Oberon's Grove

Balanchine/Stravinsky Evening

Tuesday January 16, 2007 - The idea of an all-Balanchine/Stravinsky programme is possibly more appealing than the actual event. The ballets presented are all masterpieces in their own right but strung together, they make for an oddly unexciting evening. People sitting around us complained of the lack of musical or scenic variety, and it seemed like many folks departed during the second intermission. Each of these pieces works best when it is the highlight of an evening; viewed one after another they are somewhat devalued.

I'm not sure about Faycal Karoui's conducting; the evening had a same-y quality and I have heard all these scores played with more dynamic variety and more illuminating detail. But again, it may just have been a case of too much Stravinsky.

AGON was very well-danced, notably Sean Suozzi's expansive movement and dramatic thrust. He has great presence and charisma. Teresa Reichlen was very impressive, as was Adrian Danchig-Waring who has a striking  physique and moves with clarity and force. The end of the trio, where Adrian tosses Tess into the arms of Tyler Angle, was slightly mistimed but all three dancers looked super. Ellen Bar and Rebecca Krohn danced with distinction and were intriguing to watch. Wendy Whelan and Albert Evans were thrilling in their signature pas de deux. The quartet of corps girls filled out the stage picture to fine effect.

The highlight of the evening was the very accomplished and indeed fascinating dancing of  Rebecca Krohn in MONUMENTUM/MOVEMENTS. Ideally partnered by Charles Askegard, Rebecca showed a security of technique and an impressive shaping of the steps. She has a ideal ballerina body, in my view, and a vividly attractive face with large eyes and luscious lips; moreover, she has that intangible 'it' that makes a dancer a star. She put me in mind, frequently, of Suzanne Farrell. In MONUMENTUM, the partnership of Faye Arthurs & Craig Hall frequently tempted my opera glasses away the leading couple; and in MOVEMENTS Kaitlyn Gilliland stood out in a very fine sextet of corps girls.

Performing DUO CONCERTANT after M & M seems like an after-thought and doesn't allow the longer/bigger ballet the proper time for reverie. When the curtain rose, there was a slight feeling of: "Yes, Virginia, another Borree/Hubbe DUO CONCERTANT" but they danced beautifully and seemed to be enjoying the piece. The audience gave them a warm reception. The ballet is just a bit corny now, with the long opening section - nice music - wasted choreographically as the dancers just stand there listening. The novelty of the idea has long since wore off - for me, anyway - and while the lighting of the final 'hands' segment is improved it is still not perfect. For all that, I did enjoy the two dancers very much.

SYMPHONY IN THREE MOVEMENTS kicked off with the dynamic duo of Ashley Bouder & Tom Gold trading high-bouncing steps with gusto. Ellen Bar and Arch Higgins came on like gang-busters and looked great but they ran into troubles: Arch collided with a side panel as he made an exit and Ellen's series of turns down the center line skewed off to the side. They pulled it all back together and finished strongly. Miranda Weese looked rather chubby in her pink leotard but her dancing was a pure delight; it was good to see Jared Angle back onstage after his on-again-off-again comeback attempts. He danced very well and is in fine shape, reminding us of what we've missed in his absence. The demi-solistes and corps gave it everything they had, bringing the evening to a bright conclusion.

From the Playbill, Wendy Whelan talks about dancing the Stravinsky/Balanchine ballets. Click on the panel to enlarge.

Maria Callas: A Warning

This Saturday, January 20th, the Metropolitan Opera will air a repeat of their 1956 broadcast of LUCIA DI LAMMERMOOR. The Met's taking a break from performing now and they've chosen this performance from their archives as a tribute to Maria Callas. The LUCIA of December 8, 1956 was the only time Callas sang on a Met broadcast and this Saturday's repeat marks the 50th anniversary of the performance, just a few weeks late.

For me, it's a back-handed tribute if there ever was one. Callas was in parlous vocal estate at that time; her tone quality is very dark and covered, and she cracks the highest notes and leaves out the E-flats of the Mad Scene.  Of course there are illuminating phrases - you get those in any Callas performance, even the worst ones -  and she does convey the emotions of the hapless Lucia with her usual innate sense of character. But the vocal insecurities are quite blatant in this bel canto role.

I can't imagine they would have doctored the tapes, and playing it as it was performed seems almost like a cruel joke. Allegedly an homage to the diva, the re-broadcast might be viewed as a way of deflecting criticism from some of the Met's less-than-scintillating current sopranos. "This is the great Callas? Certainly _____________ and ___________ today are her equal if not her better."  Callas on this form almost makes the recent controversial Netrebko PURITANI sound good. (Note the word 'almost'.)

