when Gia Kourlas’ review appeared the following day, because I could not have described or analyzed the choreography. But at every point it was interesting and layered and meaningful. I think we are seeing a new Ratmansky, who is more overtly personal and emotional. But he also steered clear of melodrama and spreading his guts all over the place, and the ballet is more powerful for it. Nadon tore up the stage with the amplitude of her dancing, and Gordon was both affecting and dignified in what was an incredibly long and taxing solo. I can only sympathize with Felix Valedon, who didn't get to dance the boy in the premiere, and also Theo Rochios, who did dance the part, but whose name wasn't printed in the program for the world premiere. No doubt that would have been a wonderful keepsake.

Symphony in Three Movements is a favorite, although initially the dancing seemed a little underpowered. I did enjoy Isabella LaFreniere’s uninhibited energy – I always do, and I am a long-time fan of Adrian Danchig-Waring, whose dancing I find genuinely interesting, as well as having amplitude and clarity. I was only sorry that this and Rotunda were the only ballets I saw him dance. I would have liked to see him in Solitude.

The Four Temperaments is among my very favorite ballets. For the most part, the themes were danced less than incisively, particularly the second theme on February 18th. Jules Mabie made a fine debut as Melancholic, but there’s still a way to go to reach Anthony Huxley’s stellar standard. Alston Macgill absolutely devoured the choreography. In Sanguinic, I liked Peter Walker better than his partner. Davide Riccardo’s debut as Phelgmatic was excellent, particularly in his second performance. I would just say that toward the end of the variation, when he performed a sequence of very high à la secondes, the rond de jambe was sacrificed in the process, and structurally it is more fundamental to the choreography than the extension. Nadon as Choleric was sensational, approaching goddess standard.

I love Liebeslieder Walzer unequivocally, except, in this instance, the screechy soprano and wobbly mezzo. I enjoyed all the dancers. I think I liked LaFreniere more than others did, because I thought she caught the bend and lilt of the movement, and Sara Mearns somewhat less than others, because I thought her dancing verged on the inelegant. I would not have guessed that Indiana Woodward, Preston Chamblee and Veyette (can that really be?) were making debuts.

I hadn’t seen Copland Dance Episodes before and thought it was terrific: engaging, inventive, bracing. I guess the thing with Justin Peck is that I have to like the music he selected. When it’s Copland or Martinů, I’m thrilled. Otherwise, his musical choices are a real obstacle for me. Among the dancers I particularly enjoyed the trio of Megan Fairchild, Ashley Laracey and Von Enck, and I thought that Miriam Miller held her own as the central woman.

In Ballo della Regina Fairchild was admirable, although in terms of style and panache she was outdone by partner Gordon, and I am always a bit disappointed when the ballerina doesn’t perform fouettés en dedans at the end. But it’s a great piece, danced well by everyone, especially Mary Thomas MacKinnon.

Edited February 26 by volcanohunter

[Balanchinomane]

Solitude is a masterpiece. The London audience would love it as well, but I guess renting a full orchestra is cost prohibitive.

[BalanchineFan]

1 hour ago, bellawood said:

My only quibble is why was Indiana Woodward in this ballet? Sometimes, the talent pool is so big at City Ballet dancers are used because they can. She was a principal in a soloist part, and there were soloists in corps roles. 

It's not a criticism of Solitute, but is definitely a ballet where the few corps couples fade into the background. They do beautiful movement, they make fabulous shapes on the floor, in canon, in the air, etc, (inventive, angular shapes and partnering) but really the drama is with the three or four main characters and  the boy. There is a lot to decipher with those four people so Ratmanksy uses the other dancers more as a unit. I didn't notice Hod, Laracey or Woodward much as individuals. Plus it's darkly lit. It's a great choice, actually, quite bold.

I bet all the dancers wanted to be in the studio with him. Though, IIRC, Tiler Peck said she bowed out of this ballet to focus on her own choreography.

[abatt]

Interestingly, a friend accompanied me to see Solitude with Adrian DW in the lead on Sat afternoon.  Her reaction was that the emotional resonance of Solitude comes  solely from the music.  She was unmoved by the performance/choreography.  Different strokes...

While Adrian DW was not as persuasive in the lead role as Joe Gordon, I thought he gave a good performance.  

Personally, I think you would have to be made of stone not to be moved by this ballet, no matter who is dancing.  

 

Agree with the comment above that Joe Gordon is now the best of the interpreters of Opus 19.  

I liked Maxwell in today's matinee of Opus.  Huxley is an introverted dancer, and I think he may need more time in this role of the Dreamer. 

Edited February 26 by abatt

[BalanchineFan]

10 hours ago, abatt said:

Interestingly, a friend accompanied me to see Solitude with Adrian DW in the lead on Sat afternoon.  Her reaction was that the emotional resonance of Solitude comes  solely from the music.  She was unmoved by the performance/choreography.  Different strokes...

