Category: Opera

  • Pointe & Pirouettes @ MMAC: Wendy Whelan

    WWMaster-6

    Monday February 21, 2011 – New York City Ballet’s principal ballerina Wendy Whelan gave an afternoon class at Manhattan Movement and Arts Center as part of their day-long Pointe and Pirouettes event. I asked Matt Murphy, dance photographer de luxe, to meet me there and he was happy to since he is as big a fan of Ms. Whelan as I am.

    WWMaster-7

    Wendy’s classroom was filled to capacity with dancers from many levels. Rather than ‘talking down’ to some of the youngest dancers, Wendy set the pace and complexity of the exercises and combinations quite high, giving the girls a taste of what they’ll need to be prepared to do as they dance into the future. Wendy gave gentle and helpful corrections, mixed in with more specific remarks about body placement and keys to projecting the movement into the performing space. 

    WWMaster-3

    One thing she spoke of which I think is sometimes not given enough attention in class is using the eyes while you are dancing. Not only must you watch where you are going, but you need to look to your hand in an extended port de bras or to your foot in develope to say to the audience: “Look how beautiful this movement is!” Sure enough, I’ve seen her do this so many times when watching her from my high/side perch at NYC Ballet performances: she’ll look right up along her arm and hand and right into my eyes. This kind of contact draws the viewer into the dance and makes it personal. How wonderful to find among the photos Matt sent me this very image, above. (Of course all the professional ballerinas know  this ‘eye-language’, but there’s something extra captivating about peering thru your opera glasses into Wendy’s gaze.)

    WWMaster-5

    I loved her barre excercise based on envelope, a move I hardly ever think about – and how beautifully she executes it. This in fact was one thing about the class that I found most intriguing: how difficult it is to look at anyone else when Wendy Whelan is in the room. But despite the allure of watching her demonstrate, she deflects attention to the students; she treats them all as colleagues and fellow travelers on the path that turns work into art.

    WWMaster-8

    Despite the studio being filled to bursting, I couldn’t help but wish that even more students could have had the benefit of taking Wendy’s class.

    There were a few dancers in the room that I recognized from other visits to MMAC

    WWMaster-10

    …including the young ballerina Amy Gilson (above) who caught my eye and Matthew’s lens.

    IMG_0036-2

    One of the most distinctive and delightful people in the New York City dance world, Deborah Wingert – an outstanding teacher and priestess of Terpsichore in her own right – took Wendy’s class. Kokyat and I are especially enamoured of Ms. Wingert and her lovely spirit.

    WWMaster-9

    As the class flew by, I felt an urge to clamber up onto the piano and set the clock back by a half-hour or so just to keep Wendy and the dancers there a bit longer.

    WWMaster-1

    I’ve saved the best for last. I am not sure how Matthew managed in this crowded and bustling studio setting to capture this portrait of Wendy but I am so glad that he did, and I’ll let him keep the secret of this capture all to himself. It’s one of my favorite images ever of this fascinating dancer.

    My thanks to Wendy, Francois Perron, Matt Murphy, MMAC‘s Erin Fogarty and the publicist Michelle Brandon Tabnick – and all the dancers – for a beautiful late-Winter day full of dance.

    All photos by Matthew Murphy.

  • A Winter Sunday At the Met Museum

    P1170650

    Sunday January 30, 2011 – Met Kokyat at the Met Museum today. For some reason, depite huge crowds in general, certain galleries were rather quiet. We saw lots of things we hadn’t seen before. Above: Sleeping Muse (bronze 1910 by Constantine Brancusi).

    P1170557

    Head of Brother Onufrio by Girolamo Campagna c. 1615-1620

    P1170560

    Madonna (detail from larger canvas) by Ettore Crivelli, late 15th century

    P1170563

    Back panel for a church choir stall, Mainz 1723-1736. This piece was a gift to the Met in 1952 from the great Wagnerian tenor Lauritz Melchior.

