Category: Ballet

In the Studio with Breton Tyner-Bryan

Wednesday May 28th, 2014 – Following my ‘discovery’ of Breton Tyner-Bryan earlier this year when I saw her gorgeous duet Un Tanguito Cualquiera at The Current Sessions, I had the opportunity to meet her on May Day this Spring when she was rehearsing Tanguito with her colleague Catherine Correa for performances at Dixon Place.

Today, Breton invited me to her studio again to watch a rehearsal of a new work-in-process, Self, which may be seen June 12th and 13th at the Tisch Summer Residency Festival and on July 9th at the HOT Festival at Dixon Place. For Self, a dancework about gender perception, Breton has teamed up with one of the Gotham dance scene’s most intriguing personalities, Shay Bares, and a dancer who sings (awesomely): Mary Carter. The three are good friends offstage, and they are obviously enjoying their collaboration on Self.

Breton

Mary…her rich, natural vocals are incorporated into the dancing, and Breton tells me there’s also a bass player who’ll be involved in Self.

Shay…in addition to dancing, singing, and being his sexy self, Shay is designing the costumes for Self.

Breton’s plan is that Self will eventually expand into a three-part, full evening dancework. It will be interesting to follow the development of the piece. Meanwhile, for today, it was a pleasure to watch these three friends working together.

May 28, 2014
Ballet Next in Rehearsal

Tuesday May 27th, 2014 – Michele Wiles (above), artistic director of Ballet Next, invited me to her studio today where she is re-structuring Querencia, a ballet she created earlier this year for Columbia Ballet Collaborative, on her own Ballet Next dancers.

In this ballet, set to a ‘Passacaglia‘ by Heinrich Ignaz Franz von Biber, a violinist playing live mingles onstage with the dancers.

The ballet opens with the girls – Kaitlyn Gilliland, Tiffany Mangulabnan, and Brittany Cioce – in a cluster. From there the movement becomes expansive and technically quite demanding. The dancers today were concentrating on the nuances of the work, preparing for a studio showing next week.

Tiffany

Brittany

Kaitlyn

Michele, demonstrating the fine points

Join Ballet Next for a studio showing of Querenica and Brian Reeder’s Rameau ballet, Strange Flowers:

And Ballet Next will be at Kaatsbaan June 7th and 8th, 2014. Information here.

May 27, 2014
At NYC Ballet: Jonathan Stafford’s Farewell

Above: Jonathan Stafford, photo by Henry Leutwyler

Sunday May 25th, 2014 matinee – Jonathan Stafford’s farewell performance at New York City Ballet turned out to be not only a royal send-off for this all-American prince, but one of the finest performances that I’ve seen the Company give in recent seasons. Everyone – musicians and dancers alike – were really on their game and the affectionate tributes at the final curtain showed the sincere esteem and friendship in which his dancing colleagues hold Jonathan. It was a very emotional but also a truly happy farewell: the fact that Jon’s not going anywhere – he stays on with us as ballet master and also continues to teach at SAB – reassures us that we’ll continue to see him around Lincoln Center from time to time. It also would not surprise me if he pops up onstage again in an acting role some day.

When I think of Jon Stafford’s dancing, two images immediately come to mind: his beautiful air turns – in several diifferent ballets – where he could effortlessly change from left turn to right in the blink of an eye; and a truly mirthful moment in the first-season performances of Ratmansky’s CONCERTO DSCH where Jon stood in place, simply jumping up and down endlessly, keeping a straight face the whole time. These two elements – technical finesse plus an ability to transform the simplest of movements into something vivid – have always made Jon’s performances so highly enjoyable to watch.

And then there’s the partnering: Jon is a prince of a partner (above, in CORTEGE HONGROIS with Maria Kowroski in a Paul Kolnik photo). At the end of this afternoon’s performance, the principal ballerinas and then the female soloists all came out to present Jon with bouquets; their hugs seemed particularly sincere because over the years he’s helped them all to look their best onstage.

