Haglund's Heel

Stella Abrera Arrives!

The Secret Lives of Dancers, which is the Royal New Zealand Ballet's major hit TV reality show, airs only in New Zealand on Tuesdays.  However, some blessed angels, like Flowerbomb, have managed to load it on to YouTube and Vimeo so that we all can enjoy it - at least for a while until someone yanks it down. 

Below is Season 2, Episode 3 when the company dancers find out that ABT's Stella Abrera is coming to town to dance Aurora in RNZB's massive new production of Sleeping Beauty.  There is a short clip of one of her variations at about 2'35" but she doesn't actually arrive until Episode 4 which follows below.  Our angel Flowerbomb has uploaded all of the Season 2 episodes so far broadcast to Vimeo.  This show is addictive.  But besides loving it for including Stella, the RNZB dancer who the producers seem to "go to" for his insight and ability to draw out responses from his colleagues, Jaered Glavin, is priceless.

The program's producers rightly refer to Stella as a "prima ballerina" and "one of the best dancers in America."   Yes, she certainly is.  What a shame it is that we don't get to see her dance more often.

The Secret Lives of Dancers S02E03 from flowerbomb on Vimeo.

Season 2, Episode 4.

 

The Secret Lives of Dancers S02E04 from flowerbomb on Vimeo.

Our profound thanks and gratitude to Flowerbomb.

 

NYCB – Saturday Matinee – 2/25

When you slap a sailor hat on Sean Suozzi, he could almost pass for Jerome Robbins during Robbins' dancing days in Fancy Free.  Today Suozzi made his debut as the Rumba sailor – Robbins' old role in his own masterpiece, Fancy Free – and was a hit.  Because he was good.  Very good.  Zuozzi hit all the comedy points on the bullseyes, added his own charisma, was hilariously flirtatious during his solos, and knocked out the steps like he was born to dance them.  Robert Fairchild and Adam Hendrickson completed the trio of sailors, each contributing superb theatrical and dancing performances.  The Passers-by were Sterling Hyltin, Amanda Hankes, and Stephanie Chrosniak.  At this point in time, it doesn't look like a good fit for Hyltin's current level of theatrical skill, but you never can tell how she might develop in it.

The other big debut of the afternoon was Sara Mearns in Allegro Brillante, partnered by Jared Angle.  This will need to be one of those "grow-into" roles for Sara.  She has no shortage of technique or power, but today she did not possess the musicality, sense of romance, or elegance that the ballet requires.  She pretty much resorted to banging it out like she has done with much of her repertory this past year.  Jared had his hands full in the partnering department and was fully focused on not letting Sara self-destruct.  She owes him a lot of thanks.  Jared's own dancing has looked strong this Winter Season.  It's been rather nice to see him dance at allegro speed now and then instead of just hoisting ballerinas.

Martins' Zakouski received a romantic and charming performance by Megan Fairchild and Joaquin De Luz.  This little Pas de Deux, which utilizes music by Rachmaninoff, Stravinsky, Prokofiev, and Tschaikovsky, is almost twenty years old, having been made on Margaret Tracey and Nikolaj Hubbe in 1992, and is getting an excellent revival thanks to the formidable talents of De Luz, Fairchild, and in an earlier cast Tiler Peck, all of whom have added their personal stamps on Martins' creation.  Haglund will say it again:  We need more ballets to Rachmaninoff's music.

The afternoon concluded with Tschaikovsky Suite No. 3, danced by the exact same cast as Friday night when Teresa Reichlen, Rebecca Krohn, and Erica Pereira debuted in Elegie, Valse Melancolique, and Scherzo, respectively.  All of the dancing seemed bigger and more potent this afternoon.  Maybe the music was a touch quicker.  Reichlen's spacious leaps, Krohn's Farrell-like qualities in her bending torso, Pereira's vibrant allegro while looking more mature with her hair down and beautifully costumed in volumes of flowing fabric – all were mesmerizing.  Their partners, Ask la Cour, Jared Angle, and Daniel Ulbricht all delivered romance and superb dancing on a grand scale.

Ashley Bouder and Andrew Veyette repeated their brilliant performances from a mere 18 hours earlier.  Ashley's complete mastery of the killer technical moments complimented by a lovely sense of modesty and moderation was quite simply one of the biggest pleasures of the Winter Season.  And that Veyette - unbelievable!  Even when his internal gyroscope started to wander a bit during a series of turns, he pulled his force and technique together and got it all right back on track to finish with a smooth flourish.  Haglund is tempted to award him a second consecutive Pump Bump but doesn't want to risk riling up all the ballerinas who danced so magnificently.  So as a compromise, this uncompromisingly stunning Christian Louboutin Galaxy Gold Pump Bump Award is bestowed upon Ashley Bouder and Andrew Veyette for their brilliant Theme and Variations today:

NYCB – Donizetti, Russian Seasons, TS3 – 2/24

NYCB was the place to be on Friday night. 