If I wanted to salute the great diva, I would turn immediately to the 1955 La Scala opening night NORMA which is preserved on the Gala label. Callas was not just in excellent voice, she does what she's always been famous for doing: she becomes the character she's portraying. Even without seeing her, she just IS Norma. A couple of risky notes create audible audience reactions, building the atmosphere. The mythical high-D which Callas sustains at the conclusion of the trio has to be heard to be believed, but it's only the most 'obvious' moment in a long evening of vocal astonishments. No one could weep with the voice like Callas did, and in the end, begging her father to care for her children, the Callas Norma makes the strings of the Scala orchestra weep with her.

Sharing the Scala spotlight that night were those titans of Italian grand-style vocalism, Mario del Monaco and Giulietta Simionato. They give it everything they've got and they spur Callas on to the heights.

I'll never forget my first experience with the Callas voice. I was 13 years old and while my parents had very kindly given me some opera LPs (which I played to death), I wanted so much to start buying things for myself. So I saved up some money from my paper route & from working in my father's store. After an orthodontist appointment in Syracuse, my Mom waited for me in the car while I went on my own into the record store. It was one of my first brushes with 'adulthood' and I remember feeling both uneasy and awkwardly thrilled by the attentions of the older male customers, one of whom was quite aggressive. But I had my focus: to buy a Callas recording. And I did: her EMI disc of Verdi Arias.

It seemed like the trip home took forever.  At last, after supper, I had the record player in the rec room to myself. Carefully unwrapping the disc, I started it. BALLO IN MASCHERA: the gallows aria. The orchestral introduction was thrilling (it still thrills me today) and then there was this moment of silence...and then Callas began to sing.

I hated it. Totally. What an ugly sound, so nasal, so veiled and dark. The tone fluctuated as she went higher.  For me, accustomed to the voices of Tebaldi and Milanov, it sounded just terrible. I didn't even get thru the aria. Then I skipped the needle around a bit and found everything to be the same.  Sadly I realized I had wasted my money and squandered my first real choice of an addition to my collection. I had read so much about her and I was just demoralized by what I heard after so much anticipation.

It was months, maybe years, before I ever listened to the disc again. It wasn't until I heard the 1955 Scala NORMA which my friend David Abramowitz had given me on reel-to-reel that I finally started listening to Callas and appreciating what she was doing. In the end, it was her live performances up until 1955 - and sometimes slightly beyond - that were the key to admiring her. I never became a Callas addict; I have hardly any of her studio recordings and I don't listen to her all that much. But at least once a year I devote an afternoon to that 1955 NORMA and each time I am both fascinated and deeply moved by her singing.

UPDATE: Listening to the re-broadcast on Saturday I realized that this Callas Lucia was a triumph of technique and will-power over a seriously deteriorated instrument. Several people at my opera chat group thought it was "much better than expected" after hearing warnings about it over the years (even John Ardoin, the most loyal Callas chronicler, rates it 'possibly her poorest Lucia').  It is amazing, really, how she manages to cover almost all her deficiencies, except for the high notes which are either precarious, missed entirely, or eliminated.

Callas once said, in decline: "I still have my voice but have lost my technique." She had it backwards: she had ravaged the voice over the years by attacking unwritten notes in-alt, by over-working the chest voice, by singing too many demanding roles too frequently, and by compromising her support system with a rapid weight loss. All that, added to her abandoning her life to Onassis, resulted in a very brief heyday and a shortened career.

But her technique never abandoned her; even in the Juilliard Master Classes she was able to  demonstrate 'how' things should be sung despite not having the sheer voice to actually do it.

2007 SLEEPING BEAUTY #6

Saturday January 13, 2007 matinee - The Aurora of the afternoon, Ashley Bouder, is one of the most astonishing dancers on the planet at the moment. She can turn, jump and balance  faster, higher & longer than just about anyone.  She  phrases the steps persuasively into long balletic statements and her innate musicality allows her to vary the pacing and keep the dancing constantly alive.  All afternoon she  delivered the goods  with complete assurance and endless resources of energy. As a display of dancing, you probably won't see anything better in New York City or - just possibly - in the world.

[EDIT: Here I had written some uncharacteristically negative remarks on Bouder's facial expressions which were not really an enhancement to her performance. But since then I have been thinking I was too harsh. And she has since shown a remarkable development in terms of conveying emotion with her facial features. So I have omitted the original complaints in view of her developing artistry.]