Siblings: Jon and his sister, NYCB principal ballerina Abi Stafford, in Balanchine’s SYMPHONY IN C, photo by Paul Kolnik. Jon and Abi danced together in EMERALDS this afternoon.

A special memory: Jon’s performances in Balanchine’s setting of Tchaikovsky Piano Concerto #2 during the 2008 season moved me to tears in the ballet’s second movement. I saw it several times that year, when Jon danced with Ashley Bouder (Paul Kolnik photos, above and below).

Today Ashley danced the ‘other’ girl in EMERALDS and gave a remarkable performance.

Above and below: Jon in DIAMONDS with Sara Mearns

Sara danced this role with Jon this afternoon, celebrating a grand finale to his NYCB career in high style.

Of course, ‘retirement’ performances always summon up a vast array of memories of the dancer being celebrated. Of the many evenings I have watched Jon Stafford onstage, I especially recall his perfect characterizations of several “Prince” roles: in FIREBIRD, in SLEEPING BEAUTY and in SWAN LAKE. From Balanchine, we enjoyed his LIEBESLIEDER, WESTERN SYMPHONY and NUTCRACKER cavalier, and from Robbins his IN THE NIGHT and DANCES AT A GATHERING (where he played “catch-the-ballerina” so memorably). Jon also made his mark in such diverse contemporary ballets as RUSSIAN SEASONS, VESPRO, LUCE NASCOSTA, OLTREMARE, and RIVER OF LIGHT; in the last-named Peter Martins ballet, Jon pulled off some thrilling one-armed lifts of Erica Pereira. His height and noble bearing made an outstanding impression as the venearble Father in PRODIGAL SON.

Aside from dancing, Jon showed his organizational skills when he put together the 2008 Dancers’ Choice event, a performance I recall clearly to this day.

Above: Jon with colleagues Amar Ramasar, Jared Angle, Jenifer Ringer and Abi Stafford in Robbins’ DANCES AT A GATHERING, a Paul Kolnik photo. Amar partnered Ashley Bouder in EMERALDS this afternoon and together they launched the afternoon with their elegant and truly inspired dancing.

And so, now to the details of today’s performance. Guest conductor Koen Kessels was on the podium and as always the under-sung musicians of the NYCB orchestra played beautifully, especially in the Faure which was so moving today.

Sometimes at a farewell, the actual performance is eclipsed by the event. Ashley Bouder and Amar Ramasar assured us immediately on curtain-rise that we were in for a super-JEWELS: save the confetti and flowers for later, we’re going to do some serious dancing! What a poetic atmosphere these two dancers created immediately, summoning up a quiet yet somehow electrifying bond between two charismatic personalities. Amar’s courtliness and Ashley’s lyric wistfulness played beautifully off one another. Complete enchantment.

The iconic and perfumed solos which Balanchine created for the two principal ballerinas in EMERALDS were so expressively danced today by Ms. Bouder and Abi Stafford. And the gracious pas de trois was danced with lovely, refined virtuosity by Erica Pereira, Ashley Laracey, and Antonio Carmena.

And then at last Jonathan appeared: the music here is too delicate to allow for applause for his entrance, but a murmur of excitement passed thru the House. Ever the dedicated cavalier, Jon devoted all his poetic energy to presenting his ballerina as if she were a precious jewel. Abi’s dancing, so light-filled and polished, had a calm radiance that ideally embodied the music. Together they were perfect.

As EMERALDS moves towards its conclusion, the dancers walk slowly about the stage as the women begin to exit. In a beautiful moment, as Jon passed in front of Ashley Bouder, a subtle smile illuminated her face – a beautiful, personal homage from one dancer to another.