The evening opened with Tiler Peck and Gonzalo Garcia in Donizetti Variations.  Boy, it's been a while since NYCB had a ballerina with Tiler's degree of musicality – possibly not since Kyra Nichols.  Last evening she pulled the musical phrases like they were cotton candy.  So beautiful to watch.  Her virtuosity was effortless and un-showy, and was done simply to please us.  Gonzalo was a fine and attentive partner but didn't have his turns with him last night - or a reasonable 3/4 releve.  His stationary beats looked wonderful, however.  Haglund had an uneasy feeling that he was watching a dancer struggling to perform with an injury –  hope that wasn't the case.  The corps dancers, but for some wayward arms, were very tidy.  Devin Alberda was outstanding in both the partnering and ensemble dancing - this man brought his pirouettes with him last night, that's for sure.  They were pretty, pretty, pretty.

Ratmansky's Russian Seasons had the exact same cast as Thursday night when most of them debuted.  These were not dancers "finding their ways" in new roles.  All of the performances were solid and the dancers' ensemble work was terrific.  Abi Stafford and Adrian Danchig-Waring as the soloists wearing green were quite wonderful.  Georgina Pazcoguin, who danced in every ballet of the evening, was once again dramatically outstanding as the soloist in the red dress.  As in last evening's performance, her pirouettes were spot on and generous in the number of revolutions; her jumps darted horizontally with a sense of sharpness; and her energy seemed to explode from her core strength.  Rebecca Krohn and Robert Fairchild in the lead roles repeated their extraordinary performances of the previous evening.

The final offering on the program was Balanchine's Tschaikovsky Suite No. 3.  The first three movements are basically big hair movements:  all about the women running around with their long hair flowing and usually in bare feet.  It has its appeal for some, but Haglund always finds that the hair distracts from the dancing.  As noted in the Playbill, three ladies debuted as the principals in the first three sections.  Teresa Reichlen danced with Ask la Cour in the Elegie movement; Rebecca Krohn danced with Jared Angle in the Valse Melancolique; and Erica Pereira danced with Daniel Ulbricht in the Scherzo movement.  All lovely and there was nothing to complain about – except that we were all sitting in our seats patiently waiting for Theme and Variations (Tema con Variazioni in the Playbill).

Finally that moment arrived and there were Ashley Bouder and Andrew Veyette standing in fifth position with a glistening corps de ballet behind them - every dancer ready to knock the socks off the audience.  First, let's talk about Veyette who seems to take his dancing to a much higher level every time he dances with Bouder.  His legs and feet looked fantastic in the white tights and shoes.  All of his turning was exceptional last night as if Bouder was in the wings channeling her own center to him.  At the conclusion of his series of double tour, double pirouette, double tour, single pirouette combination, a man behind Haglund said aloud, "A+!"  Yes, indeed, Veyette had a superb performance last night.  And, of course, so did Ashley.  Haglund always loves to see her make child's play out of the allegro, but last night, the adagio was his favorite part.  The exact favorite part came during the PdD when Ashley did successive battement fouettes and calmly held one of them at its very peak.  It was such a pretty picture.  Hag hopes to see that again from her in a little while this afternoon.

The T&V corps and demi soloists were tops.  We just have to see Lauren King and Brittany Pollack dance more in tutus.  Lovely lines, lovely port de bras, lovely smiles.

It was tough deciding who should get the Pump Bump Award for last night's performance, because there were so many fabulous moments by so many of Haglund's favorite dancers.  But the Pump Bump, Gianvito Rossi's gold stiletto, goes to the guy who brought up his game last night big-time and delivered his best dancing of the season: Andrew Veyette.

NYCB 2/23 – Farm-to-table at its best & most sustainable

In the final week of its Winter Season, NYCB is demonstrating the full force of its homegrown, organically developed artists in its strong repertory programs.  Thursday evening Maria Kowroski, Janie Taylor, Amar Ramasar, and Ask la Cour carved through the brilliant neoclassicism of Balanchine's Stravinsky Violin Concerto with high energy, speed, and articulation that one simply cannot witness anywhere else. 

The Playbill noted the dancers who were debuting that evening in Ratmansky's Russian Seasons with a mark next to each name.  What a nice gesture it always is to acknowledge when a dancer is stepping up to the plate in a challenging new role.  It makes the audience pay more attention, and last night had the audience chatting at intermission following a sensational rendering by Rebecca Krohn and Robert Fairchild along with Georgina Pazcoguin, Abi Stafford, Marika Anderson, Amanda Hankes, Lauren Lovette, Adrian Danchig-Waring, David Prottas, Taylor Stanley, Christian Tworzyanski, and Andrew Veyette.  Only Georgina had danced in Russian Seasons previously.  Last night she demonstrated spectacular dynamics and depth as the soloist in the red dress.  Her angst and athleticism did not obliterate her character's humanity as Sara Mearns' did when she danced the role recently.

Rebecca Krohn and Robert Fairchild, both costumed in orange/yellow, were gorgeous together.  Fairchild's intensity and brilliant punctuation of the theatrical moments were riveting.  Rebecca was captivating in much the same way that Maria Kowroski was in the opening ballet:  both are dancers whose legs and feet communicate shapes using strokes of choreo-calligraphy that seem to merge two visual arts. 