    P1170566

    Saint Mark, gilt wood Germany mid-18th century

    P1170575

    Winter, or La Frileuse, bronze by Jean-Antoine Houdon 1789.

    P1170581

    Lucretia by Philippe Bertrand c. 1700

    P1170602

    Portrait of a Woman, marble medallion by Henri, Baron de Triquenti 1850.

    I’ve put several images from today’s Met visit in a Facebook photo album here.

  • Fantastic POLYPHONIA @ NYC Ballet

    Wheeldon071022_4_560

    Wednesday January 26, 2011 – Christopher Wheeldon’s POLYPHONIA returned to the New York City Ballet repertoire tonight in a striking performance with a cast led by Wheeldon muse Wendy Whelan. Photo of Christopher above is by Peter Hapak.

    573_4100

    Opening the evening was the stunning image of the NYCB corps women, pony-tailed and is white leotards, in the iconic diagonal which heralds the start of Balanchine’s SYMPHONY IN THREE MOVEMENTS. Moments after curtain-rise, Daniel Ulbricht came bounding into view; he was soon joined by the vibrant Sterling Hyltin in a high-jump contest: so great to see these two very accomplished dancers giving such vitality to their every move. Savannah Lowery has been out for a while but she came roaring back with a grand performance where she pulled off a triple series of pirouettes climaxing each set with a wonderful Balanchine-off-kilter moment. Sean Suozzi’s energy stood out. In the pas de deux, which starts with that whimsical tune, Abi Stafford and Sebastien Marcovici looked great together; I cannot recall having seen this partnership before and it’s a good one. The ten demi-solistes kept my opera glasses on high alert and the corps girls – including some of the newest Company faces – did well. Faycal Karoui and the orchestra gave the Stravinsky score a fine flourish.

    Wheeldon’s POLYPHONIA premiered at NYCB in 2001; for me it’s the work that put the choreographer on the map. I was at the first night and was bowled over by it. And I had the same reaction to tonight’s performance. The Ligeti piano music, by turns quirky and mysterious, was played by Cameron Grant and Alan Moverman. Mark Stanley’s lighting sets the dancing off with some marvelous shadowplay, and the deep-purple Holly Hynes costumes are an added asset.

    Polyphonia_08_WW_and_TA_Big_storyslide_image_storyslide_image

    No one speaks Wheeldon with such clarity and expressiveness as Wendy Whelan; returning to this role that was crafted on her body, the great and enigmatic ballerina astonished once again with her supple movement, daringly stretched poses and her flair for creating drama from the abstract. Everyone who recalls Jock Soto in this ballet will have kept a mental gallery of images of the great Whelan/Soto partnership: they were unforgettable together. But Tyler Angle has put his own stamp on this work with his cool, magnificent partnering and his dancing, which in the past couple of years has taken on a unique lustre. He’s now among the most riveting danseurs I’ve encountered over the past four decades. Photo of Wendy and Tyler above by Erin Baiano.

    Power and beauty seem to have been the watchwords in casting this revival, encapsulating in the 30-minute work the current state of NYCB’s roster: an embarassment of riches. Teresa Reichlen and Amar Ramasar are spell-binding not only in physical allure but in the way they channel their personal magnetism into the movement. They are just so great to watch together. Tiler Peck continues to show us in every performance what an astonishing and versatile dancer she is: her technique amazes, her ever-deeping artistry is a true pleasure to behold. In their enchanting waltz, Tiler and the equally impressive Andrew Veyette made me smile in admiration. Andrew has really got the knack for being a contemporary cavalier, and he and Amar turned their duet into a highlight of the ballet. 

    Sara Mearns danced with quiet radiance in her solo (created originally on Alexandra Ansanelli) and added another compelling performance to her catalog. Her Raymonda in CORTEGE HONGROIS last week was equally fascinating, these two ballets testifying to her expressive range. In the company of these stars, Chase Finlay looked wonderfully at home, his dancing and partnering not only impressive in the moment but also as a promise of things to come.

