While Haglund sat here composing this review WQXR washed the airwaves with the sublime beauty of Tchaikovsky’s Serenade for Strings. Suddenly he realized what was missing from last evening’s opening performance of the Winter Season: soul, the type of soul that the dancers cannot contain when they dance Balanchine’s masterpiece and their company's anthem. Perhaps in the past, that soul was a factor in the always-wise decision to open the season with Serenade. It bares the soul of the company like no other ballet.
Was last night’s performance well-danced? Of course. Was it a satisfying evening for the balletomane? Not quite.
Concerto Barocco, led by Emilie Gerrity, Unity Phelan, and Andrew Veyette, was serviceable. The corps women were sharp and in sync. However, the principal women gave a performance that looked like 1●–––2●–––3●–––4● connect-the-dots phrasal units with resting in between. Unity threw her arms and shoulders up overhead with little awareness of their shape. No musical elegance was evident from her in the pas de deux. It was all business. Emilie started pique arabesques with a relaxed extended knee – perhaps because a stretched knee would have taken her too far. Her thigh muscles were not taut which made the leg lines look mushy. This was the rehearsal that the two women should have had to smooth out issues before the performance.
Allegro Brillante featured Tiler Peck and Roman Mejia. On any other stage in the world, the performance would have been spectacular. But on this night on this stage, it was so-so. Tiler looked tired, and Roman had no way to make up for that. The corps de ballet was again sharp and in sync. The women were in excellent form. We were happy to see Mary Thomas MacKinnon but felt that her costume was ill-fitted. It was either too long or had too much fabric — it was hard to tell, but it did her a disservice. All of the corpsmen were excellent on their own but did not really mesh together. The strong elegance of Jules Mabie and Davide Riccardo sometimes chaffed against the explosive energies of Victor Abreu and Andres Zuniga. Congratulations to Abreu for his 2025 Janice Levin Dancer Award, certainly well-deserved and perhaps something we might have seen sooner were it not for Covid’s interruptions.
Finally we got to Brahms-Schoenberg Quartet where all danced with souls of Serenade and the warm generosity that one feels when being welcomed home after trudging through the cold and snow to get there. Miriam Miller was gorgeous as the soloist in the Allegro. It has been so satisfying to watch her development, which we initially knew was going to take a good amount of time, and now we’re seeing what she has to offer as an individual. Again, the word generosity comes to mind. Her dancing last evening was spacious to the point of being spectacular. Her long arabesques were frequently above 90 degrees and held beautifully. Her grand jetes were huge as she led the corps of men around her.
Alexa Maxwell and Peter Walker in the Pas de Deux of the Allegro became more relaxed as the dance went on. There was an early sense that they were holding back so as to avoid making any mistakes. Alexa has the ability to give as much as any principal in the company but maybe not yet the confidence. It would be interesting to see how Joseph Gordon’s natural spark and sense of freedom might be able to set her off.
We may not have blinked once as Mira Nadon and Gilbert Bolden III performed the Intermezzo. There was such a dreamy, Romantic quality to their dancing and persona. We just got totally lost in their story. They each have the ability to convey a sense of spontaneity and that whatever they are doing is in direct response or conversation with the other. The magic that they project is simply astonishing.
Megan Fairchild and Joseph Gordon led the Andante. One could sense the music pulsating through Gordon's limbs; he was so ready to exploit each moment to its fullest. Among the trio of featured corps women, Claire Von Enck stood out for her crisp energy and delicate footwork. This year, the senior Von Enck has been dancing with a new maturity and fewer head-bobs than in the past. We’ve seen some very lovely work from her.
The Rondo alla Zingarese, which literally translates “in the gypsy way,” was festively led by Sara Mearns and Tyler Angle. We’re not sure how this section has escaped the Wokefanatics' scorn & fiddling with, but we’re glad that it has. The flying ribbons, strutting, glances that challenged the partner/opponent, and the uninhibited sensuality all made for a daring performance that left us wondering what these two characters did later in the evening. The corps de ballet was full of fire and attitude. It was hard to take our eyes off of Naomi Corti and Owen Flacke.
The HH Pump Bump Award, a Louboutin bootie of pink tulle, is bestowed upon Miriam Miller for her beautiful soloist work in Brahms-Schoenberg Quartet.
