NYCB Winter Season 24 – Musings …

[Bruce Wall]

I have been simply following what the current director at the RB said at a BA meeting.  I took his words at their face value and am now glad that I did for it has helped me to see and value the Company in his - and therefore currently appropriate - light.  I have not been disappointed.  They are so radiantly at home in McGregor's work and now very much seem to have been built for it.  Look at the glorious output of the recent Untitled and Dante Project.  They were just so vivid - much as say, Ratmansky's Odesa, Voices or Namouna are for NYCB.  Bracewell and Hamilton and so many truly shone in these McGregor hallmarks at the ROH.  Also musically these works sound so fine in the ROH's hands - as opposed to some of the scores for Balanchine / Robbins which have been so off-kilter - but then I am aware that music is not exactly McGregor's over-reaching stronghold.  I find an excitement - a focus - with the Royal doing McGregor equivalent to that of NYCB doing Balanchine, Ratmansky or (now) either of the Pecks at their best.  Certainly I wouldn't now want to go anywhere else for McGregor's works.  They are a marker for the Royal - every bit as much as the Pecks and Ratmansky are for today's NYCB.  Thanks to the guidance of the current Royal Director I have found a way to take pride in each.  I would hope you can as well.  They just come from completely different quarters - THAT'S ALL.  I just think we should cherish EACH for what they do; for what they SEPARATELY MOST shine in and celebrate each appropriately. 

 

Yes, Tiler Peck COULD dance McGregor.  I have a feeling though she would be careful - especially after her near career-ending injury.  As it was she withdrew from Sunday's Copeland Episodes because of the strain of the Ballo premiere.  They ALL could have a go - but you just know that they would not be 'at home' in it the way the Royal Dancers so gloriously are.  Just look at Calvin Richardson and Joe Sissens in such.  How Obsidian Tear tears at my memory.  SO WONDERFULLY RIGHT THEY ARE.  They deserve the cheers.  Still, they are a VERY different build from, say, Roman Mejia ... and that is quite right too.   How wonderfully rich we are to have both.  

 

There are Balanchine works that I think would be especially good for the Royal just now but I do think they need to be carefully chosen - as much for the appropriate musical orchestration as the defined choreography.  As I have said before I would love to see the Royal do the City Center (i.e., often original) stagings as they would be so especially space appropriate.  You simply couldn't put these now on the State Theater, Palais Garnier, the Waterlooplein or Hamburg platforms, etc., without physically altering the proscenium focus as they would simply get lost.   (Sadly you can't physically alter the size of of the listed ROH stage so many of the Balanchine, Peck, Ratmansky works are simply not physically appropriate.  Just look at the horror of the squish of that Everywhere We Go movement by the Australian Ballet).  I was especially disheartened when the pandemic robbed British audiences of seeing the British Company in Prodigal Son.  I think that one of the works particularly apt to their current strengths.  I would love to see Sambe and young Liam Boswell in the title role and I think Kaneko has the makings of a fine Siren.  I thought Sambe's Mayerling (not a work to my taste I fear - and I must have seen it over 50 different times - but I did appreciate him in it) was a vivid case in pointing towards Balanchine's Prodigal's regard.  I would love to see them reinstate this soon. 

 

 

Edited February 13 by Bruce Wall

[Don Q Fan]

Please keep posting Bruce I love your NYCB reports/musings - we get far too little Balanchine in the UK it's a national ballet tragedy IMHO!

I'd love to get to NYCB again one day to see some Mr B but will have to make do with Sadler's Wells in March for now!

[Bruce Wall]

Funnily enough I think Duo Concertant IS one of the Ballanchine works appropriate for the smaller stages of the Royal and the Wells.  I'm sure that must have gone into Spaldings' consideration when he decided on his final mix for NYCB to present in front of his dedicated audience.  

 

Just also to say that the wonderful Alexa Maxwell replaced Tiler Peck in Sunday's matinee in the (Justin) Peck now two-act and was wholly ravishing ... especially when partnered by Chun Wei Chan - WHAT A STUNNING DANCER HE IS.   I do think the interval now stuck in the Copeland Episodes is a mistake.  The work is just so much stronger in the first - much longer - half.  I feel so sorry for the ever radiant Mira Nadon and Peter Walker having to stand - at the apex of what should be - or shortly will become - their dramatic apex - while a male soloist does the so-called 'Dinner for One' turn  Still, they do manage to overcome and she ... well, she IS .... MIRA NADON.  Enough said.  