    Im-old-fashioned-photo-by-paul-kolnik

    Normally I don’t stay when I’M OLD FASHIONED (Paul Kolnik photo, above) is the closing work on the programme due to my general aversion to Hollywood or Broadway-style ballets. But Maria Kowroski is having such a glorious season that I felt like I really wanted to see her dancing tonight. She was just splendid of course, dancing with Tyler Angle (who subbed for his brother Jared). And Rebecca Krohn and Jenifer Ringer looked and danced divinely as well, partnered by those handsome dudes Justin Peck and Robert Fairchild respectively. The corps looked spiffy and the choreography is actually pretty good.

    But tonight I realized what’s always really killed this piece for me. No, it’s not the comparison people always make between how Fred and Rita move in the film to how the NYCB dancers move onstage. No, that doesn’t irk me: Fred and Rita are in their element and the ‘live’ dancers are working in a hybrid style for all that it’s grounded in classic technique.

    No, it’s the music that ultimately makes this ballet unappealing to me. Of course the actual Jerome Kern song I’m Old Fashioned is a gem. But Morton Gould’s arrangement of it is lackslustre, and it’s sad to see great dancers dancing to third-rate music.

    The ballet also suffers from cliches: “You bumped into me!”, “That guy cut in on me and stole my girl!” “Let me gaze at the skyline for a moment.”  After a while, despite the excellence of the dancing, the piece makes me restless. But it was good to see Maria, Becky and Jeni.

  • NYCB NUTCRACKER 2010 #5

    Leftover-candy-canes-by-SpacePotato

    Wednesday December 29, 2010 @ 2:00 PM – Today’s treat: candy canes!

    In the final week of New York City Ballet‘s annual NUTCRACKER season I decided to brave two matinee shows – knowing they’d be packed with tiny tots – in order to see some of my favorite dancers who have taken on new roles in this ballet this Winter. This afternoon I saw Lauren King as the Dewdrop and Vincent Paradiso as Drosselmeyer. Both of these dancers had made their debuts in these roles earlier in the month. Tomorrow I will see our newest Sugar Plum Fairy, Rebecca Krohn who just debuted in this role opposite Zachary Catazaro (another first-timer).

    In the week between Christmas and New Year attendance sometimes falls off a bit at the NYCB NUTCRACKER but today the House seemed pretty well packed. Aside from one terribly loud cellphone ringing, the audience was pretty well-behaved.

    154648_471502694933_504139933_5780163_6419669_n

    Vincent Paradiso’s Drosselmeyer (seen in a backstage photo, above) is dance-oriented in its movement and his characterization is detailed and fully-formed. It seems that, aside from some basic blocking, the NYCB Drosselmeyers can develop the character each in his own way. Vincent leaves off the arthritic old-man stuff; just having white hair doesn’t automatically make you a senior citizen: my hair was completely white by the time I was 30.  Vincent plays Drosselmeyer as a vigorous gentlemen, young and strong enough to lift Austin Laurent’s soldier doll and carry him back to his gift box after his solo. Using his arms and hands beautifully, Vincent’s is clearly a dance-based portrayal, and in fact he broke into a jig at one point and even added a touch of flamenco footwork. His rapport with the individual children and with the party guests was easy and natural. As the party was winding down, Vincent began sizing up the room and planning his magic spells for the upcoming scene where he will make everything grow. It’s good to see such a polished and well-thought-out portrayal – the latest in a long line of Drosselmeyers at NYCB that stretches back to Jerome Robbins and to Balanchine himself.

