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 Post subject: New York City Ballet Fall Season 2015
PostPosted: Thu Jul 23, 2015 2:55 pm 
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New York City Ballet's 2015 Fall Season brings the retirement of Jennie Somogyi in Balanchine's Liebeslieder Walzer at the October 11, 2015 matinee. Michael Cooper reports for the New York Times.

NY Times

Pia Catton reports for the Wall Street Journal.

Wall Street Journal


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Thu Jul 23, 2015 4:34 pm 
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Here is the 2015 Fall Season calendar.

NYCB Fall 2015 calendar


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Wed Sep 23, 2015 3:05 pm 
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In the New York Times, Roslyn Sulcas previews works by Robert Binet and Myles Thatcher which will premiere on the September 30, 2015 gala program, alongside works by Justin Peck and Troy Schumacher.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Thu Sep 24, 2015 1:04 pm 
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Alastair Macaulay reviews the Tuesday, September 22, 2015 performance of Peter Martins' Swan Lake for the New York Times.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Sun Sep 27, 2015 9:42 pm 
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Carla Escoda reviews Swan Lake for the Huffington Post.

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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Mon Sep 28, 2015 11:31 am 
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Sondra Forsyth reviews the September 25, 2015 performance of Swan Lake for Broadway World.

Broadway World


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Tue Sep 29, 2015 1:23 pm 
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In the New York Times, Alastair Macaulay previews the Wednesday, September 30, 2015 Fall Gala and a Balanchine repertory program.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Fri Oct 02, 2015 12:24 pm 
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In her Financial Times review of the September 30, 2015 Fall Gala, Apollinaire Scherr concentrates on Robert Binet's The Blue of Distance.

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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Fri Oct 02, 2015 1:13 pm 
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Alastair Macaulay reviews the September 30, 2015 Fall Gala for the New York Times.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Sun Oct 04, 2015 11:18 pm 
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In the New York Times, Gia Kourlas reviews the Friday, October 2, 2015 performance of the Americana x Five program, including Peter Martins' Ash, Richard Tanner's Sonatas and Interludes, Balanchine's Tarantella and Slaughter on Tenth Avenue and Justin Peck's Rodeo: Four Dance Episodes.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Mon Oct 05, 2015 11:14 am 
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Alexandra Villarreal reviews the Wednesday, September 30, 2015 Fall Gala for the Huffington Post.

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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Tue Oct 06, 2015 11:52 am 
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Sondra Forsyth reviews the Americana x Five program for Broadway World.

Broadway World


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Tue Oct 06, 2015 12:37 pm 
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Alastair Macaulay reviews the Thursday, October 1, 2015 performance of Balanchine's Liebeslieder Walzer and Tchaikovsky Suite No. 3 for the New York Times.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Thu Oct 08, 2015 12:09 pm 
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In the New York Times, Roslyn Sulcas previews Kim Brandstrup's new work, Jeux, opening on Thursday, October 8, 2015.

NY Times


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 Post subject: Re: New York City Ballet Fall Season 2015
PostPosted: Mon Oct 12, 2015 6:29 pm 
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New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York

October 11, 2015
Tchaikovsky Suite No. 3, Liebeslieder Walzer (Jennie Somogyi farewell)

-- by Jerry Hochman

Sunday afternoon’s program of George Balanchine’s Tchaikovsky Suite No. 3 and Liebeslieder Walzer marked the final time this season that those ballets, which have been New York City Ballet staples over the years, would be performed. That they were danced impeccably by their respective leads is not a surprise, but the evening and the audience belonged to Jennie Somogyi, whose farewell performance this was.

Somogyi’s career with NYCB has been marked by both extraordinary talent and an extraordinary amount of true grit. She was nine when she joined the School of American Ballet, on full scholarship, and she was cast as Marie in the George Balanchine’s ‘The Nutcracker’ in her first year. After a year as an apprentice, she became a member of the NYCB corps in 1994, was promoted to soloist in 1998, and to principal two years later, when she was 23. Three years later, she tore a tendon in her left foot. She eventually came back, slowly, but subsequently injured her right Achilles tendon. She came back from that too. And then in 2014, she tore her left tendon again. A friend who witnessed this stage injury wrote to me that that surely must have finally ended her career. But Somogyi knew better: she came back from that injury and surgery and rehabilitation also. It seemed that every time I saw Somogyi dance in recent years, she was returning from a severe injury from which she couldn’t possibly have returned.