 

Edited February 13 by Bruce Wall

[alison]

ABT presented Duo Concertant at Sadler's Wells when they were there last ...

[Bruce Wall]

6 minutes ago, alison said:

ABT presented Duo Concertant at Sadler's Wells when they were there last ...

 

Case in point ... Can you imagine it swimming at the MET???   ......   It would be as chilling as today's snow storm in Manhattan.   That said, Robbins' Other Dances entranced there ... and that's only two dancers and a piano .... so it IS possible ... but then times were different ... and it had Baryshnikov and Makarova. 

 

 

Edited February 13 by Bruce Wall

[Bruce Wall]

They did Ballo again today with Megan Fairchild subbing brilliantly for Tiler Peck - who injured herself in her first and ONLY (so far) performance in that role.  How Fairchild knows how to husband her resources in what I imagine is perhaps her last performance in this role.  I so prefer to see her in this with the effervescent Joseph Gordon.  (Something is now telling me that Tiler and Roman are looking ever less likely to come to London for the March run.)  Talking of Joe Gordon, however - and he DOES do Dances Concertant with the divine Indiana Woodward - he has put up on IG from his NYCB feed a track from his performance with Peck.  (Again, all NYCB Principals clearly have direct links to their own NYCB feeds given that EVERY performance is filmed by more than one camera).  Here he showcases a false entry he made in that performance.  He was eight counts too early - (true the music does repeat itself three different times) - then, realising it, went off - and came on again.  (He'd actually done the same TWICE in rehearsal.  You'll see for yourself in the clip below - just after a segment showing his front of curtain call - 

 

https://www.instagram.com/reel/C3fe0MgAIHH/

 

You have to love a dancer who is so willing to share their errors so freely.  His work today was entirely supreme.  I can't wait for the upcoming performance of this same with the ever-glowing Emma Von Enck and the newest wunderkind on the NYCB block, David Gabriel. 

 

I realise many among the readers here have never had the luxury in visiting that house that Balanchine built.  Here Joe Gordon - again on his IG feed - shows not only his perfect placement here in readiness for Fancy Free - but the house as largely seen from the stage.  It will look very large to you - far in advance of the relative intimacy of the dear ROH - but it is amazing just how gloriously close all seems in this masterwork of a building.  It literally hugs you no matter where you sit - and my VERY favourite seats are in the first row of the fourth ring.

 

https://www.instagram.com/p/C2VYZD6As6K/

 

Here he is dancing with Tiler Peck in the first movement of SiC.  I only attach this clip as it highlights - as you will see from the spacing - just how much larger the stage is from, say, that of the ROH and most certainly the Wells.  It was, of course, on this stage that Balanchine refashioned just so many of his major works for the world to enjoy.  

 

https://www.instagram.com/p/CyRJ24CAPoK/

 

Finally, here is he dancing in Robbins' last ballet - Piano Pieces - one made for SAB students and one of the many Robbins pieces such as have never been seen in the UK.  This role was originated by the then SAB student, Benjamin Millepied, who would later go on to lead the POB:-

 

https://www.instagram.com/p/CuUX9fgAzEv/

 

This Company just has so, SO much talent.  That was clearly evident today in Martin's Hallelujah Junction.  Gabriel ASTOUNDED.  People keep coming up to the information booths during the interval demanding to know his name.   'That boy,' they'd say, 'WHO'S THAT BOY'.  Once seen ... at least NOW, ... never forgotten.  Simply dazzling ... but then ALL of the corps partnerships in their dedicated solos were - and core among those was the heady combination of Victor Abreu and Alston McGill.  Such speed; such partnering ... and Victor's port de bras is just ever more intoxicating.  So, SO much to celebrate in the NYCB present ... but even MORE to come certainly for their vivid future.  