    The party scene seemed especially pleasant today, perhaps as an antidote to Ramtamsky’s unfortunate concept as presented in the new ABT version. Amanda Hankes as the graceful Frau Stahlbaum and Henry Seth as her spouse welcomed their guests elegantly and worked hard to keep their naughty son under control. Aside from Austin Laurent’s tall soldier, Sara Adams and Callie Bachman were sweet and charming as Harlequin and Columbine. In the snow scene I very much enjoyed watching Lauren Lovette while in the meantime trying to figure out who some of these new faces in the corps belong to.

    Teresa Reichlen’s Sugar Plum Fairy is so dreamy to watch: her beautiful floating-on-air quality in the solo is matched by the gentle radiance of her facial expressions. Her two big jetees just before she leaves the stage to the Spanish dancers were so remarkably stretched out and silky. In the pas de deux, Tess and her cavalier Ask LaCour use their height to exude a regal feeling; they moved securely thru all the many dangers that Mr. B has set in their path and reached a climax with an exciting balance from the ballerina.  If Tess was an opera singer instead of a ballet dancer, she would be one of the great lyric sopranos of all time. I’m looking forward to what the coming Winter repertory season might have in store for her.

    Mary Elizabeth Sell and Daniel Applebaum danced Spanish; Mary looks superb and – speaking of balances – she had one phenomenal one. She reminds me more and more of Alexandra Ansanelli, quite a high compliment in my book. She and Daniel were going great guns with some wonderfully spacious dancing; Daniel had to put a hand-down in the final pose but it really didn’t spoil the effect of their flavorful dancing.

    The long-limbed Gwyneth Muller danced Arabian with evocative fluidity of movement; when viewed from above the dancer in this piece casts a triple shadow. Giovanni Villalobos was a musical and technically precise Tea, and Adam Hendrickson spiced up his Candy Cane by increasing the speed of his hoop-leaps as he came down the center line. Later in the finale Adam added an extra jump thru the hoop as he made his exit. Erica Pereira’s Marzipan reminds us how difficult this solo is – and how easy she makes it look. Cameron Dieck’s Mother Ginger has become a more detailed characterization in the course of the season; I expect we’ll soon see Cameron as lead dancer in Spanish and eventually as the Sugar Plum cavalier. He’s too princely of a dancer to keep him in a hoopskirt for very long.   

    Copy of 15

    Kokyat photographed Lauren King (above) when she appeared in a Zalman Grinberg pas de deux (with Vincent Paradiso partnering her) at the Young Choreographers Showcase at MMAC earlier this year. This fetching young ballerina caught my eye right from her first appearances on this stage and it was simply a great pleasure to watch her Dewdrop today. She was wonderfully quicksilver in her movement and with a smile that so clearly shows her pleasure in being able to dance as she does. After seeing her in the Grinberg duet, I feel certain she will be dancing Sugar Plum – and several other major roles – very soon. Georgina Pazcoguin and Rebecca Krohn were the demi-flowers, both thoroughly lovely.  

    Although the Balanchine NUTCRACKER has had a bit of friendly competition this Winter from the new ABT/Ratmansky setting at BAM, today’s performance at New York City Ballet – coming at a point in time when the dancers, musicians and stage crew are probably suffering keenly from NUTZ-exhaustion – served as a reminder that this timelessly classy version with which Mr. B brought the Tchaikovsky score back to prominence is the one that will endure. Its old-world charm may seem dated to some people, but its perfect fusion of music and choreography makes it indispensable.

    From spotting the cat in the Stahlbaum’s window (who has been sitting there for a half-century) to that stunning moment at the end of the Sugar Plum Fairy pas de deux when the ballerina lets go of her partner’s hand in a sustained balance, the Balanchine NUTCRACKER continues to cast its spell, however often I see it.

  • Lar Lubovitch Dance Company @ BAC

    IMG

    Sunday November 21, 2010 evening – The culmination of one of my busiest fortnights since I started blogging: a truly enjoyable evening of works by Lar Lubovitch, beautifully danced by his beautiful dancers. This was the Company’s final performance of a sold-out run at the Baryshnikov Arts Center.

