[Please click on my face for full effect.]
What a rip-roaring close to the fall season on Sunday afternoon! Major debuts and major corps triumphs demonstrated that this company has unparallelled depth in its ranks. We can’t wait for Nutcracker Season to start so we can see which new faces will step up to the plate in plum roles and whack a few Nuts over our heads.
Let’s start with the end ‘cuz that’s a good place to start. Megan LeCrone blasted through her debut in the Choleric variation of The Four Temperaments with cat legs, cat eyes, and ferocious feline grace. What a perfect match of role and artist. The angularity of her long limbs and sharp features enhanced and clarified the crankiness imbedded in the brilliant choreography. Everyone gave superb performances: Megan Johnson & Cameron Dieck, Brittany Pollack & Allen Peiffer, Ashley Laracey & Justin Peck in the Theme; Anthony Huxley in Melancholic; Tiler Peck and Tyler Angle in Sanguinic, and Amar Ramasar in Phlegmatic. A special mention goes to the Phlegmatic corps of true beauties Stephanie Chrosniak, Ashley Hod, Dana Jacobson, and Claire Kretzschmar for enhancing Amar’s performance with their own brilliant synchronization.
Lauren King and Devin Alberda also enjoyed stunning debuts in the first section of Episodes by dancing boldly and confidently. Both showed a new sense of maturity in their presentation and a nice compatibility. Claire Kretzschmar wowed us again in the second section opposite Jared Angle. Her lean, sinewy physique, slightly Roman nose, and space gobbling with her limbs reminded us of Wendy Whelan. Ashly Isaacs and Taylor Stanley, also debuting, made their third section Concerto more explosive than we are accustomed to seeing, but it was still riveting to watch. Sara Mearns and Adrian Danchig-Waring danced the Ricercata with a little more lightness than previously.
Rebecca Krohn and Ask la Cour repeated their fine performances of Monumentum pro Gesualdo and Movements for Piano and Orchestra.
The afternoon opened with Concerto Barocco at a snail’s pace – again. We really could have used Clotilde Otranto to conduct this program with a little spirit. Barocco has never sounded so constipated as it has this fall under the baton of Daniel Capps. And while the lethargic tempo made the choreography easier for the two statuesque leading women, Sara Mearns and Theresa Reichlen, it made the ballet a real snooze fest and the dancing look heavy and tired. It’s really time for some new energy in these roles – from the dancers to the conductor.
The Barocco corps de ballet maintained discipline throughout the dull pace and managed to sparkle in spite of it. Sara Adams, Alina Dronova, Kristen Segin and Ashley Hod have been outstanding in Barocco and much else these past few weeks. The fine dancing of the statuesque and lovely Dana Jacobson and apprentice Miriam Miller has given us great pleasure, too. So, we’re going to toss a Pump Bump Award to the entire Corps de Ballet who really is the heart and burning soul of these Black & White Balanchine programs.
18 responses to “NYCB – 10/18
Finishing on cat’s legs”
Love the focus of the photo! And thank you for the enthusiastic and supportive critique.
Love the focus of the photo! And thank you for the enthusiastic and supportive critique.
Thanks, J. The company looks incredible at every level.
Thanks, J. The company looks incredible at every level.
Haglund, your cat is beautiful!
Great review–I must get to New York soon to see the NYCB.
Haglund, your cat is beautiful!
Great review–I must get to New York soon to see the NYCB.
Thanks, Georgiann. I highly recommend a well-planned trip to NYCB in the winter or spring.
Thanks, Georgiann. I highly recommend a well-planned trip to NYCB in the winter or spring.
Having seen both ABT and NYCB on a brief visit to NY, I completely agree that NYCB is having a peak time in talent. There wasn’t a single featured dancer who didn’t sparkle. And let’s say it again, they groom and coach their in-company talent. I have no interest in seeing yet another super-pliable Russian at ABT, lovely as they may be. There’s only so many roles in a season and the many guest artists take opportunities away from the best talent ABT has to offer.
Having seen both ABT and NYCB on a brief visit to NY, I completely agree that NYCB is having a peak time in talent. There wasn’t a single featured dancer who didn’t sparkle. And let’s say it again, they groom and coach their in-company talent. I have no interest in seeing yet another super-pliable Russian at ABT, lovely as they may be. There’s only so many roles in a season and the many guest artists take opportunities away from the best talent ABT has to offer.
I was there too! And also completely blown away by the remarkable talent of the entire company. Such a shame about Barocco, as I was really looking forward to that one.
Btw, did you notice Mr. Martins observing the last two ballets in the back of the orchestra? He may not be perfect, but at least he honestly observes and promotes the company and the dancers.
I was there too! And also completely blown away by the remarkable talent of the entire company. Such a shame about Barocco, as I was really looking forward to that one.
Btw, did you notice Mr. Martins observing the last two ballets in the back of the orchestra? He may not be perfect, but at least he honestly observes and promotes the company and the dancers.
ITA, enchanteddancer. Thanks for stopping by H.H.
ITA, enchanteddancer. Thanks for stopping by H.H.
Peter always sits in the back of the orchestra (row R) virtually every performance. Saturday night was the first I hadn’t seen him there in ……forever.
Peter always sits in the back of the orchestra (row R) virtually every performance. Saturday night was the first I hadn’t seen him there in ……forever.
Yep, I see him in his seat at almost every performance.
Yep, I see him in his seat at almost every performance.