2023-2024 Season

[Susu_nyc]

On 3/10/2024 at 12:20 PM, Fleurfairy said:

Stafford would love it over at ABT where debuts and promotions happen at a glacial pace. 

I'm curious how and when contract renewals happen for Stafford and Whelan.  They were both appointed in 2019.  How long are contracts?  I feel like Stafford was a fine stopgap measure for a tumultuous period of crisis at NYCB - both Martins' departure and covid - but I'm not excited about him at the helm for another five years.  He stabilized the company and paved the way for a successful 75th anniversary, but I don't believe he has the vision to define the company's next chapter.  

[abatt]

Stafford was selected by Martins to be his successor, and shadowed Martins for a substantial period of time before the blowup that lead to Martins' unanticipated early exit from the company.  It seems that being selected by your predecessor holds a lot of sway at this company, since that is how Martins got his job in the first place. 

I agree that Stafford seems to have no vision and no new ideas.  Is there any innovation that was created by Stafford?   I can't think of a single one.  I guess theoretically he can get credit for hiring Ratmansky as choreographer in residence, but that was exactly what Martins tried to do but failed because Ratmansky went to ABT.   It was a matter of luck that Ratmansky decided to part ways with ABT, and I suspect Whelan had quite a bit to do with Ratmansky's new relationship with NYCB.

[dirac]

On 3/11/2024 at 3:43 PM, Kathleen O'Connell said:

But Balanchine did slow promotions,too—Merrill Ashley's, for example. And, as Ashley points out in her memoir, he let his ballerinas keep their roles even when an up-and-comer—which Ashley was at the time—demonstrated that they could more than handle a role a senior dancer had lain claim to. (In this particular case, Square Dance. "Is Kay's ballet" Balanchine told Ashley when she asked if she could dance it again after subbing for Mazzo.)

I gathered from the book that to some extent Ashley's promotion was slow because she was a slow(er) developer.  I think she also mentioned that as she was rising her rival Colleen Neary was struggling, and Balanchine may have delayed her promotion so as not to demoralize Neary until he was certain Neary wasn't going to bounce back.

He did tell Ashley initially that it was Mazzo's role, but soon after Mazzo was out again and Ashley was cast, and thereafter they shared the ballet.

(Not disagreeing with your general points, I should note.)

And of course when he was ready to show you the door he didn't hesitate to take roles away. For Violette Verdy the last straw was when he gave "Emeralds" to Christine Redpath, explaining that Redpath didn't have enough to dance.....

[BalanchineFan]

On 3/13/2024 at 9:12 PM, Susu_nyc said:

I'm curious how and when contract renewals happen for Stafford and Whelan.  They were both appointed in 2019.  How long are contracts?  I feel like Stafford was a fine stopgap measure for a tumultuous period of crisis at NYCB - both Martins' departure and covid - but I'm not excited about him at the helm for another five years.  He stabilized the company and paved the way for a successful 75th anniversary, but I don't believe he has the vision to define the company's next chapter.  

I love what Stafford and Whelan are doing at NYCB. There was such excitement this winter with the rep and the casting, moving younger dancers into principal roles.

Judging from the past, NYCB keeps artistic management forever (they have never fired an AD, not even Martins) and since it took two years to come up with the Stafford-Whelan combo, I don't see them changing unless Jonathan or Wendy kill someone on Fifth Avenue. They have just, just stabilized and are positioned to recover from the pandemic.

It was interesting to see NYCB's plans to perform with a smaller group in London. In ABT's announcement of their new Executive Director, Barry Hughson, they said that their company was too large to tour as it used to. Or that's how I understood the following, from the NY Times:

he hopes to re-examine the company’s touring model, long Ballet Theater’s lifeblood, so that tours can be “artistically vibrant but also economically viable.”

NYCB seems to be leading the way in that respect.

Stafford and Whelan came up with the Digital Seasons that we all watched during the pandemic. They had to negotiate with the unions to do them. Those were a huge hit and imo, contributed to NYCB's bounce back when theaters reopened. I've always imagined that Whelan was the visionary between the two of them, and that Stafford was the one to keep the Balanchine/Robbins rep, and the pathway from SAB to NYCB humming. I've seen him teach Advanced Partnering at SAB and never seen her teach there (not that she needs more to do).

Also interesting that ABT feels the need to have two people doing the Executive jobs. That NY Times announcement is a marvel in not ruffling any feathers and in giving everyone (Jaffe, Rollé) their due.

Edited March 16 by BalanchineFan

[BalanchineFan]

On 3/14/2024 at 8:45 PM, dirac said:

I think she also mentioned that as she was rising her rival Colleen Neary was struggling, and Balanchine may have delayed her promotion so as not to demoralize Neary until he was certain Neary wasn't going to bounce back.

Yes, Merrill Ashley thought that. It doesn't mean it was true. I think he didn't promote her because he didn't feel she was ready. The transformation that happened when she started to relax onstage and respond to the music was MAJOR.

