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cabrales

New York City Ballet

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In my experience buying single tickets far, far too late, it's Second Ring that tends to sell out before Third Ring, because they're about the same price. I never got to sit Second Ring until I started buying tickets more than a day or two in advance.

 

These look typical:

 

Tonight's performance

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Sunday matinee

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This looks weird:

 

Tuesday night's performance

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On the matinee today – Apollo was the second ballet I've seen, and the first that I went to out of a real desire to go. (The actual first was Midsummer Night's Dream, but I went with friends and didn't know what it was all about.)

 

Still astonishingly beautiful. If I can complain at all, it's that it made Mozartiana and Cortège Hongrois, the other pieces on the program, look insignificant in comparison. I mean, they are, but it doesn't make for a very satisfying program.

 

I see from my emails that that first performance I went to was Apollo, Agon, Duo Concertant, and Symphony in Three Movements as part of a Stravinsky/Balanchine black and white program. That one sounds much better.

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Third ring wasn't empty, but it wasn't packed.

The Red Violin was predictably mediocre. Russian Seasons was predictably sublime.

 

dance odyssey, the Peter Walker premiere, was a lot of fun!! In much the same vein as ten in seven with some nice moments of silliness. I want to see more of Peter Walker's stuff, and I hope that he discovers the joy of capital letters some day.

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I cant begin to understand how the audience here found anything to like about Spectral Evidence.

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Starting to suspect that Prokofiev wrote Romeo and Juliet as a cruel joke to troll unsuspecting choreographers into writing ridiculous pas de deux between Romeo and Juliet's unconscious body.

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The biggest difference between my taste and that of the critics covering ballet here is that I'm a huge sucker for ballets to contemporary pieces that don't go anywhere. I was a fan of The Shimmering Asphalt, and today I really enjoyed Neverwhere too. Neither of those pieces were especially well-received, but I love them both. I missed Neverwhere during the Here/Now Festival last year, and I'm glad I managed to catch it this time around.

 

Namouna, of course, remains quite great. Mothership, of course, remains a little blah.

 

As for The Decalogue (which was what I actually came to see), well... I hear it got reworked to an extent? No ballerina got dropped on her butt this time around, but I still don't know if that was intentional the first time around. I didn't quite love it the first time around, though, and I still don't quite love it. The score is fine, but it lacks a little something – especially next to the Muhly piece in Neverwhere.

 

I will say that my favorite Peck pieces are still Year of the Rabbit, Everywhere We Go, and Rodeo. I haven't seen Pulcinella Variations, which looks to have garnered good reviews, but nothing I've seen from Peck that was made in the last few years quite measures up to his earlier work, though The Times Are Racing comes close.

 

I still look forward to Peck's new work, but I do think that nothing he's given us recently quite measures up to the prodigious potential he demonstrated earlier. It's odd to leave a Here/Now program thinking that the big Peck piece was only the third best piece performed. The people sitting near me mostly felt the same way, too.

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?>!>!?>?!???!?

 

Isn't this the kind of thing you should say to them in private, rather than spreading it on the internet?

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Finlay out, Ramasar and Catazaro suspended.

 

I was really looking forward to seeing Ramasar dance for City Ballet again after Carousel ends. Oh well.

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