Never has NYCB had more dancers who would thrill the ballet universe in the traditional Petipa role of Kitri. Think of Bouder, Mearns, Scheller, Peck, Hyltin, and Reichlen tearing up the stage in Don Quixote. Ana Sophia Scheller has already danced the role with one of the greatest ever Basilio's, Julio Bocca.
Why is it impractical to think/wish/petition/dream that NYCB could partner with Bocca in his new production in 2014, perhaps helping to arrange an infusion of Balanchine into Bocca's own company in Uruguay as an exchange for allowing his new production to be adapted for NYCB?
20 responses to “Just throwing it out there . . . .”
Haglund, you are a genius. I think you should consider writing directly to both Martins and Bocca, because this would be an extraordinary exchange.
Haglund, you are a genius. I think you should consider writing directly to both Martins and Bocca, because this would be an extraordinary exchange.
Thanks, Angelica. I neglected to mention that NYCB also has a boatload of brilliant Basilios it could offer.
Thanks, Angelica. I neglected to mention that NYCB also has a boatload of brilliant Basilios it could offer.
Haglund ,
I would rather see them dance in the La Scala Ballet reconstruction by Sergei Vikharev using the Stepanov notations of Petipas “Raymonda” – which I saw in 2011 and last year with Alesia Novikova from the Bolshoi – where the tempos had to be slowed down for her…distorting Petipas marvelous inventions…any of the dancers you mentioned would be wonderful in that role…one can only dream …..
Haglund ,
I would rather see them dance in the La Scala Ballet reconstruction by Sergei Vikharev using the Stepanov notations of Petipas “Raymonda” – which I saw in 2011 and last year with Alesia Novikova from the Bolshoi – where the tempos had to be slowed down for her…distorting Petipas marvelous inventions…any of the dancers you mentioned would be wonderful in that role…one can only dream …..
Hi Fred.
Wow, I didn’t realize that the tempos were altered to such a degree. A lot of Novikova’s performance is on YouTube, and I must admit to being captivated and in places completely thrilled by what I saw. I would love to see that production brought to ABT. It’s so beautiful on an 11 inch screen; I imagine it’s overwhelming in the theater.
Hi Fred.
Wow, I didn’t realize that the tempos were altered to such a degree. A lot of Novikova’s performance is on YouTube, and I must admit to being captivated and in places completely thrilled by what I saw. I would love to see that production brought to ABT. It’s so beautiful on an 11 inch screen; I imagine it’s overwhelming in the theater.
Haglund , Regarding “Don Q”: In 1988 I went to Buenos Aires to see two performances of J. Bocca and the Teatro Colon Ballet do “Don Q” , with Sheryl Yeager from ABT as Kitri, at Luna Park…a historic sports arena in B.A. The production was by Vasiliev (Remember him as “Spartacus” ?) from the Bolshoi. That was unforgettable !! The best production of the ballet I have even seen ! And needless to say Bocca was spectacular with Yeager…met him afterwards at his managers ` apartment…he was rather shy and modest….and tired…Memories…..
PS. If La Scala does “Raymonda” again ,go see it.It was a revelation seeing it in that historic theater….wonderful acoustics and a beautiful performance from the La Scala orchestra ( Not the aural mess we usually hear at ABT )…Jean de Brienne does not do much dancing ( Friedeman Vogel in 2012 )and Abderrachman is a mime role …and of course Raymonda……
Haglund , Regarding “Don Q”: In 1988 I went to Buenos Aires to see two performances of J. Bocca and the Teatro Colon Ballet do “Don Q” , with Sheryl Yeager from ABT as Kitri, at Luna Park…a historic sports arena in B.A. The production was by Vasiliev (Remember him as “Spartacus” ?) from the Bolshoi. That was unforgettable !! The best production of the ballet I have even seen ! And needless to say Bocca was spectacular with Yeager…met him afterwards at his managers ` apartment…he was rather shy and modest….and tired…Memories…..
PS. If La Scala does “Raymonda” again ,go see it.It was a revelation seeing it in that historic theater….wonderful acoustics and a beautiful performance from the La Scala orchestra ( Not the aural mess we usually hear at ABT )…Jean de Brienne does not do much dancing ( Friedeman Vogel in 2012 )and Abderrachman is a mime role …and of course Raymonda……
Wow, you’ve got some great memories there!
It’s possible that Julio Bocca’s new production of Don Quixote will be THE dance event of 2014.
Wow, you’ve got some great memories there!
It’s possible that Julio Bocca’s new production of Don Quixote will be THE dance event of 2014.
I thought NYCB was all about Balanchine and Robbins and that neither they nor the critics nor CB’s audiences were much interested seeing them do anything else.
You certainly get that impression from the way NYCB is covered by the press.
I thought NYCB was all about Balanchine and Robbins and that neither they nor the critics nor CB’s audiences were much interested seeing them do anything else.
You certainly get that impression from the way NYCB is covered by the press.
“The press” would like you and all of us to think that they have a divine right to decide what a company should or should not dance.
In the case of NYCB, Peter Martins has made it clear that the life blood of the company is new work. He has commissioned many choreographers, composers, and a few artists to create new work. He also has recognized the financial and artistic rewards of presenting full length ballets and has brought Sleeping Beauty, Swan Lake, and Romeo & Juliet to NYCB — all choreographed by Martins. All three have been resounding financial successes; artistically, the success has been mixed. Sleeping Beauty has gotten fairly good marks; the other two not so good, to put it mildly.