Benjamin Millepied is such a handsome guy, slender and youthfully noble of bearing. He danced quite well if without the pure bravado of a few years ago (pre-injury). Partnering has never been Millepied's forte though he managed nicely enough today. The fish-dives, however, were really bad this afternoon and I can't say it was all Ben's fault. Bouder, after her pirouettes, seemed to move to her left, away from Ben, making it all the harder for him to grip her and tilt her into the dive. Very sloppy. I thought for a moment they were going to just leave out the third one. At any rate, no one's been able to pull the dives off this year and I think they should be eliminated. As someone pointed out over at Ballet Talk, they were inserted decades ago into the Diaghilev production in London by Bronislava Nijinska. On the surface, if well-executed, they are exciting. But apparently the original version had the ballerina 'swooning' into the Prince's arms instead of 'diving'. That sounds nice. And of course, no one swoons like Jenifer Ringer.

When the casting first came out, we actually thought of skipping this performance but there were  some people in the cast we just couldn't miss. First and foremost, Amanda Hankes; she made a striking Lilac Fairy the last time they gave this ballet; she stepped out of the corps and held her own opposite the splendid Aurora of Miranda Weese. Later, she went missing for a while and it was a delight to see her earlier in NUTCRACKER regaining her place. And here she was, back as Lilac and pretty sublime. A distinctive beauty with long legs and arms, Hankes has remarkable bearing and a slightly mysterious quality that I find really appealing. She gave a  wonderful performance this afternoon.

Another top favorite of mine is Adam Hendrickson - one of those dancers you could watch for hours.  Adam danced Bluebird today, and he left off some of the heavy make-up the other boys have used and so the expressive Hendrickson face shown thru under the bejeweled exotica. He danced with lightness and clarity, his swift steps and silent landings giving a weightless feeling. Abi Stafford was the agile and appealing Princess Florine, bewitched by the Bluebird's song. Their joyous 'fly thru' in the finale capped their success.

Another treat today was the Cat duet danced by Lauren King and Amar Ramasar. They played up the humor and sexiness of the piece (joyously rubbing rumps, and then Amar sprawling languorously on the floor and letting his tail wag in lusty anticipation). The audience loved them.

The crowd also enjoyed Masahiro Suehara's virtuosity as the Jester, along with Vincent Paradiso and Troy Schumacher. It will be a shame if Masahiro doesn't become a permanent jewel in the NYCB crown.

Stephen Hanna was again very impressive  as Gold, while Savannah Lowery, Tiler Peck and Ana Sophia Scheller all seemed to have arrived onstage fresh from breakfast at Tiffany's. They were delightful.

In the Prologue, the Fairies were all repeating their roles and all at their best. Maya Collins notched up from her already successful debut as Tenderness, refining and polishing her presentation with a nice lustre. Scheller's Vivacity couldn't be any more brilliant - or lovable. Rebecca Krohn was having a grand time; she is so striking. Alina Dronova was extra-precise and charming, and Ellen Bar capped the variations with a dramatic and vividly musical Courage. The cavaliers were a handsome lot, Sean Suozzi as ever nailing his combinations with flair. As Wei says, Sean always gives 110%. Faye Arthurs was dancing away in Lilac Attendants and Maids of Honor, probably not realizing that Wei & I were mentally showering her with roses and pearls.

Melissa Barak's Carabosse is grandly nasty and she looks fantastic.  William Lin-Yee & Gwyneth Muller ruled over the proceedings and Abergel's Countess is a little masterpiece of feminine insecurity and over-reaching. 

The Garland Waltz becomes more and more magical with each viewing, and the music of the Vision Scene is pure heaven.

My big surfeit of Tchaikovsky is over: seven NUTCRACKER  and six BEAUTY. Someone suggested I give out 'Oscars' for the best performances in the various roles in BEAUTY. OK. Let's start with the Countess. A non-dancing role. You have to look gorgeous and act the 'desperate fiancee' bit while maintaining aristocratic poise. The the nominees are: Saskia Beskow, Gwyneth Muller and Dena Abergel. And the winner is:.......do you honestly expect me to choose?  I can't.

UPDATE: A loss for NYCB is a gain for Los Angeles Ballet; Masahiro Suehara is now listed on LAB's roster. Colleen Neary knows a good thing when she sees it.  Lucky Angelenos!!!  Best wishes to  an exciting young dancer!

