Sunday May 30, 2010 matinee – Martha Swope’s photograph of George Balanchine and his cat Mourka. This afternoon’s performance at New York City Ballet was one of the most satisfying of the hundreds I have attended. Two principals who are nearing their retirement were dancing signature roles and there was also an important and highly auspicious role debut from Rebecca Krohn.
Last night I had really enjoyed DANSES CONCERTANTES and thought it could not be improved upon in any regard, yet at today’s matinee Sterling Hyltin and Gonzalo Garcia were as technically adept as they were last night but also seemed to be finding subtler nuances of wit and whimsy which gave their interpretation more facets and more charm. Again the corps of twelve were outstanding.
As Wendy Whelan and Philip Neal walked slowly amid the nymphs of the Elysian Fields I felt something divine was in the offing and – to be sure – this was perhaps the most poignant of the many performances of CHACONNE that I have seen danced by these two sublime artists. Wendy was translucent, the music seeming to emanate from her hands, her supple back, even her hair, and with her green eyes questing the heavens. When the ballet turns more classic in look and feeling, Wendy’s dancing was like a poetry reading for the eye: so many gorgeous images that she creates with effortless grace. Philip Neal’s performance was a perfect match for Wendy’s in terms of musicality and refinement, his turns so calmly resplendent and his landings like a butterfly lighting on a leaf. I don’t know why he would even think of retiring with his artistry at such a peak. The audience showered them with applause and called them out three times; each time Wendy graciously bowed to Philip before curtsying to the House.
In the divertissement, Stephanie Zungre seemed ready for bigger assignments as she led the pas de cinq very prettily indeed, and Erica Pereira and Adam Hendrickson took advantage of a perfect tempo today for their tricky duet: bravi! Andrew Scordato was impressive dancing the pas de trois for the first time – his height and carriage would suggest he be cultivated for cavalier roles down the line – and Gwyneth Muller and Ellen Bar were his tall graces. Add Faye Arthurs, Amanda Hankes, Daniel Applebaum and Allen Peiffer plus a strong corps contingent to the mix and voila! Perfection.
Rebecca Krohn’s (above) debut in STRAVINSKY VIOLIN CONCERTO was a real eye-opener. She put me in mind of some of my earliest memories of watching the Balanchine black-and-white ballets and of the grand ballerinas who danced these iconic roles with such dedication and expressivity back in the day. Rebecca has the look and more importantly the cool, unflappable attitude to make powerful statements in this repertory. And, she’s a beauty into the bargain. I’ve had my eye on Rebecca right from her first appearances on this stage and my instincts were right: she’s got it. If I said that she reminded me of Suzanne Farrell this afternoon that would tell you a lot.
Rebecca was fortunate to be paired with Amar Ramasar today; they look simply great together and their pas de deux was full of those little touches – gestures and expressions – that tell us the traditions are being well safe-guarded as these works are passed from generation to generation. Amar’s solo dancing was a stage-filling delight: his technique has notched up ten-fold in the past year or two and he’s quite a force to be reckoned with onstage. I want to see the Krohn/Ramasar duo in more and more rep.
Yvonne Borree was seemingly dancing her familiar role here for the last time and her performance conjured up many memories – I could feel that she was savouring this music and these steps for one last time and it was touching. Ask LaCour was her tower-of-strength cavalier and he took beautiful care of her. Ask’s solo dancing was big-scale and intriguing. The corps were super and the playing of Kurt Nikkanen with Clothilde Otranto on the podium was perfect.
Ballet just doesn’t get any better than this.
Oberon's Glade 
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