[uptowner]

2 hours ago, BalanchineFan said:

 

Also interesting that ABT feels the need to have two people doing the Executive jobs. That NY Times announcement is a marvel in not ruffling any feathers and in giving everyone (Jaffe, Rollé) their due.

Its typical to have an executive director and an artistic director (New York City Ballet has that structure too, as do the other large companies I've looked at). Or do they have two executive directors at ABT?  

[volcanohunter]

2 hours ago, BalanchineFan said:

It was interesting to see NYCB's plans to perform with a smaller group in London. In ABT's announcement of their new Executive Director, Barry Hughson, they said that their company was too large to tour as it used to. Or that's how I understood the following, from the NY Times:

he hopes to re-examine the company’s touring model, long Ballet Theater’s lifeblood, so that tours can be “artistically vibrant but also economically viable.”

NYCB seems to be leading the way in that respect.

I imagine that from a logistical point of view NYCB tours have always been easier and less expensive to mount, given that they don't involve transporting big sets and multiple changes of elaborate costumes.

(I would also point out that Hughson's current company, the National Ballet of Canada, tours precious little, often just three performances annually in Ottawa, 280 miles from Toronto. I'm not saying he doesn't have experience planning tours, just that he hasn't overseen a lot of them over the past ten years.)

[BalanchineFan]

The NY Times article mentions that they considered having Jaffe continue in both Executive positions, but decided ultimately that it was too much for one person. That is what I was referring to. 

Edited March 18 by BalanchineFan

[FPF]

The NYT has a new "Speaking in Dance" on the solo from Ratmansky's Solitifude with Joseph Gordon. Hope this free link works:

https://www.nytimes.com/interactive/2024/03/25/arts/dance/nyc-ballet-ukraine-solo.html?ugrp=m&unlocked_article_code=1.fk0.iJYv.NEgTrk_9l-_s&smid=url-share

I'm happy to have seen this since I haven't seen the ballet yet, but not a fan of this new format for Speaking In Dance where the dance is chopped up into individual clips rather than a single, continuous performance. I would also have preferred to see Gordon's entire body--there are a number of shots that cut off his legs. 

[Marta]

FPF said:

I'm happy to have seen this since I haven't seen the ballet yet, but not a fan of this new format for Speaking In Dance where the dance is chopped up into individual clips rather than a single, continuous performance. I would also have preferred to see Gordon's entire body--there are a number of shots that cut off his legs. 

Oh, so true.  I saw the ballet and loved it, but I lost patience when I realized it was chopped up that way.  Why??

[NinaFan]

21 hours ago, FPF said:

The NYT has a new "Speaking in Dance" on the solo from Ratmansky's Solitifude with Joseph Gordon. Hope this free link works:

https://www.nytimes.com/interactive/2024/03/25/arts/dance/nyc-ballet-ukraine-solo.html?ugrp=m&unlocked_article_code=1.fk0.iJYv.NEgTrk_9l-_s&smid=url-share

I'm happy to have seen this since I haven't seen the ballet yet, but not a fan of this new format for Speaking In Dance where the dance is chopped up into individual clips rather than a single, continuous performance. I would also have preferred to see Gordon's entire body--there are a number of shots that cut off his legs. 

Thank you for posting, but oh my goodness, I totally agree with you.  Why would they chop up the ballet into bits like that?   That's fine if you want to analyze and write an essay, but the interruptions destroy the continuity and make it impossible to enjoy the solo. 

[meunier fan]

Just wondering if anyone had heard of the date that the 2024/25 NYCB Season is to be announced.   Seems an expiring mind would love to know .... Fingers crossed it is not too much longer to wait now.  

[FPF]

2 hours ago, meunier fan said:

Just wondering if anyone had heard of the date that the 2024/25 NYCB Season is to be announced.   Seems an expiring mind would love to know .... Fingers crossed it is not too much longer to wait now.  

It looks like it's typically around April 15th, so I would guess that you don't have too much longer to wait.

[abatt]

I'm still waiting for the Kennedy Center to announce.  I hope they have some worthwhile ballet offerings.

It's Freaky Friday here in NYC.  Never experienced an earthquake before.  4.8 magnitude.   My building was shaking.

[volcanohunter]

2 hours ago, abatt said:

It's Freaky Friday here in NYC.  Never experienced an earthquake before.  4.8 magnitude.   My building was shaking.

Before I was born, my parents lived in San Francisco. My mother described being woken up at night by tremors. My first was the Northridge earthquake of 1994, which literally threw me out of bed. Having no frame of reference, I assumed this was the sort of thing my mother had experienced regularly and initially no idea how serious the quake really was.

The New National Theatre in Tokyo was the first theater in my experience (at least in English) that included instructions on what to do in the event of an earthquake as part of its pre-show announcement. (In fact there had been a tremor two days before.)

Edited April 5 by volcanohunter

[California]

9 hours ago, meunier fan said:

Just wondering if anyone had heard of the date that the 2024/25 NYCB Season is to be announced.   Seems an expiring mind would love to know .... Fingers crossed it is not too much longer to wait now.  