 

Another Missing Ballerina

We were wondering why we hadn't seen Genevieve LaBean onstage recently; during NUTCRACKER she had danced among the Marzipan Shepherdesses and Flowers but she was missing from BEAUTY. Scanning the roster list in the Playbill, her name isn't there. So many departures.   

2007 SLEEPING BEAUTY #5

Thursday January 11, 2007 - Just as the house lights were dimming, Darci Kistler and her daughter Talicia slipped into 'the Mrs. Diamond seats' on the 1st Ring. Had Darci coached Sterling Hyltin for her debut as Aurora?

Sterling has reminded Wei and me of Darci ever since she joined the Company and so we were eager to see her in this testing role. Sometimes in the past, Sterling's dancing has had an angular feeling but tonight the hands and arms were softened and her transitions from step to step were silky and flowing. She also had a sort of sophisticated eagerness that was endearing; overall, reminders of Darci were everywhere but Sterling made the role her own, too.

The Rose Adagio was danced with just the right combination of aristocratic hauteur and girlish delicacy. Sterling's four suitors (Tyler Angle, Adrian D-W, Edwaard Liang and Henry Seth) were solicitous and supportive and both the big solo balance moments were exciting; Sterling looks fragile but she is strong. Returning to the stage after the pretty Maids of Honor interlude, Sterling's solo was a revelation; so light and precise, her turns pristine and her balances poised. Her fleet foot-work sometimes gave the remarkable illusion that she was not touching the ground.

In the Hunting Scene we meet the other half of the equation: Jonathan Stafford in a beautiful role debut as the Prince. We've watched Jon grow up on the NYCB stage and so good to see him step into this principal classic role with such polish and clarity. Youthful and sincere, Jon's height and bearing give him the right princely air without any fussiness or frills. Dismissing his friends, his solitary reverie is interrupted by the Lilac Fairy who seems to materialize out of thin air. Tonight it was Sara Mearns - more about her later - and thus commenced a beautifully touching Vision Scene. Sterling  and Jon are ideal partners in their colouring, their slender bodies, elegant carriage and long legs. With Mearns gorgeously orchestrating the encounter, Sterling & Jon brought out the tenderness and slight tinge of disbelief ('can this be happening?') which makes the scene so enchanting. The nymphs wove their patterns and finally Sterling whisked away leaving Jon to dance a joyously expressive solo where his space-filling jumps and sunbursts of port de bras ideally showed us the opening of his heart.

In the wedding pas de deux, Sterling & Jon gave a fine display of what a perfectly matched pas de deux can be, and if the fish dives didn't work just right everything else was superbly aligned. Jon's solo was a highlight for his musicality and finely executed air turns with the right 'finish'. Sterling's intricate steps and swirling turns were exciting and they finished adagio with the 'hands off' pose to fine effect.

As the royals, Saskia Beskow and William Lin-Yee were regal but warm, and Kyle Froman was the joyously fussy Catalabutte. As Tenderness, Ashley Laracey led off the Fairies set piece with gentle lyricism, followed by the mercurial Lauren King in Vivacity. Faye Arthurs in Generosity makes you wish the solo was twice as long; Rachel Piskin was lively & sweet as Eloquence and Gwyneth Muller an imperious, big-hearted Courage. Gwyneth later reappeared as the lovely but 'clinging' Countess.

Melissa Barak's Carabosse is the incarnation of evil dipped in glamour, and did she ever enjoy throwing the court into dismay.

Stephen Hanna's Gold was very impressive tonight, easy & handsome with big space-filling combinations. Rebecca Krohn, Abi Stafford and Tiler Peck repeated their Jewel numbers to fine effect  and the climax of the piece, when they all come to a screeching halt after wafting all over the stage, is exciting. Seth Orza and Alina Dronova scored a hit with their Cats duet tonight and Christian Tworzyanski was the menacing Wolf to Maria Gorokhov's tiny Red Riding Hood.

In their first Bluebird, Ana Sophia Scheller and  Vincent Paradiso looked super  together with their black hair, shining eyes and vivid expressions. The 'adagio' section was not altogether smooth but the audience seemed very taken with them. Later, Vincent's diagonal of flying beats had a beautifully 'quiet' feeling; Scheller danced with sprightly charm; her solo was perfect.

Antonio Carmena and his fellow Jesters, Allen Peiffer & Austin Laurent, were a lot of fun; Tonio's leaping splits were uncanny and in the finale he went soaring off in some fantastical jump that he pulled out of his bag of treats. A magical dancer. In the concluding promenade, Abi & Tonio made a joyous pair.