 

 

 

Edited February 19 by Bruce Wall

[Bruce Wall]

There is no question from the casting in the next couple of weeks that Alexa Maxwell, Emma Von Enck and the buoyantly thrilling David Gabriel are all heavily penciled on the promotion track ascendancy list.  So, SO much talent within these ranks.  

 

So looking forward to Emma's Ballo debut this week.  You can see her in Third Movement of SinC opposite Roman Mejia (they often dance together and always look good).  It is so refreshing to see her nail the off-balance aspects of that variation such as nowadays you don't often see at other addresses.

 

Sadly, I have a feeling that none of these mentioned will be coming to London - the casting for which has still to be released.  I say that because they haven't been actively cast so far (or actively appeared in their casting in the case of Mejia) in the items noted for such.  Time will tell.  

 

 

[Bruce Wall]

Another clip from Roman's IG account/NYCB feed from Tiler's new ballet - should you want to take a peek - It's largely of himself and the wondrous Chun Wei Chan although you'll see some snapping action from Emma Von Enck and India Bradley at the front end - 

 

https://www.instagram.com/p/C3X_lGXghnx/

[OnePigeon]

If I ever win the lottery I’ll buy an apartment in New York so I can come and watch every season NYCB perform: Balanchine, Robbins and new works being premiered that are steeped in the balletic idiom.  Thank God NYCB honour their heritage and are producing talented choreographers and offering them the opportunities to hone their skills and present them to their audience.  It’s so much more to my taste than most of the new works being produced here and in Europe and it has glorious music.  Brava Tiler Peck - may she have a long and successful career with her choreography.

[Bruce Wall]

NYCB have just released a little vignette with Andy Veyette .... a very long-standing NYCB principal.  I include this here as he is standing in one of the towering promenades that surround the inner lobby of State Theater - all looking out onto that stunning Lincoln Center plaza.  It is such a magnificent feast of not just architecture ... but art as well, given that there are many significant pieces so tastefully spotted about; all in appropriate spacial consideration for full appreciation.  It is very much a 'people's palace'; one celebrating community every bit as much as Balanchine, Ratmansky and (now) the Pecks do.  

 

 

Edited February 20 by Bruce Wall

[Bruce Wall]

 

 

On the American equivalent to BcoF it is interesting to see comments are now popping up about the upcoming NYCB London fare at the Wells.

 

One long-standing contributor writes:  

 

Awful program.

 

Another even longer writes:

 

Agree that this is an awful program. What are they thinking? 

 

Perhaps the LONGEST retorts: 

 

My thought exactly, vipa!

 

Yet another frequent poster follows up saying - 

 

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. 

 

and I have responded as below.  Hopefully giving a sense of some perspective (to be read 'mine') as someone who has a foot in the two bases - 

 

 

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 an 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't 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 the all arts cultures are at the moment unquestionably struggling there.  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 other selected current and so-called UK 'balletic' leaders of the recent past, created the 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 done now 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 McMillan (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 - globally speaking - is - respectively - a buyer's market.  

 

 

Edited February 23 by Bruce Wall

[Bruce Wall]

Kindly someone has just responded - 

 

Thank you so much 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.

[Emeralds]

I agree with the "awful program", "what are they thinking?" "Fine. Do that at home" comments! Wonder if it's too late for me to write to Wendy Whelan and Jonathan Stafford to ditch the Tanowitz table cloth thing (London audiences know exactly "how great" Tanowitz is - we've had at least three of her ballets in the last 3 years! But only one Robbins).

 

Surely it will cheaper for them to bring Other Dances.  I don't mind if they do Dances at a Gathering too- would be great to see how NYCB (the original  team!) does it. I would love to see The Goldberg Variations but unfortunately that requires more than 30 dancers. Would also like more Balanchine!

[Bruce Wall]

There is one more negative entry - 

 

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.

 

but happily here have now been some more positive ones - 

 

 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

 

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?