I’m not saying the music plays no part, but I don’t get that. Different strokes, indeed.  I found the visual images rich and so evocative of what our minds do after death and loss. Not to mention the wonderfully inventive dancing. 

[cobweb]

I was also at yesterday's matinee (Opus 19 /The Dreamer-Solitude-Symphony in 3).

I found Solitude extremely moving and the dancers clearly love it, it was a very heartfelt performance. I am not sure it's a masterpiece, only time will tell, but it is obviously the work of a sophisticated choreographer who has ideas and knows how to put them into motion. It is great to see how much attention this piece is getting, like seeing Ratmansky interviewed by Christiane Amanpour!

I enjoyed Alexa Maxwell in Opus 19 /The Dreamer. She has a very compelling, dramatic presence and conveys intense commitment to what she is doing. Anthony Huxley was beautiful, but inscrutable (arguably, that's what the role is supposed to be? not sure). I don't mind seeing this a few more times. But Mr. cobweb, a retired musician, felt that Robbins badly misunderstood the music and that the choreography was trite. 

It was fun to see Symphony in 3 Movements, seems like it's been quite awhile since I saw this. Both David Gabriel and Jules Mabie looked good in their big new roles, but Gabriel especially looked confident as could be. I can't wait to see him in Ballo della Regina! 

[meunier fan]

Casting is now out for NYCB in London - 

https://sadlers-wells-assets.s3.amazonaws.com/uploads/2024/02/NYCB-Casting_Sadlers-Wells_March-7-10-2024.pdf

Glad to see it's either Danny or Roman for the final solo/lunge in Rotunda ... and good casting for Duo.  Tiler, Roman and Stanley are in for Love Letter - with Stanley doing double duty where he does Duo Concertant with Woodward.  

Why take the ravishing Mira Nadon ALL that way merely to hide her in Gustave???? 

Edited February 26 by meunier fan

[BalanchineFan]

2 hours ago, meunier fan said:

Casting is now out for NYCB in London - 

https://sadlers-wells-assets.s3.amazonaws.com/uploads/2024/02/NYCB-Casting_Sadlers-Wells_March-7-10-2024.pdf

Why take the ravishing Mira Nadon ALL that way merely to hide her in Gustave???? 

It's NYCB, they always need understudies!

About 30 (is it 32?) dancers, six performances. Quick in and out.

The rest of Sadler's Wells programs look like they are slanted towards contemporary, Crystal Pite, James Kudelka and Emma Portner doing work for London City Ballet. Matthew Bourne's Swan Lake with the male swans. I can see why this is the program. Or programme, as the case may be. And ok, Kenneth MacMillan is in there somewhere.

If NYCB had been performing Year of the Rabbit (or another chamber cast Justin Peck ballet), I might have substituted that for Rotunda, but it all seems in keeping with SW's 2024 offerings.

If you had to choose a program for roughly 30 dancers, newer ballets, not too many musicians (is it just two?), what would you program? What would you want to see? If it had already been made a year ago when this was planned, I'd probably choose Solitude. Ratmansky's Voices is another option, but NYCB hasn't been rehearsing it.

[nanran3]

I needed some time to think about all that I saw on Saturday, matinee and evening performances.

Standouts were:

Solitude, oh my gosh.! I cried, so moving and chilling. Danced absolutely beautifully, especially by Mira Nadon and Adrian Danchig-Waring. Sara Mearns seemed more tentative than I have seen her. I have always been a huge fan, but found myself watching Mira much more.

Loved Tiler Peck's new piece and I was really wowed by both David Gabriel (who is he, wow!) and Olivia Bell. She was marvelous next to the stunning and precise Emma Von Enck.

Symphony in Three Movements: Predictably Emma Von Enck was marvelous and visually striking. Ashley Laracey was elegant in the pas de deux, but not very precise or strong in the faster movements. I remember really enjoying Sterling Hyltin in this role and, of course, Tiler Peck.

I love Opus 19 and Tiler was beautiful in this. Also Joseph Gordon had lush lines, precise and beautiful positions.

I don't enjoy Rotunda. I find Justin Peck's solo and duet work jolting and not interesting, too much movement without anything really there. The dancers seem to be constantly changing direction and the movement isn't able to breathe. His work sometimes seems clever but lacking in depth. 

A great full day at the ballet. The company looks fantastic. Lots of new young talent.

 

Edited February 27 by nanran3

[deanofdance]

My 2 cents for the London casting  — they should cast Mira in Duo Concertant with Gilbert.  Or Preston.  Or Davide.   I do like to think that Duo Concertant has a hidden grandeur built in it — that the smaller framed ballerinas can’t quite attain.   And to see her face spotlit at the end — Drama!