48 responses to “NYCB 1/21
Winter season opens — sometimes a bit too chill”
Funny, was listening to QXR thinking same. Alexa is a superb talent that needs to be promoted yesterday! NYCB has gotta step up and move forward…
Funny, was listening to QXR thinking same. Alexa is a superb talent that needs to be promoted yesterday! NYCB has gotta step up and move forward…
Alexa is developing an iconic “Novice” in The Cage. Tremendous performance last night.
Alexa is developing an iconic “Novice” in The Cage. Tremendous performance last night.
Excellent writeup Haglund! I was also there Tuesday night and agree about Emilie Gerrity. She looked a bit out of shape and her technique wasn’t great. Sometimes I am surprised she is a Principal. Three speeches in one night is a bit much, and as much as I love the Janice Levin award, the acceptance speeches are always a tad too long IMHO. A brief, appreciative speech is enough, in my view. Tiler and Roman were excellent but I agree with your review – and others – that it just seemed a bit off. Also, as much as I love Tiler and Roman together, it do feel as if Emma von Enck was robbed of a partnership with Roman due to his relationship with Tiler. Tiler and Roman are very well suited, so it’s not a huge deal, but I do think Emma got the shaft.
With Bouder’s last show announced yesterday – FINALLY – I hope we see some movement in the ranks, including some soloists who IMHO have long overstayed their welcome.
Excellent writeup Haglund! I was also there Tuesday night and agree about Emilie Gerrity. She looked a bit out of shape and her technique wasn’t great. Sometimes I am surprised she is a Principal. Three speeches in one night is a bit much, and as much as I love the Janice Levin award, the acceptance speeches are always a tad too long IMHO. A brief, appreciative speech is enough, in my view. Tiler and Roman were excellent but I agree with your review – and others – that it just seemed a bit off. Also, as much as I love Tiler and Roman together, it do feel as if Emma von Enck was robbed of a partnership with Roman due to his relationship with Tiler. Tiler and Roman are very well suited, so it’s not a huge deal, but I do think Emma got the shaft.
With Bouder’s last show announced yesterday – FINALLY – I hope we see some movement in the ranks, including some soloists who IMHO have long overstayed their welcome.
Thanks, Lisa.
Agree about the speeches. Stafford has to stop reading his remarks and learn how to speak in a cohesive, interesting, slightly entertaining way. It’s part of the job.
The Janice Levin Award speech by the recipient is often too long but I can live with it because it only happens once each year and one never knows what’s going to come out of the mouths of these babes (lol). I found last year’s speech by Naomi Corti particularly moving with her tribute to Emily Kikta.
I think Emma VE will do exceptionally well with David Gabriel, perhaps even better than with Roman. Great sparks between them last evening in Danses Concertantes.
Thanks, Lisa.
Agree about the speeches. Stafford has to stop reading his remarks and learn how to speak in a cohesive, interesting, slightly entertaining way. It’s part of the job.
The Janice Levin Award speech by the recipient is often too long but I can live with it because it only happens once each year and one never knows what’s going to come out of the mouths of these babes (lol). I found last year’s speech by Naomi Corti particularly moving with her tribute to Emily Kikta.
I think Emma VE will do exceptionally well with David Gabriel, perhaps even better than with Roman. Great sparks between them last evening in Danses Concertantes.
So insanely annoyed to see Bouder cast in “Scotch Symphony” on 2/8, I am traveling to NY just for ballet performances. At least she is not dancing Firebird that day…
So insanely annoyed to see Bouder cast in “Scotch Symphony” on 2/8, I am traveling to NY just for ballet performances. At least she is not dancing Firebird that day…
I agree, Emily. Can’t they just give her the one Firebird and be done with it? It really is a huge disservice to the audience every time she’s onstage.
I agree, Emily. Can’t they just give her the one Firebird and be done with it? It really is a huge disservice to the audience every time she’s onstage.
But my word Alexa Maxwell was wonderful in The Cage.
But my word Alexa Maxwell was wonderful in The Cage.
There are 2 performances of Firebird week of Bouder’s retirement. In addition to her performance on Thurs, they do same program Tues. I am sort of waiting with baited breath to see who is cast for the Tues. I really want to see that program but also really don’t have any interest in seeing Bouder — whether in Scotch Symphony or Firebird. People who are doing retirement performances often appear earlier same week, maybe as a sort of run through. So I guess if the news is not good after that week’s casting is posted this Tues or Weds my choice is to either go opening night, the 5th I think, or wait until the week after her retirement, when there is one final performance of that program whose casting won’t be announced for another week or so.