    Northstar_nov2010-560x300

    I suppose North Star would be considered early Philip Glass. He’d been composing for about ten years when he wrote this in 1977. (The ballet premiered in 1978). The music seems denser and less ethereal than many of Glass’s later works, but still very enjoyable to hear. The dancers swirl and flash about the stage individually or in quartets which join and then splinter as the music ebbs and flows. The restless energy of the score is visualized by the choreographer to perfect effect. Photo above: Todd Rosenberg.

    9018542-large

    Katarzyna Skarpetowska and Brian McGinnis (above, Christopher Duggan photo) performed the duet from MEADOW. Dating from 1999 and originally set on ABT, this work is set to an intrinsically luminous work by Gavin Bryars entitled Incipit Vita Nova.To the uneartly sounds of the counter-tenor voice, the dancers create sculptural shapes as one pose flows into another with silken smoothness. For the perfection of their performance, Skarpetowska and McGinnis were warmly cheered.

    Lar-lubovich

    THE LEGEND OF TEN is a tribute to the ten members of the Company and – all clad in somewhat ominous but elegant black – the dancers turned it into a tribute to Lubovitch who is surely the king of lyricism among current choreographers. With a central adagio couple (Jenna Fakhoury and Reid Bartelme) surrounded by a lively octet of dancers who often step in unison and sometimes bring gypsy flourishes to their movements, the piece is structurally propelled by the music of the Brahms piano quintet Opus 34. The Lubovitch dancers mesh into a cohesive ensemble but the individual personalities of the dancers also shine thru in this, the latest success in the choreographer’s long catalog of works. (Photo above: Sasha Fornani)

    All was going well as I saw the finish line of my 2-week dance marathon approaching, but on standing up for the second intermission tonight, my left knee finally rebelled in earnest. I realized that if I sat for another twenty minutes it would tighten further so I hobbled down to the street and after a few minutes of walking it loosened up enough to limp to the subway. I felt bad missing the last piece on the Lubovitch programme though it was one (Coltrane’s Favorite Things) I’d seen not long ago. My grandmother always told me: “It’s hell to grow old!”

  • Young People Committing Suicide

    Glsuici4

    It’s so pleasant to sit here blogging about dance, music, opera and my adventures in Gotham; it’s nice to feel so involved in the world that I write about and to have my wonderful friend Kokyat preserving our experiences with his camera. In general I try to steer clear of politics and religion on my blog, partly because they are such devisive topics and I am so very tired of divisiveness. Also there are countless sites where you can go for every political and religious perspective and where you can join in discussions of those topics and rant, rage or despair to your heart”s content; I prefer my blog to be an oasis of beauty and reason.

    But in recent weeks there has been an alarming spate of suicides among young people related to their sexual identity, whether real or as perceived by their peers. Columnist Dan Savage has contributed a video entitled It Gets Better which urges young gay people not to despair, to stay the course and look forward to a time when they can emerge from the shadow-world of mental and physical abuse, embrace the world in all its diverse beauty and – hopefully – live happily ever after.

    Dancer/choreographer Bennyroyce Royon has made a short film that young people should watch.

    Growing up in a tiny town in the 60s and early 70s, I was terrified. I was so different from everyone else. Even once I began to understand what my ‘problem’ was there were no answers, and no one to talk about it with. In this situation you are virtually alone. 

    Back then, on so many days, I pretended to be sick to stay home from school – and in fact, my fears did make me physically ill so many times. My parents were respected members of the community and my older brother (a rebel-without-a-cause type, but OK since he was straight) and my sister were very popular with their peers. I realize that if not for these facts I would have had an even harder time – I remember once when I was being harrassed an older student passed by and said, “Hey, he’s Jeff Gardner’s little brother…leave him alone!”  I suppose if I’d had the courage to tell my brother what was happening to me, he would have beat the crap out of my assailants for me and maybe even pulled his jack-knife on them. But how could I talk to him about my feelings? How could I talk to anyone?