A sizzling performance of RUBIES followed: Sterling Hyltin was absolutely stunning in her virtuosity, toying with the music whilst reeling off pirouettes at improbable speed and creating a character at once elegant, provocative, and playful. She met her match in Andrew Veyette who, fresh from a triumphant guest appearance in THEME AND VARIATIONS at ABT, cut loose with some vibrantly jazzy moves to Stravinsky today. The imperial Teresa Reichlen danced a signature role in today’s RUBIES, wowing the audience with her extension and dazzling sexiness. At the close of the passage where she’s manipulated by four men into uncanny poses, Tess plunges into a deep Arabesque Pencée, eye-to-eye with Giovanni Villalobos; she holds his gaze with remarkable intensity: does she want to kiss him or kill him? Huge applause today for the RUBIES principals and corps.

And finally, DIAMONDS: Jon and Sara Mearns have created a special magic with their partnership in this ballet and the obvious shared joy of dancing beautifully together to beautiful music was tinged today by the knowledge that this would be the last time. Looking a bit forlorn at first, Sara was soon swept along by the gorgeous Tchaikovsky themes and the ardent support of her prince: her smile became luminous, her dancing grand and glorious.

DIAMONDS was somewhat truncated today; eliminating the Scherzo meant that the demi-soliste women had less chance to dazzle us, but in the opening movement Gwyneth Muller and Gretchen Smith gave us some excellent dancing, their contrasting personalities drawing us in to the music.

And so, inevitably, the stage is filled with dancers in white and gold, the opera glasses momentarily zeroing in on the individual dancers of the corps de ballet who make this Company what it is, with Sara and Jonathan at the helm of Balanchine’s jewel-encrusted masterpiece.

What an extraordinary send-off for Jon: the respect and affection of his colleagues was shown in innumerable ways during the long ovation, streamers shooting down and bouquets being flung to the stage. The afternoon ended with Jon standing by a massive heap of flowers while the Company applauded him with sincere admiration.

Jon kept us waiting a long time at the stage door (I think secretly he just wanted to sneak out after everyone had left!); Wei met me there after his work day and we were especially happy to catch up with Faye Arthurs, and to greet so many of the dancers we admire so deeply. I’m sure they were all exhausted and just wanting to have supper, or a beer, and rest their weary bones. But they all took the time to chat us up, reflect on their association with Jon, discuss the highlights of their season, and tell us their summer plans. They are such incredible, dedicated, passionate, and amusing people and I’m so grateful to all of them, both for their dancing and just for being themselves.

At last Jon appeared and with a lovely mix of elation and exhaustion he thanked the intrepid fans who had stayed on to greet him. I mainly wanted to wish him a happy golf game!

On a personal note, Jon has his wedding to look forward to: in August he’ll be marrying New York City Ballet soloist Brittany Pollack. And here they are, at a Yankees game:

Best wishes, Brittany & Jon!

And one more image of Jon, dressed by Valentino (above)…a class act if ever there was one. I’m sure to be seeing Jonathan around the Plaza in the months ahead, so there’s no real need to say ‘farewell’.

May 25, 2014
Honoring Isadora Duncan’s GRANDE MARCHE

On Saturday, May 31, 2014 at 5:00 PM, the Green-Wood Historic Fund will host a tribute to Isadora Duncan (above), one of the most innovative and fascinating figures in the history of dance, as Catherine Gallant and her dance company (Catherine Gallant/DANCE) perform some of Duncan’s most memorable works.

Green-Wood (above) is located at 5th Avenue and 25th Street in Brooklyn. Further information and tickets here.

The performance marks the centennial of Duncan’s GRANDE MARCHE (created in 1914), set to the music of Franz Schubert, and further includes other late-period Duncan dances born of her sorrow. The Company will also present works of hope and rebirth, set to a Nocturne and Polonaise of Chopin, followed by Isadora Duncan’s dances of exuberance and light to celebrate the rising of the sun.

Since I was otherwise engaged on the day of the performance, Ms. Gallant (above, with dancer Michelle Cohen) very kindly welcomed me to a studio run-thru of her programme; this took place on an overcast, rainy afternoon at the Gibney Dance Center. Beautiful atmosphere in the studio as the women prepared their costumes and arranged their hair for the dances to come.