Reigning over the evening was the incredibly beautiful Lilac Fairy of Sara Mearns. Utterly poised and calm at every moment, Mearns danced with a time-suspending rapture. So sure of the power of her goodness, scarcely a wrinkle of concern touched the Mearns brow as Carabosse made her threats. Sara stepped forward and with a few magical gestures paved the way for a happy ending.

On a day when world events left me deeply angry and helplessly concerned for the future, I found myself wishing that just a tiny fragment of the Lilac Fairy's kindness could invade the hearts of our world leaders. That of course is an illusion, and a poignant one.

Photos from afar: Sterling & Jon...the Divine Sara.

2007 SLEEPING BEAUTY #4

Wednesday January 10, 2007 - Megan Fairchild's first Aurora at New York City Ballet  was the centerpiece of the evening. A ballerina who looks the part of the teenaged princess, Megan danced with assurance and technical refinement, her musicality managing to subordinate the sometimes erratic tempi (and musical errors) from the pit. After a thoroughly satisfying Rose Adagio in which she interacted beautifully with her suitors, Megan was particularly brilliant in the solo which follows, filled with delicate & sustained balances. In the wedding pas de deux, Megan and Joaquin de Luz brought a nice mixture of romance and showmanship. Joaquin's solo was the balletic highlight of the evening, his bravura technique finally enlivening a rather subdued audience. He looks great, exudes star-power, and he & Megan managed the fish dives better than the couples in the earlier performances.

In another role debut, Ellen Bar as Lilac Fairy used her long arms to fine effect, her mime clearly delivered. The conflict between the Lilac Fairy  and the excellent Carabosse of Maria Kowroski was wonderfully expressive in Bar's gentle negation of the curse, and in the Vision Scene she danced with calm elegance. She was enthusiastically received at her bow.

Maya Collins launched the Fairy set piece with a finely-danced Tenderness solo and looked thoroughly at ease in ensemble with the 'veterans' Scheller, Krohn, Zungre and Barak.  Dena Abergal was again a vividly-acted Countess.

In the Jewels quartet, Lauren King's Emerald was outstanding - the photo to the left gives you an idea of how lovely she is - with Savannah Lowery and Alina Dronova as Diamond and Ruby offering contrasting styles - Savannah's grand and Alina's airy. Seth Orza looks very handsome and takes care of the girls with skill but he lacks the virtuosity to be totally successful in the Gold solo. Rachel Piskin & Rob Fairchild were the playful Cats and Christian Tworzyanski's Wolf played second-fiddle to scene-stealing Hideka Hanafusa.  Adam Hendrickson's bouncy Jester was a spirited success, backed by Villalobos & Severini, and Tiler Peck and Daniel Ulbricht were well-matched and they pleased the audience with the pyrotechnics of the Bluebird pas de deux.  Gwyneth Muller can be Queen of my country anytime she wants.

From a distance: Megan & Joaquin...Maria K...full cast call...

Before the performance I spent a long time catching up with Lisette Oropesa at Pain Quotidien on 65th Street. If you like desserts and hot chocolate you will like this place. There I ran into Eve Shapiro, head of the Drama Department at Juilliard and a very dear lady.   

Brief Respite

Dreary, rainy weather is keeping me from hiking today. We have a little break from performances until Wednesday and I was very much looking forward to spending 3 hours on the trails this morning. Instead I am going to curl up with a cup of tea and watch CAT'S MEOW.

I was asked why I didn't comment here on the Anna Netrebko/PURITANI 'madness' at the Met and the reason is: I didn't see it. In case you don't follow operatic events, the Russian soprano who is being touted as the 'Audrey Hepburn of opera' has taken on the very demanding role of Elvira in the Bellini opera this season, the domain of the great bel canto goddesses Callas, Sutherland, Sills, June Anderson, Gruberova and Mariella Devia.  The controversy has arisen  amongst the fans as to whether the Netrebko persona compensates for her lack of technical proficiency in this difficult music. I did not see her in the theatre but I heard the first night's webcast and Saturday's radio broadcast and I thought she was all wrong for it. Her timbre is very dark, her scales messy, she snatches breaths when she shouldn't, she can't (or won't) trill, and her top notes sound like her vocal cords are going to explode.
But from my point her worst failing is in the lack of dynamics and shading of the music which can compensate - at least to an extent - for other shortcomings. She basically sings all the music is the same dusky monotone. A letdown, but not an unexpected one. Since her memorable WAR & PEACE Met debut a few seasons back I have been hoping to see Netrebko as Tatyana in ONEGIN. That would suit her far better, I think, than Bellini. 

