I had the good fortune to spend time with her last year, when I was preparing a profile of her for The Nation magazine. Those hours were amongst the most delightful I have spent with anyone. I brought her maccaroons and tea, which we ate in her hotel while we talked. One night, we went to the ballet. It was a privilege to sit next to her.
I miss her, as do many, many other people.
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.
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.
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.
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.
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.
In this video, the divine Violette Verdy (and a very fine Jean-Pierre Bonnefoux) dance Sonatine, a pas de deux made for them by Balanchine on the occasion of the 1974 Ravel festival. Her musicality, and sense of style, are astonishing.