Haglund wonders what those NYCB dancers are sprinkling on
their Wheaties in the morning. My goodness, they were on fire at the Saturday
matinee.
their Wheaties in the morning. My goodness, they were on fire at the Saturday
matinee.
Haglund understands that Friday evening saw some
difficulties with Concerto Barocco. He wasn't there
and cannot speak to the complaints. However, at the Saturday matinee – with the
exception of the first two or three minutes of the ballet when some were not as
steady and ready as they should have been – the ballet looked super. The adagio
with Abi Stafford and Justin Peck was lovely
and coordinated smoothly – especially the somewhat horizontal slides on pointe
that evolve into a fouette arabesque. Those are, more often than not, a
struggle for everyone, and it was nice to see them succeed so eloquently this
afternoon. Abi's extension of the musical phrases was beautiful and a reminder
that Concerto Barocco does not have to be all steely
and angularly abrupt. Justin Peck has some nice qualities as a partner and
showed elegance that Haglund had not observed in his dancing previously.
Ellen Bar as the other violin gave a strong, confident
performance as well. The corps looked well rehearsed and everyone seemed to be
actually dancing instead of concentrating on executing the steps. Again,
Lauren King stood out – not because her feet and legs were any
crisper or cleaner than the other corps dancers, but because her overall
performance was so coordinated and her upper body was so easy to watch whereas
many of the other women's arms and legs seemed unnecessarily abrupt. Haglund
cannot wait to see what Peter Martins' plans are for this talented dancer,
because she is uniquely beautiful and expressive in much the same way as Jenifer
Ringer – but of course, more strawberry than brunette.
difficulties with Concerto Barocco. He wasn't there
and cannot speak to the complaints. However, at the Saturday matinee – with the
exception of the first two or three minutes of the ballet when some were not as
steady and ready as they should have been – the ballet looked super. The adagio
with Abi Stafford and Justin Peck was lovely
and coordinated smoothly – especially the somewhat horizontal slides on pointe
that evolve into a fouette arabesque. Those are, more often than not, a
struggle for everyone, and it was nice to see them succeed so eloquently this
afternoon. Abi's extension of the musical phrases was beautiful and a reminder
that Concerto Barocco does not have to be all steely
and angularly abrupt. Justin Peck has some nice qualities as a partner and
showed elegance that Haglund had not observed in his dancing previously.
Ellen Bar as the other violin gave a strong, confident
performance as well. The corps looked well rehearsed and everyone seemed to be
actually dancing instead of concentrating on executing the steps. Again,
Lauren King stood out – not because her feet and legs were any
crisper or cleaner than the other corps dancers, but because her overall
performance was so coordinated and her upper body was so easy to watch whereas
many of the other women's arms and legs seemed unnecessarily abrupt. Haglund
cannot wait to see what Peter Martins' plans are for this talented dancer,
because she is uniquely beautiful and expressive in much the same way as Jenifer
Ringer – but of course, more strawberry than brunette.
Haglund just can't stay away from The Magic
Flute. Today's principals were Tiler Peck and
Joaquin De Luz. Have to say that they were slightly more
proficient technically than the Thursday cast and quite a bit more advanced in
the theatrical and mime aspects of their roles. However, Haglund absolutely
loved the vibrancy and youthfulness that Megan Fairchild
brought to the role of Lise on Thursday and thinks that it is perhaps a more natural
fit for her than for Tiler Peck who portrayed the character as more mature and
sophisticated. De Luz was in his natural element as Luke. There was story in
his every step and gesture – and all of it, such a pleasure to
watch.
Flute. Today's principals were Tiler Peck and
Joaquin De Luz. Have to say that they were slightly more
proficient technically than the Thursday cast and quite a bit more advanced in
the theatrical and mime aspects of their roles. However, Haglund absolutely
loved the vibrancy and youthfulness that Megan Fairchild
brought to the role of Lise on Thursday and thinks that it is perhaps a more natural
fit for her than for Tiler Peck who portrayed the character as more mature and
sophisticated. De Luz was in his natural element as Luke. There was story in
his every step and gesture – and all of it, such a pleasure to
watch.