Oh, well, enough of that. How about Christopher Wheeldon's announcement that he is forming his own troupe? Great idea!  I can't wait to see what he does and where he performs and I hope he gets the funding to make his artistic vision come to pass. Will he poach dancers from NYCB? I feel sure he will. But as long as Morphoses (the new company's name) plays in NYC every season so I can keep track of my dancers, I won't begrudge him. Besides, Peter has that school-full of talent across the Plaza from which to replenish the ranks.   So I'm not too worried.

I've been thinking about Jacob's Pillow these last couple of days because my friend Richard gave me a booklet about it for Christmas and it brought back memories of the many, many beautiful days we spent there. I haven't been to the Festival for 9 years, and Wei has never been.  The idea of a trip there is starting to invade my Cancerian/homebody mind-set.

Since I'm housebound, these pictures from the wilds of northern Manatus will have to suffice today.  Note the seagulls on the railing in the first shot.    

                         

2007 SLEEPING BEAUTY #3

Saturday January 6, 2007 @ 8:00 -  Jenifer Ringer danced Aurora. She was just about perfect. I'm thinking of how to describe her performance and the word 'ideal' is the one that comes to mind. This is really one of those great balletic matchings of dancer to role which come about from time to time, and we are fortunate it's happened while we are here to enjoy it.

I remember once Dick Cavett bluntly asking Claire Bloom, "How does it feel to be so beautiful?" He just blurted it out.  I would like to pose the same question  to Ringer; but of course just being beautiful won't get you thru Aurora. Ringer tonight danced with such calm assurance and grace. Creating an endless revelation of one lyrical combination after another, she wove the steps magically into her incarnation of the fairy tale princess. If there was a highlight, it might have been the stunningly sustained balance early in the Rose Adagio; but the whole interpretation was on the same exalted level. We spent the evening basking in the Ringer glow.

Philip Neal has been on the long road back from injury and it was good to see him tonight partnering Ringer handsomely, although as with the two prior evenings the fish dives did not quite have the ideal polish. Teresa Reichlen's Lilac Fairy reveled in her slightly off-kilter style which - I imagine - Mr. B would have found delightful. She looks spectacular and has sensational legs. The Ringer-Neal-Reichlen  Vision Scene was elegant and touching, superbly framed by the corps of NYCB's delectable nymphs.

Sterling Hyltin and Daniel Ulbricht danced the Bluebird pas de deux with plenty of dazzle, though they don't quite compliment one another ideally. Physically they are different types and I think they could be matched with other partners to stronger effect - maybe Sterling with Sean Suozzi and Daniel with Scheller. Nevertheless, they were fun to watch.

Maria Kowroski seemed to enjoy herself as the darkly glamorous Carabosse, and there were some very appealing performances in acting roles tonight: Gwyneth Muller outstanding for her luminous presence as the Queen and a beautifully detailed Countess from Dena Abergel who played her as a 'needy lover' to a T. Henry Seth was a dapper King; Christian Tworzyanski (Catalabutte) and Rob Fairchild as the Wolf also worked up fine characterizations, and Rob danced with flair as well.

The fairies of the Prologue were again vastly appealing:  Amanda Hankes, Ana Sophia Scheller, Rebecca Krohn, Stephanie Zungre and Melissa Barak. Each has her own beauty and style, and each her own perfume. This set piece is a highlight of the evening.

The Garland Waltz and the Vision Scene continue to make their visual impact as the run of performances goes on; choreographic details of these large pieces are revealed with repeated viewings.

Masahiro Suehara replaced Adam Hendrickson and again joyously flew thru the steps with Aaron Severini and Giovanni Villalobos as his dynamic fellow Jesters.

Stephen Hanna led the Jewels quartet; he seems nearly back to top form after a long layoff and his dancing and presence mark him out for a big future. Lauren King (Emerald) and Ana Sophia Scheller (Ruby) were scintillating in their solos and so pretty in their duet passage where they exchanged wafting jumps and delicate beats.

Two dancers really scored hits tonight: it did not surprise me to see Savannah Lowery (Diamond) offering lush balances and the grand style, but when she went into her multiple 'speed of light' turns she took it to another level. Along with Scheller & King, Lowery really made us see the brilliance for which the piece was named. Another NYCB treasure is Melissa Barak and did she ever dance up a storm in the Courage variation tonight. Barak's facial expressions always find the ideal reflection of what she is dancing, and her technical security and daring style were never more perfectly displayed than tonight. Her incredible musicality hit every accent spot-on - a revelatory performance.