 

Edited February 28 by deanofdance

[BalanchineFan]

11 hours ago, nanran3 said:

Symphony in Three Movements:  I remember really enjoying Sterling Hyltin in this role

I LOVED Sterling Hyltin in Symphony in Three Movements! I think she's the first dancer I saw in that role.

[BalanchineFan]

 

My favorite Peck duet. this is the original Sufjan Stevens music  

https://m.facebook.com/nycballet/videos/flash-footage-russell-janzen-and-maria-kowroski-in-justin-pecks-everywhere-we-go/501067244130489/

 

Edited February 28 by BalanchineFan

[Royal Blue]

There is disagreement, certainly, about the merit of the piece by Robbins in the program. Ratmansky's new work is dark and bleak, but one understands that to be the case from the comments made. For the vast majority of those who love New York City Ballet, the ballet by Balanchine hardly needs defending. From my perspective, a program consisting of Opus 19/The Dreamer, Solitude, and Symphony in Three Movements is simply brilliant!

With one exception (I like to watch Alexa Maxwell dance when she is scheduled to do so, not when she replaces Tiler Peck), the casting for this program on Tuesday evening was fabulous.

It is occasionally and properly observed in this forum that for anyone truly intrigued by ballet the experience of watching it live is indispensable. An essential corollary of this is that nothing can replace knowing the dancers and repertoire of a company very well, in order to decide for oneself who and what to splurge for whenever it is possible and necessary.

[abatt]

Just curious.  How was the "second cast" that debuted in Solitude on Tuesday, featuring LaFreniere and Phelan in the secondary roles.

 

added - Since Tiler Peck was removed from the cast in Opus on Tuesday, I wonder if she will actually appear this weekend in Stars & Stripes and Tschai Pas.  If anyone looks at the casting sheet in the lobby please let us know of any additional cast changes.  Thanks. 

Edited February 28 by abatt

[Royal Blue]

11 minutes ago, abatt said:

Just curious.  How was the "second cast" that debuted in Solitude on Tuesday, featuring LaFreniere and Phelan in the secondary roles

For me, as I implied, Isabella LaFreniere and Unity Phelan were fabulous. (Incidentally, the gravity of LaFreniere's expression at one point was so extraordinarily impressive and moving as to make me wonder who I was watching.) Of course, I would have liked to see the first cast with Mira Nadon and Sara Mearns in these roles also. As you pointed out above, however, this is a ballet that should work with all these dancers anyway.

[Jacqueline]

46 minutes ago, abatt said:

Just curious.  How was the "second cast" that debuted in Solitude on Tuesday, featuring LaFreniere and Phelan in the secondary roles.

 

added - Since Tiler Peck was removed from the cast in Opus on Tuesday, I wonder if she will actually appear this weekend in Stars & Stripes and Tschai Pas.  If anyone looks at the casting sheet in the lobby please let us know of any additional cast changes.  Thanks. 

abatt, just saw on the online casting sheet that Mira Nadon is replacing Tiler Peck in Stars & Stripes at the Saturday matinee.  However, it looks like as of now she is still schedulued for Tschai Pas on Friday night.

[abatt]

1 minute ago, Jacqueline said:

abatt, just saw on the online casting sheet that Mira Nadon is replacing Tiler Peck in Stars & Stripes at the Saturday matinee.  However, it looks like as of now she is still schedulued for Tschai Pas on Friday night.

Thanks for the update.   I suspect the Tschai pas cast may also eventually change. 

[nysusan]

44 minutes ago, abatt said:

Just curious.  How was the "second cast" that debuted in Solitude on Tuesday, featuring LaFreniere and Phelan in the secondary roles.

 

Solitude was still very moving however I found the 2nd cast to be far inferior to the 1st cast. Not Danchig-Waring, he was different from Gordon but still very good both technically and emotionally. The big difference was Nadon/Mearns vs LaFreniere/Phelan with the latter bringing little beyond the steps to their roles. Nor was Veyette Chan's equal as a partner.

 

Mearns' breadth of movement gave the sense of being a benevolent angel, adding greatly to the piece. Nadon was wonderful, the way she gobbles up space and displaces air her every move conveyed intent. Neither LaFreniere nor Phelan had that kind of impact. As an example, there is a moment when Nadon is thrown high & far by her partner & caught by 2 other men. With Nadon it was a startling, gasp inducing moment. With LaFreniere you hardly noticed it.

 

The rest of the cast was fine, Von Enck looked great as always but that is such a small role.

[Fernie M]

8 minutes ago, Jacqueline said:

abatt, just saw on the online casting sheet that Mira Nadon is replacing Tiler Peck in Stars & Stripes at the Saturday matinee.  However, it looks like as of now she is still schedulued for Tschai Pas on Friday night.

Is Roman Mejia replaced?