 

I so agree - DANNY DESERVES TO BE SEEN IN LONDON.  The ballet without him is a much less a joyful occasion.  Also, NYCB has a smaller division - for tours just such as this - it's called NYCB MOVES and is overseen by the legendary Jean Pierre Frohlich - otherwise affectionately known as J.P.  (interesting side-fact:  He is married to Isabelle Guerin who people who follow POB may well recall.)  He mounts ALL of the Robbins works.  Clearly Spalding did not wish this.  Those programmes - probably a lot of PDD and PDT amongst small core pieces - may have been too balletic for his dedicated tastes - or they may have been too expensive.  Speaking of Danny Ulbrecht - he produces a small troupe of NYCB favourites which has played many European capitals.  That too probably would not have been up Mr. Spalding's street.  He wanted the full NYCB imprinteur at a budget price-tag.  He seems to know best.  His choice is now sold out on three nights and all but one of the other performances - the opening Thursday matinee - has VERY limited availability.  

 

Thus, Emeralds, I think there is no point in writing to anyone.  I doubt that Wendy and Jonathan had much sway over this really whatsoever.  

 

Tiler Peck was radiantly back on stage tonight in Balanchine's Symphony in Three Movments - WHAT A TOWERING WORK IT IS - and Roman is, of course, now dancing his full schedule.  Together they will both dance the final Stars and Stripes campaign and Tschai PDD next week amongst other things individually.  Perhaps after all they will dance the roles that were created for them in Love Letters (on a suffle) in London.  Surely too - in that regard - they can't leave the blistering Taylor Stanley at home.  [They are] a core part of Love Letters - much as [they were] in The Runaway - which many think the better ballet.  The performances [they] gave opposite the non-binary Alston Edwards (of PNB) in (Justin) Peck's 'The Times Are Racing' were ravishing in the extreme.  Simply magical they were and unlike anything else I've EVER seen.  In short; unforgettable.  The three of those named individuals will be worth the price of anyone's London ticket.  (Stanley was towering in Robbins' Opus 19/The Dreamer tonight opposite a lithely centred Unity Phelan).  Also I assume that it is most likely that Megan Fairchild will dance the role created by Sara Mearns in Rotunda so she can also dance - as she has so frequently done - Duo Concertant.  Indiana Woodward also dances the work - but sadly - as reported previously - Jovani Furlan is out.  I'd LOVE to see Victor Abreu get his chance in this.  I think he's ready.  He looks spectacular in ALL he does.  Jules Maibe was looking very good tonight opposite LaFreniere in the Balanchine and he replaced Furlan in Rotunda so maybe he will get his opportunity in this and the management are clearly pushing him.  Hey, what about Danny - He and Megan would be terrific together and, of course, they are now both NYCB principals of long standing.  Ricardo Davide and Gilbert Bolden III are both in Rotunda - Perhaps they could do Duo Concertant with Woodward.  That would be special.  Many of the dancers who were in the original Love Letters have now left NYCB.  Quinn Starner who many will remember for Tiler's programme at the Wells recently - where she replaced an injured India Bradley - was in the original cast of the Abraham.  Not certain about cross casting for her though.  The London casting should be announced soon.  I may well see some slivers of it in rehearsal next week - much as I did the programme done in Spain last year - and will report if the whole has not been announced at that time.

 

 

 

 

 

 

 

 

 

 

Edited February 24 by Bruce Wall

[Lizbie1]

@Bruce Wall - since this thread has expanded in scope, can I pick your brains? I'll be in New York in May and can likely only see either one or the other of the Classic NYCB II or Contemporary Choreography I bills. I've seen none of the works before.

 

The programmes are, respectively: Robbins' Interplay and Other dances, Tanowitz's Gustave le Gray and Peck's Year of the Rabbit; and Ratmansky's Pictures at an Exhibition, Gianna Reisen's Play Time, Ulysses Dove's Red Angels and Robbins' Glass Pieces.

 

As a rule I like Robbins and Ratmansky very well. I like Peck too but understand he's a bit hit and miss, and was one of the few here who rather liked Tanowitz's main stage piece for the RB - whose name escapes me. The other two choreographers are unknown to me.

 

(I'd welcome views from others familiar with the repertory too!)

[Emeralds]

2 hours ago, Lizbie1 said:

 Tanowitz's main stage piece for the RB - whose name escapes me. 

If it was the pas de deux danced by Anna Rose O'Sullivan and William Bracewell- Dispatch Duet. 

