NYCB RETURNS TO DENMARK
New York City Ballet will return to Denmark to celebrate the renovation of the Tivoli Concert Hall with five performances from November 9-12, 2005. NYCB will be the first company to take the stage at the newly-renovated theater. This will be the Company’s eighth visit to Copenhagen. The single program will include: Allegro Brillante (Tschaikovsky/Balanchine), Liturgy (Part/Wheeldon), Red Angels (Einhorn/Dove), Tarantella (Gottschalk/Balanchine), Zakouski (Rachmaninoff/Stravinsky/Prokofiev/ Tschaikovsky/Martins) and Thou Swell (Rodgers/Martins).

For more information, click here

Kate

The Wonderful Copenhagen website reports on the NYCB visit to Tivoli:

http://www.woco.dk/composite-1727.htm

Comments from the last two performances - Friday and Saturday, November 10 -11...

Tivoli is a magical place, and truly amazing all decorated for Christmas. Millions of twinkling lights, stalls selling everything from crepes to christmas decorations to hand knit sweaters to glogg (mulled wine), and people squealing on various rides. Charcoal burners are placed in strategic locations for warming cold hands, and as you approach the newly renovated Tivoli ConcertHall, there's a stunning two-story Merry-Go-Round.

The Concert Hall has two levels, with side boxes and a spacious stage. The curtains, which pull from side to side, are not the best for dance performances, but don't ruin the experience. The new foyer has Europe's longest salt water fish tank - a 30m long oceanic experience. Watching the fish swim by makes for great intermission entertainment.

Friday night, Queen Margrethe attended the performance, sitting in the first row of nearly sold-out theatre.

The programme was a sampler of the New York City Ballet repertory - two ballets by Peter Martins, two by Balanchine, with ballets by Christopher Wheeldon and Ulysses Dove to round it out. A long evening, but full of balletic treats, dragged down only by the finale, Martins' bland "Thou Swell".

With it's rousing score, Balanchine's "Allegro Brillante" displayed the athleticism and precision of the NYCB male corps. The four men, Tyler Angle, Craig Hall, Christian Tworzyanski and Adrian Danchig-Waring soared through the air, their legs sisscoring in the beats, the synchronization impeccable. Nilas Martins is not the most athletic of NYCB's "Allegro Brillante" male leads, but was a supportive partner for a elegant Miranda Weese. Nancy McGill accompanied on the piano.

Albert Evans has taken over Jock Soto's role in Christopher Wheeldon's "Liturgy", and has nearly suceeded in making it his own. The memory of Soto does linger, but Evans has a fluid, muscular power that nicely complements Wendy Whelan's wirey strength. Wheeldon's choreography is full of intriguing shapes; in one striking section Wheeldon stands in front of Evans in second postion, slowly bending to put her palms flat on the stage. Then Evans quickly flips her smoothly upside-down, the shape of her uplifted, flat footed legs mirror his legs on the ground. Kurt Nikkanen played the violin solo.

In "Red Angels", by Ulysses Dove, it was the women who really grabbed my attention. Philip Neal, suprisingly supple, and Sébastian Marcovici held their own, but have not yet made their mark in the roles orignated by Peter Boal and Albert Evans, but Sofiane Sylve and Ashley Bouder were stunning. Bouder, newly promoted to principal, attacks the choroegraphy with fearlessness and verve, her dancing seamless but every position spot on. It was unfortunate however, that the sound system was not able to cope with Mary Rowell's electric violin, with audible 'fuzzing out'.

Martins' "Zakouski" is a trifle choreographically, but Nikolaj Hübbe, dancing in front of an adoring crowd, made it worthwile. Created on him, shortly after his arrival at NYCB, it plays to his strengths - quick beats and powerful movements - while allowing for some playful moments between him and Yvonne Borree. And Hübbe proved, that at 38, he is stil a magnificent dancer.

Pulling out all the stops for a "Tarantella" that was more 'Spanish bravura' than 'Danish finesse', Joaquin de Luz and Megan Fairchild drew an extra curtain call. de Luz's attack may be a bit over the top at times, but his big grin and infectious manner makes it all the more fun. Fairchild has a crisp footwork and well placed arabesquesin attude and, de Luz airy jumps and fast spins - a great combination.

After this high spirited performance, "Thou Swell" did just the opposite; an unfortunate ending to an otherwise well selected programme. Faye Arthurs, Jared Angle and Amar Ramasar have slipped elegantly into their roles, but the piece has not aged well. An interesting novelty when first premiered, Martins' choreography now seems bland, quickly becoming repetitive. The ballerinas look glamorous - though the design of the ballgowns is not flattering to those with little bust - but the magic has left.
The men too, look oddly stomach-heavy in the cummerbunds (and who wears white tie with black jackets??). Jennifer Ringer was one of the high points, as were the elegant Jared Angle and sexily smooth Charles Askegard.

The onstage trio and pit orchestra, conducted by Paul Gemignani, played well, though it sounded as if the two were not totally in synchronization at all times. The singers, Debbie Gravitte and Jonathan Dokuchitz were uneven, giving pleasant renditions of some songs and at other times struggling to stay in tune.

And so, it was a disappointing conclusion, and especially on Friday evening, the audience response was, at best, lukewarm. When the company does return, one hopes it is with a better constructed program.

On both evenings, the curtain calls ended with a unique Tivoli tradition - the presentation of a big basket of flowers, but two fully uniformed Tivoli boy's guard members.

Perhaps an explanation for the loud cheers heard from behind the curtain last Friday!

Jared Angle has been promoted to principal. This is a promotion well deserved and it's wonderful to see Angle returining so successfully from several years blighted by injury:


NEW YORK CITY BALLET PR0MOTES
JARED ANGLE TO PRINCIPAL DANCER


New York City Ballet announced today that soloist Jared Angle was promoted to principal dancer following a performance on Friday, November 11 in Copenhagen, Denmark. Mr. Angle had just performed in Peter Martins’ Thou Swell at the Tivoli Concert Hall for an audience that included Queen Margrethe II of Denmark.

NYCB was performing in Copenhagen as part of the festivities surrounding the reopening of the Tivoli Concert Hall, which had been closed for a year for renovations.

Mr. Angle was born in Altoona, Pennsylvania, and began his dance training at age six at the Allegheny Ballet Academy. He entered the School of American Ballet, NYCB’s official school, in the fall of 1996. In 1997, Mr. Angle received the Rudolf Nureyev Scholarship to continue his training at SAB for the 1997-1998 school year. Mr. Angle became an apprentice with NYCB in March 1998, joined the corps de ballet in July 1998, and was promoted to the rank of soloist in February 2001.

Since joining New York City Ballet, Mr. Angle has danced featured roles in many of the Company’s works, including George Balanchine’s Allegro Brillante, Divertimento No. 15, The Four Temperaments, Emeralds from Jewels, Liebeslieder Walzer, Robert Schumann’s “Davidsbündlertänze,” Symphony in Three Movements, Tschaikovsky Piano Concerto No. 2, and La Valse; Sean Lavery’s Romeo and Juliet; Peter Martins’ Jazz (Six Syncopated Movements), Octet, Stabat Mater, Them Twos, and The Waltz Project; Jerome Robbins’ Dances at a Gathering, The Goldberg Variations, In Memory Of…, and Piano Pieces; and Christopher Wheeldon’s Mercurial Manoeuvres. He originated featured roles in Mr. Martins’ Burleske, Harmonielehre, Morgen, and T?l? Gaisma; Richard Tanner’s Soirée; Helgi Tomasson’s Prism; and Mr. Wheeldon’s Carousel (A Dance).