Here is a little photo of our Aurora, Jenifer Ringer, which I swiped from the Playbill. The picture sort of says it all.

During the intermission Wei and I had the great pleasure of meeting an on-line friend, Carbro. We have 'known' each other for 3 or 4 years and she is just as kind and lovely as her e-mails have always led me to think. And she was wearing the most attractive jacket. I've often looked around the audience and wondered if a certain someone in the 4th Ring might be an on-line friend. It's great to put a face with a name, and now we'll be able to compare notes in person. And we have lots of notes to compare!

Audiences for this run of BEAUTY have been large; the box office people tell me performances next week are nearly sold out. NUTCRACKER also drew larger audiences this season than in the past few years; it looks like tourism in our metropolis is finally rebounding after the dark days following 9/11. Also it is possible that Peter Gelb's innovative approach at the Met, his 'opera for all' theory, is having an effect on the other Lincoln Center companies. The Plaza surely is more bustling these days, and with more people viewing the NYC Ballet posters more people will be tempted to give it a try. I would bet that the gorgeous poster of Jeni Ringer as the slumbering Aurora drew some folks to the ticket window. 

2007 SLEEPING BEAUTY #2

Friday January 5, 2007 - To go or not to go, that was the question. In the end, the desire to see Sara Mearns in her first Lilac Fairy won out over certain reservations about Yvonne Borree's Aurora. In the event, this was a wonderful performance and Borree was a pleasing Aurora in so many respects.

But let's start at the beginning because the evening had an urgency and intensity that the Wednesday night performance did not achieve. Part of the success lay with the vital conducting of David Briskin and the orchestra being on much better - though not perfect - form.  Right from the first phrase one sensed a more dramatic atmosphere. This continued throughout the evening as the many moods of the score were clearly conveyed.

Having a gorgeous Queen and a majestic king sets the tone; Saskia Beskow and William Lin-Yee were wonderfully cast. As the fairies entered in their sorbet tutus with their gallant cavaliers, the ballet was underway in high style. What a pretty group: Ashley Laracey, Ana Sophia Scheller, Faye Arthurs, Rachel Piskin and Gwyneth Muller. Laracey's gracious lyricism, Scheller's spirited charm, Piskin putting us in mind of Amanda Edge - no small compliment - and Muller's magisterial and leggy Courage: each was delightful in her way. Faye Arthurs continues to amaze us; her solo and her phrases in the ensemble were marked by floating balances, elegant hops on pointe, and the easiest extension in the world.

The Garland Waltz was again magical; this alone is worth the price of admission.   

I've seen dozens of incredibly beautiful dancers onstage over the years but I have to say that Sara Mearns would be an eleven on a scale of one to ten. She bedazzles from the moment she appears, and then she starts dancing and one is swept away. She has a generous, luscious style and a sense of suspending time in her phrasing. Her benevolent Lilac Fairy made a fascinating impression, especially in the many attitude poses woven into the role.

Melissa Barak, a powerful dancing-actress, was a striking presence with vivid gestures and reveling in her schemes.  This was her debut as Carabosse  and she was an emphatic success.

The 'jewel' set piece was excellent tonight, led by the genial  Jon Stafford who delivered his specialty: multiple air turns in alternating directions, added to the long-legged Stafford elegance. Rebecca Krohn was a richly-danced Diamond and Alina Dronova airy and sparkling as Ruby. I very much enjoyed seeing Lauren King step out in Emerald - I've had my eye in her for a couple years now...a   uniquely pretty face which reminds me a bit of Michelle Pfeiffer. Her polished dancing and lovely appearance make me think we'll be seeing more of her.

Sean Suozzi's Puss-in-Boots is a miniature masterpiece - Sean has enormous talent and star power, so let's not keep him in the corps any longer. Onward & upward! His White Cat was the frisky Stephanie Zungre. Christian Tworzyanski's wolf was adorably tamed by Hideka Hanafusa's Red Riding Hood. As the jesters, the flashing buoyancy of Troy Schumacher and Vincent Paradiso shared the spotlight with Masahiro Suehara who continues to be listed as a guest.  He must not be allowed to go elsewhere: contract NOW! The boys were super in this bravura number.

Tiler Peck found yet another wonderfully congenial role in Princess Florine. Such a lively, mercurial dancer. Antonio Carmena's Bluebird was another feather in this astonishing dancer's cap; brilliant beats and jumps are his to deliver with ease; his back beautifully arching as he soared thru the air. And his balance at the end of the 'adagio' was uncanny. He could be the successor to Damian Woetzel. Or to Peter Boal.  But no, he's the one and only Carmena. Bravo, bravissimo....