I looked back at this site a year ago. The full NYCB schedule was posted on April 17.

[meunier fan]

Thanks to California and FPF for your kind responses.  I will look forward to the potential of the coming weeks.  

[MarzipanShepherdess]

Ashley Bouder posted on Instagram stories that she'll be returning to the NYCB stage in the green dress role at Dances at a Gathering. She'll be in the 4/27 and 4/28 matinee casts. I'll be out of town but will look forward to hearing the impressions of anyone who catches those performances! She says she's rehearsing old parts, plural, so she must be cast in at least one other ballet this season.

EDIT: first week casting is up! KJ, Mira, Emma Von Enck continue to get a lot of debuts as in winter season. Nice to see Alston Macgill getting a debut in Dances at a Gathering along with David Gabriel. Aaron Sanz will be Mira's partner for the revived Errante.

Edited April 10 by MarzipanShepherdess
new information

[nanushka]

Phelan in the Brahms-Schoenberg gypsy rondo? Hmmm.

[susanger]

Why the name change of Tzigane to Errante?

From the NYC Ballet web site: "Originally titled Tzigane, after the name of Maurice Ravel’s rhapsodic score, this ballet will be revived for the first time in more than 30 years with a new name – Errante.  Choreographed by Balanchine for the legendary ballerina Suzanne Farrell for the 1975 Ravel Festival, Farrell will return to NYCB during the 75th Anniversary Season to stage the work for a new generation of NYCB dancers."

Edited April 10 by susanger
updated with info from NYC Ballet web site

[nanushka]

10 minutes ago, susanger said:

Why the name change of Tzigane to Errante?

From the NYC Ballet web site: "Originally titled Tzigane, after the name of Maurice Ravel’s rhapsodic score, this ballet will be revived for the first time in more than 30 years with a new name – Errante.  Choreographed by Balanchine for the legendary ballerina Suzanne Farrell for the 1975 Ravel Festival, Farrell will return to NYCB during the 75th Anniversary Season to stage the work for a new generation of NYCB dancers."

https://en.wiktionary.org/wiki/tzigane#:~:text=tzigane (plural tziganes),Hungarian Gypsy (Romani person).

tzigane (plural tziganes)

1. (sometimes offensive)^[4] A Hungarian Gypsy (Romani person).

 

[susanger]

1 hour ago, nanushka said:

https://en.wiktionary.org/wiki/tzigane#:~:text=tzigane (plural tziganes),Hungarian Gypsy (Romani person).

tzigane (plural tziganes)

1. (sometimes offensive)^[4] A Hungarian Gypsy (Romani person).

 

Thank you! I wasn't aware of that.

[bellawood]

2 hours ago, nanushka said:

Phelan in the Brahms-Schoenberg gypsy rondo? Hmmm.

My thoughts exactly! 

Other interesting debuts:

Nadon/Sanz in Errante -- saw photos on Nadon's Instagram of Suzanne Farrell's coaching, seeing this Tuesday

LaFreniere in Symphony in C 1st movement -- would have thought she would be tapped for 2nd movement (of course I'm dying to see Mira dance 2nd movement)

LaFreniere as green girl in Dances

Mejia in Dances, as brown?

Woodward in Dances as pink -- don't know if she can bring Tiler/Sterling levels to this role

Nadon 2nd movement B-SQ: perfect role for her, can't wait, and with Bolden

[volcanohunter]

On 4/10/2024 at 12:09 PM, nanushka said:

tzigane (plural tziganes)

1. (sometimes offensive)^[4] A Hungarian Gypsy (Romani person).

 

Most European languages have traditionally used a similar word, which originated in Greek, to describe the Romani people. You'll find the same root in the Romance (ţigan, zingaro, cigano), Germanic (Zigeuner, Zigeiner, sigøjner, zigenare, sigøyner, sígauna) Slavic (cygan, cikán, cigán, cigan, ciganin) and Baltic (čigonas, čigāns) languages, Hungarian (cigány), also Turkish (Çingene), even Esperanto (cigano). But just as the Romani consider the word gypsy offensive, they dislike its other European cousins.

Of course, the word also appears in European languages that use other alphabets, such as Greek Τσιγγάνος, Bulgarian циганин, Ukrainian циган or Yiddish ציגײַנער. It's pervasive. 

Edited April 11 by volcanohunter

[Helene]

I can understand a name switch -- and, given its content, it would be a mockery to call it Roma or Romani -- but why Errante, when Balanchine already created up-to-three works with that name to music by Schubert, the Wanderer? 

According to the Balanchine Catalogue entries:

• 138 - L'Errante 1933 (also called ERRANTE; ALMA ERRANTE; THE WANDERER, performed in Les Ballets 1933)
• 143 - Errante 1935
• 197 - Alma Errante (Errante) 1941 (Performed by Ballet Caravan in rep)

(This link is to the catalogue: it appears to be in a frame and won't go directly to the search results: https://balanchine.org/catalogue-page/catalogue-main-archive/)