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Subject: "NYCB in Parma - 2nd program" Archived thread - Read only
 
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Conferences What's Happening Topic #2089
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Susy

14-09-01, 09:11 AM (GMT)
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"NYCB in Parma - 2nd program"
 
   I’m still in awe for an unforgettable performance. Yesterday evening the NYCB danced for the last time at the Verdi Festival in Parma: Verdi was missing in the program, but a miracle happened on stage. The choreographies were the inspired vehicle for amazing interpreters and the dancers were the brilliant instruments who enhanced these masterpieces. The result was a living monument to poetry and perfection, something that doesn’t happen so often with performing arts. Through the movement every musical phrase gained a deeper meaning and a brighter light.
It’s difficult to match emotions with words, so this is the list of titles and names because such a performance deserves a memorial. Darci Kistler, Elizabeth Walker, Charles Askegard and Jock Soto danced “Barber violin concerto” by Martins, Helène Alexopoulos, Yvonne Borree, Maria Kowroski, Jennie Somogyi, Pascal van Kipnis, Peter Boal, Jared Angle, James Fayette, Sébastien Marcovici and Antonio Carmena danced “Dances at a gathering” by Robbins, Margaret Tracey, Nilas Martins, Maria Kowroski, Philip Neal, Alexandra Ansanelli, Benjamin Millepied, Abi Stafford and Alexander Ritter danced “Symphony in C” by Balanchine. All of them showed a heartly commitment and an amazing stamina.
Before the beginning of the performance the audience stood, homaging the dead people in NY. Peter Martins sat in the orchestra with his little daughter during the first ballet. At the end there were many curtain calls. I drove back home humming Bizet’s music. The only sour note came when I noticed by chance that the name of a principal was wrongly printed on one of the pages in the company booklet and realized that an Italian dance critic had copied this same error on her article for the Parma newspaper: it wasn’t a misprint from her editor, but it was a proof of her ignorance. This fact is a further blow for the Italian ballet goers, who are totally deserted by the cultural environment.


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  Subject     Author     Message Date     ID  
  RE: NYCB in Parma - 2nd program eugene merrett 14-09-01 1
     RE: NYCB in Parma - 2nd program Paul A 01-10-01 2

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eugene merrett

14-09-01, 12:06 PM (GMT)
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1. "RE: NYCB in Parma - 2nd program"
In response to message #0
 
   The NYCB show real personal courage to give a 100% committed performance despite the very trying circumstances. I am sure that many of them know personally some of people who have been killed or are missing.

I read your review with much encouragement.


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Paul A

01-10-01, 01:42 PM (GMT)
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2. "RE: NYCB in Parma - 2nd program"
In response to message #1
 
   Apologies for the delay in posting, offline on an extended holiday.

We saw the 12 September performance. The 11th was cancelled at 8pm (curtain due up at 830pm). Peter Martins made an announcement from stage saying much as they did not want to be intimidated by violence and that they did want to share the joy of dancing but - they could not perform that night. It emerged later that fortunately nobody lost a relative or friend in the attack.

On the 12th, which became the first night of the second programmme, there was extra military/ police security outside, with the US and Italian flying at half mast. There was a minute's silence before the start.

The impression the company gave was mixed - good in Barber Violin Concerto, very memorable in Dances and the B team in Symphony in C. Not really a dance audience - a bit stiff in their response (and distracted by a bird swooping over the stage and auditorium).

Monique Meunier, with very steely legs and Charles Askegaard led the classical half of the first movement. Elizabeth Walker and Charles Fayette were the contemporary couple. At one point they dance parallel duets to the same music, one formal, the other modern. In the second movement, the moden boy (Fayette, very strong) pushes and pulls the classical girl (Meunier) till she succumbs - loosening her hair, pulled by his power.

In movement three the modern girl was like a disco bunny, humanising the classical boy, who looked like Siegfried lost at a crazed party.

In Dances at a Gathering Jennie Somogyi was excellent in yellow, very a la Guillem. Peter Boal, Benjamin Millepied and James Fayette all very good. First time I'd seen this, incredibly musical response to the Chpoin music - but it does seem too long. After the faux finale, the pas de six mazurka, the audience got very restive. The three sisters references and the still ending were very effective. Amazing to think this was created after The Concert (remember a Trocks pastiche many years ago).

When I saw NYCB do Symphony in C in New York three years ago that was the first time I had really understood Balanchine - the spring and accents of how they jump and land. This was not nearly so good - untidy, mismatched corps who didn't hear the music in the same time, arms badly held, bends different taken, heads not aligned.

Messy first movement - Nilas Martins looked too old, too heavy. Maria Kowroski excellent as the essence of a swan queen in second movement. Third movement with Janie Taylor and Seth Orza was the best with great spring, lift and bounce. The sloppy corps spoiled the last movement but the stage was not really big enough to hold everybody.


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