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I'm not surprised about the new works. I'm debating whether it's worth it to slog through them to get to Western Symphony.
Friday night was the first show I saw this season. It feels like a dream to be back in the audience of a theater. I didn't get to go to a lot of shows in the 2019-2020 season, so there are a couple of new faces in the company for me. You're unfortunately right about the men's corps. It seemed like there was always at least one person that was glaringly out of sync. Brava to the ladies, though. The audience was quite generous with a standing ovation after the third ballet. I don't remember that happening frequently at City Ballet audiences, but I was more than happy to stand and cheer.
The QR code should still scan even if it's a screenshot. If you have an Apple iPhone you should be able to add it to your "Apple Wallet" which should make it accessible even without an internet connection.
I wonder why there is not much media coverage on this. It's so shameful. I guess labor rights aren't woke enough.
I'm hesitant to pull the trigger on that program. It's two new ballets, with the Sleeping Beauty Act III to close. I can't tell if the "Divertissements" on the program is a new ballet, or if it's a hodge-podge of excerpts.
I hope not. They have a price for it in USD ($18.50), so I better be able to watch it. I really hope their practice of recording and streaming new performances continues.
The casting for the ROH stream can be found here. Looks like Matthew Ball will be dancing Apollo for the stream.
Royal Ballet doing a Balanchine and Robbins program available on stream June 11: Apollo Tschaikovsky Pas de Deux Dances at a Gathering
NYCB will stream a performance of The Nutcracker on Marquee TV, so you have to pay. It's gonna be the Kowroski and T. Angle cast. I think you had an unfavorable review of one of their performance last year, so I hope the one they stream is a better performance.
I don't know if you've seen, but today's Google Doodle is in honor of Maria Tallchief. They made this accompanying video
I haven't had many chances to see Furlan perform, but my memory of casting was that he was partnered with Fairchild and Bouder (or am I misremembering that?). If the external hires aren't on the taller side, I can't really see the logic. As far as principal men go, NYCB has to fill the spots left behind by de Luz, Finlay, Catazaro, and soon la Cour and Garcia. Maybe J. Angle will consider retiring soon as well? That's four men that usually partner the taller women, and NYCB has many tall women in the corps and soloist ranks that are very much underutilized. The company has no shortage of talented short male dancers. Not that there aren't talented tall men in the company, but it seems to me that the promotion of tall women is bottlenecked by not having enough tall male partners in the upper ranks. I'm totally in favor of poaching Hoven, but ABT has recently promoted Forster to principal.
I'm curious as to why they're bringing in another dancer from the outside. I don't think it's for diversity, as Anthony Huxley is Asian. There's a couple of Asian men who have reached the top ranks at prominent companies such as Ryoichi Hirano at the Royal Ballet and Kimin Kim at the Mariinsky. I'm completely unfamiliar with Chun Wai Chan. I tried looking him up on YouTube, but haven't found much in the way of recent performances to evaluate his technical skills. I hope he's a tall technician. He looks tall to me, but it could just be his longs legs Maybe we might get a tall couple for Tchai Pas and T&V. I hope he does well in the company.
It makes no financial sense that some companies have opted not to use the funds for payroll when that's what makes the loan forgivable.
Not performances, but looks like the Balanchine Foundation is making some coaching sessions from their archives available on YouTube.
I think it's coincidence. Tiler has been on twice as well. I do wish we'd get the full ballets for some of the pieces they're presenting. But I'll take the excerpts that they're giving.
The Balanchine Foundation is also probably another hurdle. It would be nice if NYCB could stream some Balanchine though. They have that show they filmed in Paris, for starters.
I listened to his interview on the City Ballet podcast, and I enjoyed hearing about his background and experience. However, once they started discussing his new piece, it was red flags all over the place.
Roman's interpretation of Allegro Brilliante felt a bit too much Basilio from DonQ. Not my favorite approach for the role, but you can't deny the wow factor. I would love to see his Oberon.
Looking forward to seeing Emilie Gerrity in Stravinsky Violin Concerto. I wonder if Sterling Hyltin is injured.
I hope that this Winter season turns out better. I was a bit disheartened this past fall after a disappointing performance of Symphony in C. There's also only a handful of shows that interest me in the spring. Why so little Balanchine and Robbins?! The first three weeks only have four shows that feature Balanchine. I probably won't be attending much until the 2nd half of that season.
Having dancers retire roles is definitely something Stafford and Whelan will have to learn how to do. I know Whelan talked about that talk with Martins like it was some kind of natural disaster, but even in her account Martins was firm and professional about it. It's not a fun talk, but ADs shouldn't spoil their dancers. Likewise, any professional dancer should be able to navigate this situation gracefully and accept it, harsh as it may feel at the moment. Though I bet there are some who would come running to the NYT when something doesn't go their way. Is there more grand allegro in SPF than in Diamonds and Mozartiana? I missed this year's Jewels, but I thought Maria was still dancing Diamonds beautifully? Perhaps that is why she was still cast as SPF this year. But, I do remember some of her turns in Mozartiana being being a little wobbly.
I hope the Jewels broadcast would feature Alena Kovaleva as the Diamonds ballerina. She was a highlight of the Lincoln Center multi-company Jewels a few summers back. It would be great to get her performance on film.
It really is too bad. Both times I saw her in Giselle, she had a problem with the hops en pointe, and I think she might have been injured or still recovering from one at the time. It's probably for the best. I will miss her presence on the Met stage.