Based on her exquisite performance in Liebeslieder Walzer, and on her sparkling return from her latest injury in Episodes last spring, at age 36 Somogyi still has years of dancing left. Under the circumstances, however, she’d already proven herself, and it was time. I’ll have more to say about her farewell performance later.

The evening opened with Tchaikovsky Suite No. 3, one of many superb examples of Balanchine’s emotional collaboration with Tchaikovsky. It’s a paean to Russian classical ballet, but it’s much more than that. From the fluidity and emotionally nuanced opening movement, to the second movement’s melodrama, to the rapid-fire explosiveness of the third – each in relatively dim light and with ballerinas wearing Romantic tutus and with their hair down, to the magnificent visual clarity of the classical Theme and Variations, each taking place under the watchful eyes of opulent chandeliers beaming like proud fairy godmothers, the piece is one of Balanchine’s most glorious masterpieces.

The lead dancers in each segment performed marvelously: Rebecca Krohn and Russell Janzen in the opening Elegie, Megan LeCrone and Justin Peck in the Valse Melancolique, Ana Sophia Scheller and Antonio Carmena in the Scherzo, and Tiler Peck and Andrew Veyette in Tema Con Variazioni. I had not previously seen LeCrone in this role (she debuted a few days earlier), and she executed with the appropriate air of mystery. Peck demonstrated yet again why she is a world-class ballerina, weaving nuance and breathtaking phrasing into her performance beyond what’s already in the choreography, and Scheller, who herself has returned after a lengthy period of recuperation following an injury, was particularly noteworthy in her role.

Created in 1960, Liebeslieder Walzer is one of Balanchine’s more opaque pieces, but it’s a masterwork nonetheless. It is comprised of two related works by Johannes Brahms, Opus 52 (called Liebeslieder Walzer) and Opus 65 (Nieu Liebeslieder Walzer), composed in 1869 and 1874 respectively. Unlike Vienna Waltzes, a grand monument to the waltz form and to the Vienna of the Hapsburgs which premiered in 1977 and which NYCB will revisit during its Spring, 2016 season, Liebeslieder Walzer is intimate and romantic, as Brahms intended these waltzes (the work ‘liebeslieder’ means ‘love songs’) to be. The lyrics that are sung in German as the waltzes are played are from the poems of Georg Friedrich Daumer, and for the final poem in Opus 65, by Goethe. The dance takes place in a large room in a stately manse rather than in an ornate ballroom, with two pianists and a vocal quartet sharing the stage with the dancers, as they likely would have in a chamber setting in mid-19th century Vienna.

Brahms’s music is more complex than one might expect from a series of waltzes, and Balanchine’s choreography is appropriately dense and nuanced, with changes in the dancers’ mood reflecting the changes in the musical mood, from effervescent to sorrowful, from love declared to love lost, and from the mundane to the spiritual. All four couples – Sterling Hyltin and Jared Angle, Ashley Laracey and Justin Peck, Sara Mearns and Ask la Cour, and Somogyi and Tyler Angle – performed with particular flair (and Hyltin is continuing where she left off after her brilliant season last spring), but it was Somogyi’s night.

Somogyi showed no indication that her technical facility had diminished a bit, despite the onslaught of injuries. Perhaps more significantly for this piece and for the evening, she danced with exquisite luminosity and emotional grace throughout, frequently prompting cheers from the knowledgeable audience, which clearly was there to see her. To say she went out on a high note would be an understatement.

After the curtain came down on the post-performance bows, the usual farewell festivities began. The curtain rose again to show Somogyi alone at center-stage, and the audience immediately rose in joyful salute. Somogyi is a dancer who, it seems, everybody on stage and in the house not only appreciates for her courage, but genuinely likes. As the cheering continued, she was presented with bouquet after bouquet of roses by the dancers who shared this last performance with her, individual roses by individual principals (including those who had not performed all season because of their own injuries and recuperations), and salutations from soloists and members of the corps. Peter Martins, NYCB’s Ballet Master in Chief, joined them, as did recent retirees, including Wendy Whelan. Finally, wiping back tears, she was joined by her husband and daughter, who at 5 or 6 looks like she could be a budding dancer herself. Somogyi invited her to share the final bows with her, but she was too shy – or too smart to interfere with her mother’s individual acclaim. But I suspect she’ll remember her mother’s ovations for a long time to come. And perhaps she’ll also remember how her mother overcame repeated adversity, and ended her NYCB dancing career triumphantly and on her feet.


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