Looks like I have some catching up to do…

Let’s recap 🙂

Since my last post (of Jan. 20), New York City Ballet has reached the midpoint of its winter season. Here are a few glimpses of what’s gone on so far.

On Jan. 22, I reviewed two mixed bills, one including Liebeslieder Walzer and Glass Pieces, the other Ballo della Regina (a not very inspiring performance), Kammermusik No. 2, And Tchaikovsky Suite No. 3. You can can read my review, for DanceTabs, here.


Then, on Jan. 27, I reviewed a wonderful all-Balanchine program: Walpurgisnacht Ballet, Sonatine (jazzily danced by Tiler Peck), a luminous Mozartiana, and a pretty good Symphony in C. The review is here.

Sterling Hyltin in Mozartiana. © Paul Kolnik.
Sterling Hyltin in Mozartiana.
© Paul Kolnik.

While I was down in Sarasota, I watched rehearsals for Miro Magloire’s new ballet for Aida. It was fascinating to see him navigate the challenges of choreographing for opera: restricted space, weird footwear, fabric, tempo. I wrote about it here, for DanceTabs.

Sarasota Opera rehearsing Aida. © Sam Lowry and Sarasota Opera.
Sarasota Opera rehearsing Aida.
© Sam Lowry and Sarasota Opera.

The Trisha Brown Dance Company is completing its three-year Proscenium Works Tour, after which the company will transform itself into a smaller, more nimble entity. Brown’s large pieces will likely never be performed by her company again. An important, and moment of transition for the company. Her dancers came to BAM one last time at the end of January, where they performed Set and Reset, Present Tense, and Newark (Niweweorce). My review for DanceTabs is here.

Trisha Brown Dance Company in Present Tense. © Nan Melville.
Trisha Brown Dance Company in Present Tense.
© Nan Melville.

The Baroque-Burlesque company Company XIV, which created a very effective Nutcracker a few years ago, is back with a new decadent evening, a naughty version of Snow White. Decadent it is, an sumptuous to look at, but unfortunately, not tight enough to hold my interest for two hours. Here’s my review, for DanceTabs.

Lea Helle in Snow White. © Mark Shelby Perry.
Lea Helle in Snow White.
© Mark Shelby Perry.

Gemma Bond, a dancer with ABT, produced her first full evening of works, danced by a group of her friends (all wonderful dancers). The evening was a bit of a throwback, with much loveliness all around. My review is here.

Unspecified work in Gemma Bond’s Harvest bill. © Kathryn Wirsing.
Unspecified work in Gemma Bond’s Harvest bill.
© Kathryn Wirsing.

Something Old, Something New

Sterling Hyltin and Andrew Veyette with the company in Justin Peck's <I>Everywhere We Go</I>.<br />© Paul Kolnik. (Click image for larger version)

Here’s my review of the Saturday matinee at New York City Ballet, including débuts by Sara Mearns and Russell Janzen  in Balanchine’s Chaconne and my second look at Justin Peck’s Everywhere We Go, from last season.

And a short excerpt: “[Everywhere We Go] begins well, with a striking duet for two men, or rather for a man and his shadow. This shadowing theme suffuses the rest of the ballet, particularly the complicated relationship between principals and corps. Peck constantly subverts the hierarchies of lead dancers and ensemble. Dancers melt in and out of larger formations; at times the shadow figures become the main event. Peck’s configurations for the ensemble are often asymmetrical, non-frontal, kaleidoscopic, but never less than clear.”

Bringing Balanchine Back

Teresa Reichlen in Movements for Piano and Orchestra. Photo by Paul Kolnik.
Teresa Reichlen in
Movements for Piano and Orchestra. Photo by Paul Kolnik.

New York City Ballet has been going from strength in a series of all-Balanchine programs. I review ballets with music by Stravinsky and Tchaikovsky here. A short excerpt:

“On the Stravinsky program (Sept. 25), Robert Fairchild returned to Apollo…He has relaxed into this challenging role and is now able to take risks, tilting dangerously (and excitingly) off-balance and pushing the tempo to create moments of surprise and wildness. Like the unruly young god he depicts, Fairchild tests his strengths and weaknesses before us on the stage.”

A Year Ago…

A year ago I got to meet one of my childhood idols, Mikhail Baryshnikov, and interview him about his art collection. My heart stopped a little bit each time he opened his mouth to say something. It was, and still is, a highlight of my writing life. Here’s the piece that came out of that conversation.

And one of my favorite works from his collection,  Nikolai Lapshin’s Novgorod.


Baryshnikov and his Art Collection (for DanceTabs)

In December, I went to see “Art I’ve Lived With,” a small show of Baryshnikov’s art collection. Baryshnikov showed me around himself, and we talked about the paintings. In a way, it was like leafing through a family album; each picture had a story, and captured a moment in time.

Here is the piece I wrote for DanceTabs.

And here is a short excerpt:

“He is no longer the boy with soft blue eyes that graced the bedroom walls of many a girl in the 1980’s, including my own. Somehow, he has grown wirier, tighter, more serious with age; what one senses more than anything is a sharp intelligence, an unwillingness to waste time. With a quick nod, he was down to business. This little collection, he told me, began with a simple purchase in Paris back in 1975, at the Galérie Proscenium on the Rue de Seine, on the left bank. Misha was twenty-seven then, and “the dollar was strong and I had money in my pocket,” he says, nonchalantly.”