There are 2 performances of Firebird week of Bouder’s retirement. In addition to her performance on Thurs, they do same program Tues. I am sort of waiting with baited breath to see who is cast for the Tues. I really want to see that program but also really don’t have any interest in seeing Bouder — whether in Scotch Symphony or Firebird. People who are doing retirement performances often appear earlier same week, maybe as a sort of run through. So I guess if the news is not good after that week’s casting is posted this Tues or Weds my choice is to either go opening night, the 5th I think, or wait until the week after her retirement, when there is one final performance of that program whose casting won’t be announced for another week or so.
Alexa was beyond incredible in The Cage Sunday afternoon. Whole program was excellent but she was on another level. Time to promote her…
Alexa was beyond incredible in The Cage Sunday afternoon. Whole program was excellent but she was on another level. Time to promote her…
ITA Tony. Alexa, Hod, Laracey, Kikta and Miller should be promoted as a class without further delay. It doesn’t matter that Laracey is in the last phases of her career; she has, for quite some time, danced at the level of Whelan and Taylor and in her Stravinsky rep, she’s equaled Kistler. Her instrument is in outstanding condition and she is a role model for demonstrating squeaky clean technique and crystal clear positions without showing a grinding effort. I don’t know what the hell Stafford and Whelan think they are proving by denying her a promotion.
ITA Tony. Alexa, Hod, Laracey, Kikta and Miller should be promoted as a class without further delay. It doesn’t matter that Laracey is in the last phases of her career; she has, for quite some time, danced at the level of Whelan and Taylor and in her Stravinsky rep, she’s equaled Kistler. Her instrument is in outstanding condition and she is a role model for demonstrating squeaky clean technique and crystal clear positions without showing a grinding effort. I don’t know what the hell Stafford and Whelan think they are proving by denying her a promotion.
Let me add that Bolden, Gabriel, Riccardo, and Sanz should not be denied promotions either this season.
These nine soloists are holding up the fort, so to speak, and have been for quite some time.
Stafford and Whelan seem to be unsure about the talent, unsure about their confidence in the abilities of a generation that was cheated out of valuable career time due to the pandemic. It makes me sick to my stomach to see how they have denied Laracey the credit that she deserves.
Martins never cowered in this kind of uncertainty. He even demonstrated the confidence and courage to promote Lauren Lovette to principal when her foot was in a cast.
Let me add that Bolden, Gabriel, Riccardo, and Sanz should not be denied promotions either this season.
These nine soloists are holding up the fort, so to speak, and have been for quite some time.
Stafford and Whelan seem to be unsure about the talent, unsure about their confidence in the abilities of a generation that was cheated out of valuable career time due to the pandemic. It makes me sick to my stomach to see how they have denied Laracey the credit that she deserves.
Martins never cowered in this kind of uncertainty. He even demonstrated the confidence and courage to promote Lauren Lovette to principal when her foot was in a cast.
Agreed! You know a bit more than me but what I have seen of those dancers they are dancing well, with passion and real joy. Nice to see.
Agreed! You know a bit more than me but what I have seen of those dancers they are dancing well, with passion and real joy. Nice to see.
Haglund, I agree 100% and you articulated this so well! It’s time to usher in a new generation. I looked at the roster today, and I predict as many as 15-18 retirements in the next two years. There are eight (!) Apprentices. The Corps is chock full of wasted talent because roles are going to Principals in their 40’s. I love Megan and Tyler and Andy, but they should have started pulling lot of roles much earlier. As a result, dancers like Alexa Maxwell languished in the Corps for 10 years and still isn’t being cast as a Soloist. We’ve seen a hundred Fairchild Sugar Plums. Please give Alexa one or two before she hits menopause.
Haglund, I agree 100% and you articulated this so well! It’s time to usher in a new generation. I looked at the roster today, and I predict as many as 15-18 retirements in the next two years. There are eight (!) Apprentices. The Corps is chock full of wasted talent because roles are going to Principals in their 40’s. I love Megan and Tyler and Andy, but they should have started pulling lot of roles much earlier. As a result, dancers like Alexa Maxwell languished in the Corps for 10 years and still isn’t being cast as a Soloist. We’ve seen a hundred Fairchild Sugar Plums. Please give Alexa one or two before she hits menopause.
I don’t have a lot of confidence in Stafford and Whelan. I think they are weak leaders. Unable to spot or promote talent, unable to usher aged dancers to retirement, the works they have commissioned suck, casting is mundane, etc etc.