Edited February 24 by Emeralds

[Jeannette]

Living in Puerto Rico, I select my trips to NY/NYCB very carefully, mostly to see the classic pieces by Balanchine & Robbins…with a bit of new Ratmansky or Peck in the mix. My four-day weekend offered most of this - Peck’s recent “full evening” COPLAND   DANCE EPISODES was my unexpected surprise - so light, bright, with fascinating group choreography, including most of the earlier RO-DEO.

 

Ratmansky’s political SOLITUDE was my big downer - I don’t like dark ballets in bunkers. “Boo!” All the way! I hope that this won’t be Ratmansky’s leitmotif for the rest of his time at NYCB. If so - MoveOn.org! 

 

The greatest gifts of the weekend were the grand-scaled Balanchines: the elegance of LIEBESLIEDER, FOUR TEMPERAMENTS, and SYMPHONY IN THREE MOVEMENTS…most of these works with the lean beauty of Ashley Laracey. (Balanchine would have promoted her to Principal ages ago!) I also loved Robbins’ OPUS 16/THE DREAMER, with gorgeous Unity Phelan and Taylor Stanley in the Baryshnikov role as the main man.

 

My next trip to NYCB should be in late April, for the rare BOUREE FANTASQUE, plus SYMPHONY IN C and BRAHMS-SCHOENBERG! Robbins’ DANCES AT A GATHERING will be the cherry on the sundae! 
 

p.s. Never in a gaz-illion years would I travel to see the horrendous NYCB program being presented at Sadlers Wells. Even if the ghosts of Pavlova & Nureyev would be in the corps. Gustave LeGrey? Love Letter on Shuffle? Good grief.
 

 

 

 

 

Edited February 24 by Jeannette

[Emeralds]

Red Angels- set to Richard Einhorn’s "Maxwell’s Demon", a solo for electric violin. Very dynamic, lively and modern classical piece, reminiscent of Forsythe's ballets to Thom Willems scores (also uses classical  technique including pointe work), but brighter (the dancers are dressed in red) and hotter (in every sense apart from temperature!). Thrilling and still looks fresh- even though the late Ulysses Dove made it in 1994. NB not as loud as Akram Khan's Creature, but the music might sound loud compared to other classical music pieces. 

 

Other Dances- set to Chopin, just for 2 dancers  feels like a continuation of Dances at a Gathering but with more "folk dance" touches, made for Makarova and Baryshnikov so emphasises their strengths. Beautiful and classical. 

 

Interplay- set to Mortob Gould's jazz and swing inspired score, one of Robbins' early works (made after Fancy Free) and mixes  classical steps, jazz dance moves and casual movements, looks like a bunch of youngsters hanging out and playing on a summer's day. Has a bit of a West Side Story vibe- if the Jets and Sharks were being friendly to each other! A classic. 

[Bruce Wall]

7 hours ago, Lizbie1 said:

@Bruce Wall - since this thread has expanded in scope, can I pick your brains? I'll be in New York in May and can likely only see either one or the other of the Classic NYCB II or Contemporary Choreography I bills. I've seen none of the works before.

 

The programmes are, respectively: Robbins' Interplay and Other dances, Tanowitz's Gustave le Gray and Peck's Year of the Rabbit; and Ratmansky's Pictures at an Exhibition, Gianna Reisen's Play Time, Ulysses Dove's Red Angels and Robbins' Glass Pieces.

 

As a rule I like Robbins and Ratmansky very well. I like Peck too but understand he's a bit hit and miss, and was one of the few here who rather liked Tanowitz's main stage piece for the RB - whose name escapes me. The other two choreographers are unknown to me.

 

(I'd welcome views from others familiar with the repertory too!)

 

@Lizbie1 I think I would - overall - be happy with either programme - with a reservation for each.  If I had to plumb I'd take the latter.  