This entire debut cast danced superbly in this fairly complicated choreography.  Like some New Yorkers, however, Haglund is beginning to experience Ratmansky-fatigue. 

The evening concluded with Robbins' Fancy Free danced by Joaquin De Luz, Tyler Angle, Amar Ramasar, Tiler Peck, Amanda Hankes, and Stephanie Chrosniak.  All were pleasurable to watch although a couple of the characters could have been taken a little further beyond the steps. 

In the orchestra section last night, a significantly-jeweled lady remarked, "This company is really America's national ballet company."  Ain't it the truth – and not the first time that it's been heard, either.  More and more people are noticing that NYCB is the ballet company that is truly Made in America whereas ABT is just some Pier 1 Imports Ballet Company.  No disrespect intended to Pier 1 Imports but it is what it is: a place to buy tacky, cheaply made ornaments for the Christmas tree. 

The H.H. Pump Bump Award, a $795 beauty by Walter Stieger, is bestowed upon Maria Kowroski who has been carving dazzling shapes from Stravinsky and the rest of the music in the repertory for the past seventeen years. 

Leapling Lizards! RNZB takes on NYC!

On February 29th, Gillian Murphy makes her debut with the Royal New Zealand Ballet in its program entitled NYC.  Opening night in Auckland will include three works representing a little bit of what is going on in New York City's dance scene these days.  Benjamin Millepied's 28 Variations on a Theme by Paganini, a world premiere by Larry Keigwin, and Balanchine's Who Cares? comprise the program.  Gillian will dance in 28 Variations with Qi Haun and in Who Cares? with Paul Mathews.

Amanda McKerrow and John Gardner were called in to stage 28 Variations.  You may recall that they worked with the dancers in 28 Variations who Millepied employed for his gig at the Joyce Theater a few years ago and in a very short time had a profound effect on the development of Maria Riccetto, Eric Tamm, and Sarah Lane.  How wonderful it would be if Amanda were Gillian's coach for her debut Giselle at RNZB next November.

It looks like the stars are aligned and the plan is in place which could put RNZB on track to bolt forward this year like Usain at the 9 sec. mark. 

 

 

NYCB Winter Season final week

What a weird sight up on The Highline on the West Side of Manhattan yesterday.  Winter holly bushes with bright red berries right next to flowering shrubs that were bursting with pink blossoms.  It's February.  So, really, winter officially ends in February now?

Yes, it does!  Winter officially ends when the pitchers and catchers report to training and with the final week of NYCB's Winter Season which starts tomorrow.  It will be a strong week, People, especially toward the weekend with tons of debuts plus "never miss" performances like Tiler Peck (Fri) and Ashley Bouder (Sat eve) in Donizetti Variations and Maria Kowroski in two performances of Stravinsky Violin Concerto (Thur, Sun mat), and Ashley Bouder (Fri, Sat mat)  and Tiler Peck (Sun mat) taking turns in Theme and Variations. 

See you there.

Collateral damage

Troubling news in the ballet world:  Wayne Eagling, Artistic Director of the English National Ballet, is leaving his post effective in August.  

Follow the sequence of events:

• ABT's Kevin McKenzie armed with his Koch money goes poaching after Eagling's star principal, Vadim Muntagirov and the Royal Ballet's principal Sergei Polunin. 
  
  
• Polunin can't get a release from the RB to guest at ABT so he has a meltdown and quits the Royal Ballet, loses his permit to work in the country, and recedes into despair with a series of way-too informative comments on Twitter.  The Royal Ballet clearly expresses its hope that Polunin would return.


• Wayne Eagling offers Polunin a "lifeline" to come and train at the English National Ballet as a way of securing Polunin a visa and hopefully persuading him to dance at ENB, and most importantly, plugging the anticipated hemorrhage involving Muntagirov.


• Wayne Eagling is suddenly out as the English National Ballet's artistic director. 

Perhaps when the Royal Ballet is trying to persuade its talent to return and plug its own hemorrhage, it may not view kindly another company down the road giving the star talent negotiating points - no matter what the circumstances.  It all may have been the last straw for Wayne Eagling.

Good work, McKenzie.

 

Jared Matthews will debut as Albrecht in Canada!

Too exciting!

Jared Matthews will debut as Albrecht in the Royal Winnipeg Ballet's opening night of Giselle on March 7th at Centennial Concert Hall in Winnipeg MB.  He is scheduled to dance opposite RWB principal Vanessa Lawson who will be dancing for the first time this season - having been out with a knee injury, but is now recovered.

Good luck, Jared!  Cannot wait for Chicago!

 

VIDEO !! Sarah and Angel in Swan Lake!

THANKS, Robin, for finding this on YouTube!!

 

Sarah & Angel in the Black Swan PdD

Ballet de Barcelona

Sarah Lane and Angel Corella in performance last week.  Gorgeous!

Photo © A. Bofill