[Jacqueline]

Honestly, I have mixed feelings.  I am flying in from Texas for the weekend and was so looking forward to the Saturday p.m. power pas de deux  Can't believe Tiler would just have been debuting it.  I can't be unhappy for the chance to see Mira Nadon as Liberty Bell, or in any role, period.  But I seem to recall that many here thought, after she debuted the role earlier, that she needed to grow into it a bit?  Maybe that has happened, or will!   In any case, looking forward to seeing tomorrow night's performance and both shows on Saturday.  I didn't buy a ticket for Friday but would be sorely tempted to do so if Tiler and Roman were still dancing Tschai Pas.

 

[vipa]

Just got in from tonight's show. Can't say much about Opus 19/Dreamer. I don't hate it, but always found it a weak piece. 

I agree with the prevailing opinion that Ratmansky's Solitude is a masterful work. The Mahler music is deeply emotional and filled with tension, and Ratmansky's choreography matches its power. I didn't see the first cast, so I can't compare but I loved everyone in this cast. Danching-Waring gave a mature, dramatically true and beautifully danced performance. The whole cast seemed fully committed to the work. Ratmansky's use of groupings, lighting and choreographic themes come together  to make a moving and beautiful work. I. hope to see it many more times. 

Symphony in Three is alway a joy. I could quibble that things could be a bit sharper here or bigger there, but over all it was well danced by Laracey/Stanley (pas), Emma Von Enck/KJ Takahashi, Gerrity/Villarini-Velez. It's nice to see Emma VE getting so much stage time. 

Edited February 29 by vipa

[pirouette]

Hi all, I've made yet another chart (this time for the Winter 2024 Season) detailing: 

• Times Danced: The number of times a dancer danced IN TOTAL (per the casting sheet as of 2/28/24).
• Roles Danced: The number of roles a dancer danced in (for example, if Nadon danced in The Concert and Solitude, that would count as 2 roles)
• Debuts: The number of debut roles a dancer had (for example, Maxwell in Opus 19/The Dreamer would count as 1 debut). I counted "NYCB Debuts" as a debut. 

As always, please keep in mind that it's not perfect and there are probably a few human errors in there somewhere. I just thought it would be interesting to see the stats, especially since there has been conversation recently about who might be on track for a promotion. 

Here's the link for anyone who's interested: https://drive.google.com/file/d/14ubs-DzggnKCrovbCDw3pqIChxma4Ql3/view?usp=sharing

Some of my own personal thoughts: 

• It's disappointing to see that Emily Kikta only danced four times in the entire season (4T's and Stars & Stripes if I'm not mistaken). I wonder what's going on there. I know issues about height have been discussed upthread, but for reference, she danced 15 times in 7 roles in Fall 2023.  
• As expected, Phelan danced the most, but it's amazing to see how much Maxwell and Von Enck danced this season!! 
• Seeing the numbers among the corps — Alec Knight and David Gabriel have certainly had an impressive season!

Would love to hear everyone else's thoughts!  

[deanofdance]

Just a few thoughts on tonight’s perfromance — well, both Tuesdays and tonight’s performance — I saw both nights:
1) Opus 19/Dreamer — never been much of a fan of Robbins work for NYCB — seeing his ballets this season, I’ve realized that they are becoming increasingly dated and lacking in musicality.  The more times I see his pieces, the more my eyes glaze over.  The one piece I do (relatively) like is “Fancy Free” — as that is more of a “Broadway” piece, where his talent lies.  But this piece comes across as over reaching and a very pale copy of Balanchine.  

2) Solitude — I don’t think I’ve heard such beautiful music for a ballet — it’s haunting and emotional.  That being said, I spent the bulk of the time watching this ballet thinking that I wished the young boy wasn’t in the piece — and could this ballet work without that literal image of a young boy  lying dead on the stage?  The music was so beautiful, the choreography was wonderful (a back to form Ratmansky — I mean, I saw “Whipped Cream” — not great…) — but couldn’t help thinking that “Solitude” would be better without the boy.   Even with the boy, it’s a strong piece — but who wants to feel manipulated into liking a piece —or deterred from saying they don’t like a piece — because of the sentimental atmosphere of a father losing a young son to war/invasion?  Especially when both father and son dancers come out to take a bow together at the end.  
3] Symphony in Three Movements — Who else but Balanchine could have put this magic of a ballet together?  The more I see these black and white ballets (well, with shades of pink), the more I love them (the enchanted realms of Balanchine).  Last season it was Agon, this season it’s 4 T’s and Symphony in 3 Movements — it’s like seeing magic on stage — who else could have dreamt this choreography into being?  

Edited March 1 by deanofdance

[NinaFan]

17 hours ago, Fernie M said:

Is Roman Mejia replaced?

NYCB posted the revised casting sheet online, and it still shows Mejia for Sat mat