 

Interplay is a thing of period joy - that can still breathe fresh today.  (i) Gustave le Gray is a 'fashion' trick which - not unexpectedly - deflates at curtain down.  Peck's Year of the Rabbit is a treat.  It was a surprise at the time.  It was Peck's first NYCB work and really the one that put him on the map.  It has been celebrated in all major 'ballet' centres in the world where major 21st Century works are favoured/followed.  (ii) Pictures at an Exhibition is a fascinating Ratmansky work.  It grows I find the more you see it.  It was VERY MUCH fashioned after the original dancers who created the roles.  The memory of Wendy Whelan (who was something of a Ratmansky muse - as I bet you anything Mira Nadon will become) remains so vivid for me in this.  I remember seeing it 11 times during that glorious NYCB Paris sojourn in 2016 and each time was more illuminating than the last - and Wendy had retired by then.  The last time it was presented at NYCB Ratmansky had a Ukrainian flag as the final square.  I found it most moving - no doubt certain personages hereabouts would not now.  Still it is a thing of much joy.  Play Time did not sit well with me but you might find interest there.   Red Angels is a work I remember vividly - especially at its opening.  How can one forget that stunning performance of Albert Evans and certainly Peter Boal.  I can see and hear it now.  So poignantly aromatic.  Recommended most heartily.  The absolute cherry on ALL of these cakes however is Glass Pieces.  It IS NEW YORK - as only Robbins could express it.  It is entirely evocative.  That would push my dial so I will, I think, finally recommend the second bill.  

 

I could not disagree more hearily with @jeanette if I tried about Solitude.  Yes, the ballet is dark - but there is light - there is hope - there is community.  No question there is variety within its considerable bounds.  There is also one of the most stunning male solos now known to ALL ballet.  Above all there is heart.  I really think you need to see this more than once.  I'm so glad I got to see both casts rehearsing in full on Friday and watching Ratmansky give corrections/suggestions.  Last night the audience cheered this ballet to the rafters.  Certainly all people around me (and the performance was sold up to the small slivers of the FIFTH RING if you please) were DEEPLY moved.  I overheard a small segment of an interval conversation between Ratmansky and Ib Andersen.  The latter was obviously floored in a very positive way.  I just wanted to point out that @Jeannette's take does not appear to be that of the majority - at least in my observation.  May she find many alternatives to seeing Ratmansky at NYCB over the next five years.   I definitely will be attending.  No question of that whatsoever.

 

 

Edited February 24 by Bruce Wall

[Lizbie1]

Thank you both - truly helpful. Jeanette's post reminds me that the Tanowitz will be on at SW so even if I end up liking it I'll have already seen it - and jazz isn't my thing so Interplay may well not be either. It looks like I'll be booking the Contemporary Choreography I programme.

 

(Fingers crossed there's an opportunity to see Year of the Rabbit closer to home in the coming years, or that it coincides with another hop across the pond.)

[alison]

15 hours ago, Bruce Wall said:

Clearly Spalding did not wish this.  Those programmes - probably a lot of PDD and PDT amongst small core pieces - may have been too balletic for his dedicated tastes - or they may have been too expensive.  Speaking of Danny Ulbrecht - he produces a small troupe of NYCB favourites which has played many European capitals.  That too probably would not have been up Mr. Spalding's street.  He wanted the full NYCB imprinteur at a budget price-tag.  He seems to know best.  His choice is now sold out on three nights and all but one of the other performances - the opening Thursday matinee - has VERY limited availability. 

 

Bruce, I'm confused.  Didn't you previously imply that the powers that be at NYCB would have selected a programme based on its suitability for the "tiny" stage at Sadler's Wells?

[Bruce Wall]

3 hours ago, alison said:

 

Bruce, I'm confused.  Didn't you previously imply that the powers that be at NYCB would have selected a programme based on its suitability for the "tiny" stage at Sadler's Wells?

 

Alison, - it's funny - I'm somewhat 'confused' by your question.  I was just saying that those programmes (e.g., J.P's MOVES for NYCB and Danny's) were available in such circumstances.  Those circumstances were NOT these.  This was a unique case of making good on a previous commitment.  To wit:  Rotunda has been planned - and in some part actually created - to fit the 'tiny' stage of the Wells.  Such had been agreed prior to its original creation and also the composition of the musical score vis a vis the restricted number of musicians.  It was in part built to honour those limits placed by Spalding.  (I spoke to one of the Directors on this score.)  It was to have been part of a programme with two other major companies, one of whom I believe was the POB.  I assume they would have had similar restrictions.  The pandemic (Rotunda opened at NYCB in February of 2020) put paid to all of this, of course.  Certainly there was never meant to be 'tour by NYCB'.  From what I understand the 'powers that be at NYCB' had actually very little say in this programme.  The requirements by Spalding were exacting it seems in terms of money and which choreographers he stipulated to appear.  As it happens NYCB is at the Harris Theater in Chicago with a much larger (three programme) run but a week later.  THAT WILL I'm sure have been I'm created by the 'powers that be at NYCB'.  