There is NO excuse for the dull Nutcracker casting. That is a time when corps should be thrown into major roles to see how they do. I don’t want to watch a 40 year old Dewdrop. Sorry!
I don’t have a lot of confidence in Stafford and Whelan. I think they are weak leaders. Unable to spot or promote talent, unable to usher aged dancers to retirement, the works they have commissioned suck, casting is mundane, etc etc.
There is NO excuse for the dull Nutcracker casting. That is a time when corps should be thrown into major roles to see how they do. I don’t want to watch a 40 year old Dewdrop. Sorry!
Leontyne Price, who turns 98 years old very shortly, warned artists, “You should always leave your era; it should never leave you.” Generally speaking, the “era” of an NYCB principal artist should be short. “Eras,” unfortunately, are ever-increasing for reasons outside the quality of the artistic product that lands on stage. A fat mouth will extend the career even when the body knows it should relinquish roles or stay off the stage. Some will gladly accept polite, obligatory applause from the front row as ego salve and don’t care that their monopolizing efforts have denied talented & deserving dancers their own “eras.” They no longer subscribe to the idea that the height of company standards should always be rising, not plateauing and then declining while someone holds on for dear life to a Firebird or Swan Lake role.
There are exceptions, of course, just like there are exceptions to everything else. There are niche dancers whose repertory has been particularly suited to their bodies and also kind to their physical condition. There are principals who know it’s time to give up a role before management suggests it, and they extend careers by carefully sifting out opportunities that have become risky. A ballet dancer should not expect to have a 20 year career any more than a professional athlete should expect one. An audience shouldn’t be force-fed a 20 year diet of the same principal dancer in the same roles just because he or she can hang on and produce steps without any new artistry. Ten years as a principal should be the maximum with six or seven being more common. That gives the dancer an opportunity to dance the same roles for a few seasons, and that’s enough.
Leontyne Price, who turns 98 years old very shortly, warned artists, “You should always leave your era; it should never leave you.” Generally speaking, the “era” of an NYCB principal artist should be short. “Eras,” unfortunately, are ever-increasing for reasons outside the quality of the artistic product that lands on stage. A fat mouth will extend the career even when the body knows it should relinquish roles or stay off the stage. Some will gladly accept polite, obligatory applause from the front row as ego salve and don’t care that their monopolizing efforts have denied talented & deserving dancers their own “eras.” They no longer subscribe to the idea that the height of company standards should always be rising, not plateauing and then declining while someone holds on for dear life to a Firebird or Swan Lake role.
There are exceptions, of course, just like there are exceptions to everything else. There are niche dancers whose repertory has been particularly suited to their bodies and also kind to their physical condition. There are principals who know it’s time to give up a role before management suggests it, and they extend careers by carefully sifting out opportunities that have become risky. A ballet dancer should not expect to have a 20 year career any more than a professional athlete should expect one. An audience shouldn’t be force-fed a 20 year diet of the same principal dancer in the same roles just because he or she can hang on and produce steps without any new artistry. Ten years as a principal should be the maximum with six or seven being more common. That gives the dancer an opportunity to dance the same roles for a few seasons, and that’s enough.
Haglund! This, 100%:
“An audience shouldn’t be force-fed a 20 year diet of the same principal dancer in the same roles just because he or she can hang on and produce steps without any new artistry.”
I adore Megan Fairchild as a person and a dancer, but the problem is she was promoted to Principal so young that she’s literally been dancing the same Principal roles for twenty-something years. We are weighing the wants/needs of the dancers versus the wants/needs of the audience, and in my opinion, the audience wins out here. In other words, the audience deserves to see a faster “churn” of dancers in principal roles more than the dancers themselves deserve to hold on to those roles.
Erica Pereira is another great example. Promoted to Soloist (in my opinion) WAY too soon, and as such has been hogging the same coveted soloist roles (Coppelia, Square Dance, Dew Drop + SugarPlum) for almost two decades! She has been given SO MUCH already over her lengthy career. Let’s start giving more to Alexa Maxwell, Emma Von Enck, Indiana Woodward, Ashley Hod, Miriam Miller. Erica has had more than enough and other dancers are running out of time.
Haglund! This, 100%:
“An audience shouldn’t be force-fed a 20 year diet of the same principal dancer in the same roles just because he or she can hang on and produce steps without any new artistry.”