    Dan Savage’s video suggests the possibility that the troubled small-town kids of today might find ways of reaching out to older gay people via the internet. This is a great idea however it is also fraught with risks: if parents find their kids are corresponding with homosexuals – or have even watched Dan’s video –  it will make life for these kids even worse. And also, how would an adolescent in rural Texas or a teenaged girl in Utah be able to distinguish between someone genuinely wanting to help them and someone who just wants to get into their pants, or blackmail them?

    When I attended the vigil last year for the young people murdered at a gay center in Tel Aviv I was so moved by the plight of some of our local gay youth who told their own stories of being bullied and disowned. Luckily for them here in a major city there are places you can go, people you can turn to. In Smalltown USA there are no such options. 

    The Obama administration, after hood-winking gays into supporting their ‘Change You Can Believe In’ pep talks, continue dancing around gay issues, tossing crumbs from the table here and there and trying to appear sympathetic to gays in such matters as DADT and DOMA while avoiding taking any real leadership position on either matter, and filing court briefs behind the scenes that seem aimed at maintaining the status quo.

    I have sometimes asked my sister if she knows of young people in our little hometown (she still lives there) who might be in need of someone to talk to about their sexual orientation. Of course you can just imagine the reaction of parents when they hear that some faggot from the Big City wants to talk to their kid.

    Of course another facet of all this is the tacit affirmation that staying in the closet is the best policy; athletes, actors, political figures, dancers, musicians, religious leaders – people who might serve as powerful role models for young gays everywhere – continue to play it straight or at the very least play it ambiguous out of fear of having their careers de-railed by an admission of their sexuality. One newscaster who interviewed the parents of a recent teen-suicide has never stood up and said that he’s gay, though it was not all that long ago that you’d see him around the NY club scene. And he had a fling with my ex. So for all his ‘concern’ he seems to lack the basic courage to be himself and thus maybe help – however indirectly – a young person somewhere in Middle America who is struggling with an incredible burden.

    It was in fact only thru the love and understanding of two people – Jeanette and Ann(e) Olga – that I never took the pills I had stashed away and that I am here today to look back on it all and thank them for keeping me alive, even though they didn’t know that that is exactly what they were doing.

    I have always viewed life as a journey and this song – which I’ve always loved and which I’ve been listening to a lot lately – always feels like it was written just for me. Maybe young people will listen to it and come to realize that life in all its beauty and mystery lies ahead of them:

    “In my early years I hid my tears
    And passed my days alone
    Adrift on an ocean of loneliness
    My dreams like nets were thrown
    To catch the love that I’d heard of
    In books and films and songs
    Now there’s a world of illusion and fantasy
    In the place where the real world belongs

    Still I look for the beauty in songs…
    To fill my head and lead me on
    Though my dreams have come up torn and anchored
    As many times as love has come and gone

    To those gentle ones my memory runs
    To the laughter we shared at the meetings
    I filled their kitchens and living rooms
    With my schemes and my broken dreams
    It was never clear how far or near
    The gates to my citadel lay…
    They were cutting from stone some dreams of their own
    But they listened to mine anyway

    I’m not sure what I’m trying to say
    It could be I’ve lost my way
    Though I keep a watch over the distance
    Heaven’s no closer than it was yesterday

    And the angels are older
    They know not to wait up for the sun
    They look over my shoulder
    At the maps and the drawings of the journey I’ve begun

    Now the distance leads me farther on
    Though the reasons I once had are gone
    I keep thinking I’ll find what I’m looking for
    In the sand beneath the dawn

    But the angels are older
    They can see that the sun’s setting fast
    They look over my shoulder
    At the vision of paradise, the changing light of the past
    And they lay down behind me
    To sleep beside the road til the morning has come
    Where they know they will find me
    With my maps and my faith in the distance
    Moving farther on”