 

-------

 

This afternoon's matinee of the same programme as last night was a thrilling affair.  Tiler Peck and Joe Gorden dazzled in Robbins' Opus 19/The Dreamer.  Then came the main course:  Ratmansy's master opus - SOLITUDE.  It puts our times on the stage.  It is beyond searing.  The audience was entirely rapt and burst forth with rapturous applause at the end.  There were people standing in excited response on the Second Ring where I was sat with tears flowing down their faces.  Others applauded with their hands over their heads.  I saw members of the orchestra standing and applauding.  (That's a first.)  Someone I know had run into Adrian Danchig-Waring yesterday and he told them that Ratmanksy had 'taught him to dance in a new way'.  That much was evident in his debut this afternoon.  Such potency.  It was totally electric and almost overwhelmingly brilliant.  The rest of the cast was that of the original roster.  When the ever glorious Mira Nadon was tossed in what I heard Ratmansky call 'the Cannon Torp' the gasp from the audience was loudly audible.  Hats off to KJ Takahasi and Chun Wei Chan.  They again showed true mastery - as did the whole company.  Rarely have I been SO moved by a balletic piece.  This is a ballet worth travelling the world to see.   What a privilege.  May it come back on the NYCB roster very soon.  (I'm sure there will be no fear of that.)   This again was followed by Balanchine's incisive Symphony in Three Movements - The first movement of which was for me here the highlight this afternoon.  The aforementioned KJ danced with an effervescent Emma Von Enck and together they were the most explosive of fireworks in that dazzling display of profundity.  A treat all round.  

 

 

 

Edited February 24 by Bruce Wall

[DrewCo]

I hope it's okay if I also respond to @Lizbie1's post. Though I have not seen NYCB as often as @Bruce Wall -- I thought I'd let you know that I come out similarly. I would be hard put to unequivocally recommend either program qua program--the current NYCB leadership has not always shown themselves at their strongest in programming--but Ratmansky's Pictures at an Exhibition would, for me, be the deciding factor. For my taste, it is 95% top drawer Ratmansky (one section always seems to me to drag a little) and full of amazing variety, wit, and beauty.  And it will give you a chance to see a number of featured dancers dancers as almost everyone in the cast is featured in some fashion.  And though some of the original cast is retired, obviously Ratmansky is on scene at NYCB preparing all of the dancers himself.  That always seems to make a difference. The music is the original piano version of the Mussorgsky score--no lush Ravel orchestrations--but that works very well for the ballet, and the sets and costumes all riff off Kandinsky--making it an unusually colorful and brightly designed ballet for this company.  

 

I have thoughts about the rest of the program (good and less good) but overall, for my taste, the Ratmansky makes this the more substantive program. But whichever program you end up seeing you will see some interesting choreography and great dancers. I hope your trip goes wonderfully....

 

 

Edited February 25 by DrewCo

[Bruce Wall]

Thank you @DrewCo for your insightful and positive remarks.  I know they are much appreciated.

 

I just want to post a link to an CNN interview with Ratmansky that shows both clips and photographs of his TRIUMPHANT WORK - SOLITUDE.  There has been universal praise for this work - already attributed by many as a 'masterwork'.  I know of people (including some friends and NYCB volunteers) who seeing it once are now buying tickets for the remaining three performances.  There has only been one negative remark that has come within my knowledge on this piece and that was - most sadly - here.  I am certain the correspondent was sincere in her opinion but I just want to ensure that BcoF readers have a sense of perspective otherwise.  

 

Please do watch this clip if you can.  Ratmansky - in his abject honesty - is - as ever - moving.  You will see two brief clips from the ballet itself and you will - in small part - be able to make a better judgement on what you have read here.  