I adore Megan Fairchild as a person and a dancer, but the problem is she was promoted to Principal so young that she’s literally been dancing the same Principal roles for twenty-something years. We are weighing the wants/needs of the dancers versus the wants/needs of the audience, and in my opinion, the audience wins out here. In other words, the audience deserves to see a faster “churn” of dancers in principal roles more than the dancers themselves deserve to hold on to those roles.
Erica Pereira is another great example. Promoted to Soloist (in my opinion) WAY too soon, and as such has been hogging the same coveted soloist roles (Coppelia, Square Dance, Dew Drop + SugarPlum) for almost two decades! She has been given SO MUCH already over her lengthy career. Let’s start giving more to Alexa Maxwell, Emma Von Enck, Indiana Woodward, Ashley Hod, Miriam Miller. Erica has had more than enough and other dancers are running out of time.
Thank you, Ballet Fan.
There is very little, if anything, in the NYCB repertory that requires a “deepening” or maturing of artistry over time. The NYCB Balanchine rep is best served by dancers who are early in their careers and who have a fresh, never before seen energy and a hunger to devour the challenges of the brilliant choreography.
Thank you, Ballet Fan.
There is very little, if anything, in the NYCB repertory that requires a “deepening” or maturing of artistry over time. The NYCB Balanchine rep is best served by dancers who are early in their careers and who have a fresh, never before seen energy and a hunger to devour the challenges of the brilliant choreography.
Maybe you need to write a powerful review about how all those need promotions and this last Balanchine/Robbins Stravinsky Program. ??? Lol
Maybe you need to write a powerful review about how all those need promotions and this last Balanchine/Robbins Stravinsky Program. ??? Lol
Ms. Fairchild has hinted on social media comments that she will be retiring soon, though not this season. https://www.instagram.com/reel/DDyfbzpOlIz/?igsh=MW1haGticWhiazZreQ==
I find her to be such a reliable dancer, but I wish the company wouldn’t use her as a workhorse ballerina. She’s cast in almost every show in week 4, and in bravura roles, too. She’s no longer the 19 year old who can do four shows of Coppelia in a week. That casting looks like a recipe for tired performances by the time the weekend comes.
Ms. Fairchild has hinted on social media comments that she will be retiring soon, though not this season. https://www.instagram.com/reel/DDyfbzpOlIz/?igsh=MW1haGticWhiazZreQ==
I find her to be such a reliable dancer, but I wish the company wouldn’t use her as a workhorse ballerina. She’s cast in almost every show in week 4, and in bravura roles, too. She’s no longer the 19 year old who can do four shows of Coppelia in a week. That casting looks like a recipe for tired performances by the time the weekend comes.
My hope is that Emma VE will inherit all of Megan’s roles! Tiler Peck may be first cast for many, but Emma should see a lot more action when Megan is gone.
My hope is that Emma VE will inherit all of Megan’s roles! Tiler Peck may be first cast for many, but Emma should see a lot more action when Megan is gone.
Hi, Greg. It seems like it was just yesterday that I saw Emma fly out on stage in Snow into a pique to fifth position that was so sharp it stung. But actually, it was more like 7 years ago. Hopefully, her Aurora will come around next year.
Hi, Greg. It seems like it was just yesterday that I saw Emma fly out on stage in Snow into a pique to fifth position that was so sharp it stung. But actually, it was more like 7 years ago. Hopefully, her Aurora will come around next year.
Miriam Miller has been promoted!!
Miriam Miller has been promoted!!
Miriam was promoted last night following an incredible first part of the winter season for her capped off with a mesmerizing performance as the “door.”
Miriam was promoted last night following an incredible first part of the winter season for her capped off with a mesmerizing performance as the “door.”
Great news!! Well deserved! Miriam has been looking exceptionally strong this past year. Her Concerto Barocco was such a happy surprise. Hoping to catch a Swan Lake this season.
However, Miriam is but one of several others who should have been promoted. I don’t care for management’s trickling down of promotions. It’s devastating to those deserving who are still waiting. Promoting a class of several dancers places pressure on the current principals to maintain standards or leave gracefully while they still have the opportunity. Martins knew well how to signal a changing of the guard.
Great news!! Well deserved! Miriam has been looking exceptionally strong this past year. Her Concerto Barocco was such a happy surprise. Hoping to catch a Swan Lake this season.
However, Miriam is but one of several others who should have been promoted. I don’t care for management’s trickling down of promotions. It’s devastating to those deserving who are still waiting. Promoting a class of several dancers places pressure on the current principals to maintain standards or leave gracefully while they still have the opportunity. Martins knew well how to signal a changing of the guard.