A Petipa Don Quixote would be an ideal fit with the company, but the choreographer should know what he’s doing. No Martins, Millepied or Wheeldon Don Q, thank you very much. NYCB would look good in Ratmanky’s Don Q, but it’s hard to tell whether that could be arranged since he now works for ABT.
“The press” would like you and all of us to think that they have a divine right to decide what a company should or should not dance.
In the case of NYCB, Peter Martins has made it clear that the life blood of the company is new work. He has commissioned many choreographers, composers, and a few artists to create new work. He also has recognized the financial and artistic rewards of presenting full length ballets and has brought Sleeping Beauty, Swan Lake, and Romeo & Juliet to NYCB — all choreographed by Martins. All three have been resounding financial successes; artistically, the success has been mixed. Sleeping Beauty has gotten fairly good marks; the other two not so good, to put it mildly.
A Petipa Don Quixote would be an ideal fit with the company, but the choreographer should know what he’s doing. No Martins, Millepied or Wheeldon Don Q, thank you very much. NYCB would look good in Ratmanky’s Don Q, but it’s hard to tell whether that could be arranged since he now works for ABT.
I agree that NYCB and all ballet companies should present new works . But let us not forget that Balanchine and Robbins are the treasures of the company and of ballet in general.Just as Mozart, Verdi, Puccini ,Wagner, etc. are in the operatic world.The aesthetic of NYCB is of course the plot-less ballet , even though B.did choreograph full-lenght story ballets – that he picked lousy set designers is a shame – of course P.M. has worse taste in designers – Per K ., for example. And NYCB has spent a lot of money producing new ballets-more so than any other company – with rather meager results . Ratmansky ? I know his piece for NYCB was a resounding success – I was rather underwhelmed with it .Ratmansky reminds me somewhat of Massine…..prolific , but mostly trivialities . Saw a video of his “Psyche” for the POB…just a lot of running around…and the steps were rather pedestrian….his “Firebird”was in the really devoid of dance interest , but theatrically arresting – See the video of Fonteyn in the Fokine version on Youtube… now that is marvelous!
What about NYCB doing Astons “Ondine” – a wonderful ballet…and with Bouder , Peck , it would be a real treat . HW Henze – who died last year was one of the great composers of ballet music – why does no one use hi scores in the U.S.?
Despite my caveats , I agree that Ratmansky would be interesting doing a new “Don Q.”….he did a marvelous job with his version of that Soviet era classic “The Flames of Paris ”
I agree that NYCB and all ballet companies should present new works . But let us not forget that Balanchine and Robbins are the treasures of the company and of ballet in general.Just as Mozart, Verdi, Puccini ,Wagner, etc. are in the operatic world.The aesthetic of NYCB is of course the plot-less ballet , even though B.did choreograph full-lenght story ballets – that he picked lousy set designers is a shame – of course P.M. has worse taste in designers – Per K ., for example. And NYCB has spent a lot of money producing new ballets-more so than any other company – with rather meager results . Ratmansky ? I know his piece for NYCB was a resounding success – I was rather underwhelmed with it .Ratmansky reminds me somewhat of Massine…..prolific , but mostly trivialities . Saw a video of his “Psyche” for the POB…just a lot of running around…and the steps were rather pedestrian….his “Firebird”was in the really devoid of dance interest , but theatrically arresting – See the video of Fonteyn in the Fokine version on Youtube… now that is marvelous!
What about NYCB doing Astons “Ondine” – a wonderful ballet…and with Bouder , Peck , it would be a real treat . HW Henze – who died last year was one of the great composers of ballet music – why does no one use hi scores in the U.S.?
Despite my caveats , I agree that Ratmansky would be interesting doing a new “Don Q.”….he did a marvelous job with his version of that Soviet era classic “The Flames of Paris ”
Agree, Fred, that Balanchine and Robbins are treasures, and there is no indication that NYCB is cutting back on the frequency of presenting them. At the moment, they are in good shape and (I don’t want to start a war here) have benefited from dancers who have come to NYCB with more formal classical training obtained elsewhere, especially in the presentation of the upper body. Some long time NYCB fans miss the messiness of the upper body that was so prevalent in the 1970s and 1980s. I don’t miss it at all.
The Ratmansky Don Q that was made for Dutch National Ballet would look good on NYCB, but the company could really make more of an impact by partnering with Bocca. That kind of collaboration would pretty much control all ballet conversation for quite a while.
Agree, Fred, that Balanchine and Robbins are treasures, and there is no indication that NYCB is cutting back on the frequency of presenting them. At the moment, they are in good shape and (I don’t want to start a war here) have benefited from dancers who have come to NYCB with more formal classical training obtained elsewhere, especially in the presentation of the upper body. Some long time NYCB fans miss the messiness of the upper body that was so prevalent in the 1970s and 1980s. I don’t miss it at all.
The Ratmansky Don Q that was made for Dutch National Ballet would look good on NYCB, but the company could really make more of an impact by partnering with Bocca. That kind of collaboration would pretty much control all ballet conversation for quite a while.