Yvonne Borree was the first Princess Florine I saw in this production over a decade ago (her Bluebird was Ethan Steifel!) Since then, Borree has had her ups and downs; she has been much maligned for her unsteadiness and her fluctuating technical level. There have always been roles I've liked her in (Juliet, DUO CONCERTANT, SERENADE) but Aurora seemed beyond the realm of possibility.  However,  her name appeared on the casting; as the week progressed her Prince changed from  Sebastien Marcovici to Jared Angle. We went into the theatre not knowing what to expect; then we found a slip in the programme that Angle was to be replaced by Nikolaj Hubbe. Hubbe has often been Borree's partner in the past.

Borree intrigued me right after her first entrance with her adorable mixture of timidity and eagerness as the four suitors greeted her. Nestling in the embrace of her parents, she looked on these handsome men with a sort of confused delight which was so endearing. The Rose Adagio can be a trial for the most stable ballerina; Borree did have her shaky moments but they did not detract from her demure, lyrical quality. She actually seemed to cherish the roses as they were presented to her. Her four cavaliers (Henry Seth, Tyler Angle, Edwaard Liang and Adrian Danchig-Waring) were wonderfully supportive of Borree, as were Beskow and Lin-Yee. The minor flaws were for me eclipsed by the overall romance and drama of the situation. Thereafter Borree relaxed and proceeded to expand on her qualities of delicacy and gentleness to create an appealing Aurora. Her dancing was far more poised and polished than I might have anticipated, and even Wei, who is quite anti-Borree, agreed at the intermission that she was doing something with the role that rated admiration. By the end of the evening, we were won over; in a way it seemed the whole Company were quietly pulling for Borree which was a nice feeling. We very much liked her phrasing and feeling for the 'gathering in' gestures in the bridal solo.

Hubbe was at a higher level here than on Wednesday; he had more energy, more bounce to his jump, and an eager tenderness which dove-tailed nicely with Borree's modest charm. Borree, Hubbe and Mearns made the Vision Scene especially poetic tonight and the contrasting beauty of the two women made a lovely impression.

Again the fish dives were not perfect, and there were other imperfections along the way which some people will doubtless dwell on. For me it was an enjoyable night.

The audience seemed more tuned-in tonight and participating in the performance to a greater degree. Of the many corps dancers to catch my eye tonight, I'm sure no one will begrudge the mention of Elizabeth Walker who is so totally at ease onstage.

Have there been 'better' BEAUTIES?  Yes. But there was an atmosphere tonight that was unusually pleasing. I'm glad we went.

As seen from a great distance, here are some calls rom this performance: Melissa Barak; Sara Mearns; and the full cast.

Another Met FLUTE

January 4, 2005 - I was back at the Met this afternoon for another performance of the English-language MAGIC FLUTE. The audience was rowdier  - large groups of school kids - but the real distractions were two crying/screeching babies who could not possibly have been old enough to have any comprehension of what was happening onstage. And the parents made no effort to stifle them or take them out of the auditorium until the opera was almost over. So 3000+ people who paid good money to see the show had their afternoon spoiled by thoughtless, self-indulgent parents. Rule: never take children to the opera until they ask to be taken.

Levine's absence in the pit (replaced by Jens Georg Bachmann) was keenly felt; coordination between the orchestra and singers was sometimes awry.

The cast had many holdovers from the earlier performance reviewed below. Different today were the Papageno, Pamina, Tamino and Queen of Night. Nathan Gunn is a real stage animal, a dynamic and athletic actor who throws himself physically into the role of the birdcatcher. His voice is rather ordinary sounding, but no one seemed to care today. Ying Huang was a pleasingly silky-voiced and vulnerable Pamina, and Matthew Polenzani sang with sweetness and ardor as Tamino. Erika Miklosa's Queen was dazzling in accuracy and though her voice is light of texture, she sent the high staccati spiraling into the house, touching on the F's with jewel-like clairty.  Repeating their roles, Morris Robinson and David Pittsinger were very impressive. Greg Fedderly's Monastatos today was brilliantly creepy and cunningly sung.   

I met Ying Huang a few years ago when I was working at Tower. She kindly put me on her guest list today; the last time I was backstage at the Met was when Makiko & I visited Tony Griffey after SUSANNAH. It's a rather dreary place, actually, but it was nice to see Ying in her scarlet silk dressing gown sitting in the Met's prima donna dressing room.