 

https://www.cnn.com/videos/tv/2024/02/21/alexei-ratmansky-amanpour-solitude-ballet.cnn

 

Sadly I doubt that London will see this work.  The orchestration of the Mahler is large and the stage it was mounted on larger than any in our city.  Still you can I think get a sense of its pull.

  

Edited February 25 by Bruce Wall

[Lizbie1]

Thank you @DrewCo for the information about Pictures at an Exhibition. Sold!

 

I was due to visit New York last year but had to postpone, so am doubly looking forward to it. I'll also be seeing Midsummer Night's Dream twice - also for the first time, would you believe? Good things come to those who wait!

[DrewCo]

48 minutes ago, Lizbie1 said:

Thank you @DrewCo for the information about Pictures at an Exhibition. Sold!

 

I was due to visit New York last year but had to postpone, so am doubly looking forward to it. I'll also be seeing Midsummer Night's Dream twice - also for the first time, would you believe? Good things come to those who wait!

Wonderful! Obviously, Balanchine's version is very different from Ashton's and I guess that may take a little getting used to, which makes it especially nice that you are seeing it more than once. You may already have read that Balanchine constructed it so that Act I has all of the story telling and Act II is all dancing/celebration. The pas de deux danced as a pure divertissement at the end of the ballet--by dancers who aren't part of the narrative at all--is one of Balanchine's most memorable.

 

I love both Ashton and Balanchine's versions, and my favorite is whichever one I happen to be watching.

[Mary]

Jealous!

 

How especially nice to see both Dreams this year as well.

 

[Lizbie1]

26 minutes ago, Mary said:

Jealous!

 

How especially nice to see both Dreams this year as well.

 

 

Yes - and saw the play last weekend (at Stratford) as well.

[OnePigeon]

2 hours ago, Lizbie1 said:

 

Yes - and saw the play last weekend (at Stratford) as well.

I’m so jealous of your NY visit and trip to Stratford.  Matthew Baynton is a favourite in our household and I really wanted to take my son to see his Bottom, so to speak 😆.  Was it a good production?  I’m hoping for a London transfer, but know they don’t have any plans to transfer at the moment.

[Lizbie1]

1 minute ago, OnePigeon said:

I’m so jealous of your NY visit and trip to Stratford.  Matthew Baynton is a favourite in our household and I really wanted to take my son to see his Bottom, so to speak 😆.  Was it a good production?  I’m hoping for a London transfer, but know they don’t have any plans to transfer at the moment.

 

It was good enough! - I've seen much worse RSC productions, especially recently. The Pyramus and Thisbe scene was very well done so sent everyone out smiling. Matthew Bayntun was really very funny but I'm ashamed to say I had no idea who he was before this!

[OnePigeon]

I wouldn’t know who he was either, but I’ve had to watch a lot of Horrible Histories and Ghosts in the past few years - which is no hardship, to be honest.  Glad to hear he was good in it.

[annamk]

12 hours ago, Bruce Wall said:

Thank you @DrewCo for your insightful and positive remarks.  I know they are much appreciated.

 

I just want to post a link to an CNN interview with Ratmansky that shows both clips and photographs of his TRIUMPHANT WORK - SOLITUDE.  There has been universal praise for this work - already attributed by many as a 'masterwork'.  I know of people (including some friends and NYCB volunteers) who seeing it once are now buying tickets for the remaining three performances.  There has only been one negative remark that has come within my knowledge on this piece and that was - most sadly - here.  I am certain the correspondent was sincere in her opinion but I just want to ensure that BcoF readers have a sense of perspective otherwise.  

 

Please do watch this clip if you can.  Ratmansky - in his abject honesty - is - as ever - moving.  You will see two brief clips from the ballet itself and you will - in small part - be able to make a better judgement on what you have read here.  

 

https://www.cnn.com/videos/tv/2024/02/21/alexei-ratmansky-amanpour-solitude-ballet.cnn

 

Sadly I doubt that London will see this work.  The orchestration of the Mahler is large and the stage it was mounted on larger than any in our city.  Still you can I think get a sense of its pull.

  

 

Thank you for posting this clip, it's utterly heart-rending. 

[Tattin]

I join annamk in thanking you , Bruce Wall, for the clip of Solitude and the interview with Ratmansky. They both had me in tears.