Haglund meant to mention in the first review of
The Magic Flute that he was elated to see that one of
the greatest Bunnies in the history of all Nutcracker Bunnydom, Ever
Croffoot-Suede, has re-emerged on the big stage – sans bunny ears
and sans the very stern bunny concentration which reflected the
enormous pressure under which the Bunny performed its awesome heroism – to dance
free in curls and a little dress. Ah yes, life after Bunny Duty discharge can
be blessed bliss.
The Magic Flute that he was elated to see that one of
the greatest Bunnies in the history of all Nutcracker Bunnydom, Ever
Croffoot-Suede, has re-emerged on the big stage – sans bunny ears
and sans the very stern bunny concentration which reflected the
enormous pressure under which the Bunny performed its awesome heroism – to dance
free in curls and a little dress. Ah yes, life after Bunny Duty discharge can
be blessed bliss.
Stars and Stripes was given an
out-sized performance by one and all. Erica Pereira led the
first campaign. She executed everything very well but there is an immaturity
about her performance – or perhaps it is really only that her face looks so
young – that makes Haglund feel like he's watching a student recital. The
technique seems to be in place firmly, but the dynamics of performing are
not.
out-sized performance by one and all. Erica Pereira led the
first campaign. She executed everything very well but there is an immaturity
about her performance – or perhaps it is really only that her face looks so
young – that makes Haglund feel like he's watching a student recital. The
technique seems to be in place firmly, but the dynamics of performing are
not.
Gwyneth Muller finally got to officially
debut in the lead of the Second Regiment. She was thrown into it on Thursday
night following Savannah Lowery's unfortunate injury. She
seemed a little leaden in her jumps, and her movement wasn't as precise as the
other four principals.
debut in the lead of the Second Regiment. She was thrown into it on Thursday
night following Savannah Lowery's unfortunate injury. She
seemed a little leaden in her jumps, and her movement wasn't as precise as the
other four principals.
Daniel Ulbricht repeated his masterful
performance leading the Third Campaign on Thursday night. He made the crowd
crazy – happy, happy crazy.
performance leading the Third Campaign on Thursday night. He made the crowd
crazy – happy, happy crazy.
Ashley Bouder and Andrew
Veyette carried the Fourth Campaign. Bouder's Liberty Bell was more in
control than Sarah Mearns' on Thursday, and her movement was,
well, clear as a bell – but still explosive. Veyette had a relatively good
performance – relative to some of his other performances during these past three
weeks. He punctuated his variations nicely and securely partnered Bouder. He's
a dancer who is quite good in most respects, but not exceptional in any.
Haglund wishes that Veyette would work toward being exceptional in just one
area, for now.
Veyette carried the Fourth Campaign. Bouder's Liberty Bell was more in
control than Sarah Mearns' on Thursday, and her movement was,
well, clear as a bell – but still explosive. Veyette had a relatively good
performance – relative to some of his other performances during these past three
weeks. He punctuated his variations nicely and securely partnered Bouder. He's
a dancer who is quite good in most respects, but not exceptional in any.
Haglund wishes that Veyette would work toward being exceptional in just one
area, for now.
People, you have two more chances to see The Magic Flute:
Sunday matinee and Wednesday, and two more chances to see Stars and
Stripes: next Friday and the final Sunday performance. And, the Fall Gala on
Thursday will be packed with dance and include the Overture to Bernstein's
Candide. Hasn't this been a fantastic first Fall
Season?!
Sunday matinee and Wednesday, and two more chances to see Stars and
Stripes: next Friday and the final Sunday performance. And, the Fall Gala on
Thursday will be packed with dance and include the Overture to Bernstein's
Candide. Hasn't this been a fantastic first Fall
Season?!
So, [drum roll, please] Haglund bestows this autumn leaf
inspired Pump Bump Award to the cast of Stars and Stripes for bringing the
afternoon to a burning and colorful peak:
inspired Pump Bump Award to the cast of Stars and Stripes for bringing the
afternoon to a burning and colorful peak:
2 responses to “NYCB – Concerto Barocco, The Magic Flute,
Stars & Stripes 10/2 matinee”
oh man, what a big mistake for me to have almost completely ignored nycb when i was in new york.
oh man, what a big mistake for me to have almost completely ignored nycb when i was in new york.