In addition to the Duncan works beging presented, Catherine Gallant has created new pieces which resonate with the inspiration of Isadora. One of these, WAVE (set to Chopin) was being rehearsed when I arrived:

Above: Magherita Tisato, Megan Minturn (seated) and Michelle Cohen rehearsing WAVE…

…and (above), the same moment in costume. Ms. Gallant has also created PRAYER, set to music of Leonard Bernstein, which will close the programme.

In addition to GRANDE MARCHE, the Duncan works to be presented are: POLONAISE (1919); HARP (1920); MOTHER (1923); ANDANTE (1917); SCHERZO (1917); and NOCTURNE (1914).

Here are some photos from my studio visit:

Megan Minturn in WAVE

The ensemble in POLONAISE

Margherita Tisato, Megan Minturn, and Natalia Brillante

Michelle Cohen

Catherine Gallant

Loretta Thomas, soloist in GRANDE MARCHE

Margherita Tisato and Loretta Thomas in GRANDE MARCHE

Loretta Thomas and Margherita Tisato

Loretta Thomas

Recessional from GRANDE MARCHE

This was one of those studio experiences that seemed to touch upon the very essence of dance; as Miki Orihara said of her recent solo concert RESONANCE, we must look to the past to find the future of this art form. Those who think that Isadora’s dances are outdated and irrelevant today should perhaps stop thinking and start feeling. In the work of Ms. Gallant and her dancers, the past finds us in the present; I commend them all for keeping the flame burning.

May 25, 2014
Benedetti/Jurowski @ The NY Phil

Wednesday May 21, 2014 – Vladimir Jurowski (above, in a Matthias Creutziger photo), who led a series of very impressive performances of Strauss’ DIE FRAU OHNE SCHATTEN at The Met earlier this season, was on the podium at Avery Fisher Hall tonight for his New York Philharmonic debut. The programme featured works by Szymanowski and Prokofiev. In the days just prior to tonight’s concert it was announced that the scheduled violin soloist, Janine Jansen, was indisposed and would be replaced by Nicola Benedetti.

Ms. Benedetti (above) hails from Scotland, of an Italian family. She trained at the Yehudi Menuhin School in Surrey and she maintains a full calendar of orchestra, chamber music, and recital engagements worldwide. A Decca recording artists, Ms. Benedetti takes an active role in music education and outreach. Tall and strikingly attractive, she was welcomed warmly by the NY Phil audience tonight following her excellent playing of the Szymanowski violin concerto #1. This was her Philharmonic subscription debut.

Karol Szymanowski wrote this concerto #1 in 1916. In the course of his musical career, this Ukraine-born but definitively Polish composer progressed from a Late Romantic style of writing thru an embrace of Impressionism (and a flirtation with atonality) to a later period when folk/national music became a strong influence.

Szymanowski’s violin concerto #1, often referred to as the “first modern violin concerto” leaves aside the customary three-movement concerto structure and instead unfolds as a tone poem with the violin ever-prominent. Tonight’s performance was entrancing from start to finish, Ms. Benedetti showing great control in the sustained upper-range motifs that permeate the violin part: here she was able – at need – to draw the tone down to a silken whisper. The composer further calls for some jagged, buzzing effects as well as flights of lyricism from the soloist; a long cadenza requires total technical mastery. Ms. Benedetti delivered all of this with thoroughly poised musicality. Meanwhile the orchestra, under Maestro Jurowski’s baton, paints in a brilliant range of colours, periodically breaking into big melodic themes that have an almost Hollywood feel. Both the piece and tonight’s performance of it were thrilling to experience, and Ms. Benedetti truly merited her solo bow and the enthusiastic acclaim of both the audience and the artists of the Philharmonic.

Following the intermission during which my friend Monica and I were enjoyably chatted up by a young reporter from the Times of London, Maestro Jurowski led a one-hour suite of selections from Prokofiev’s ballet CINDERELLA. This is a ballet I’ve never seen in live performance, though the music’s familiarity comes as no surprise. Tonight’s sonic tapestry of excerpts allowed us to easily follow the narrative, and the Philharmonic musicians gave full glory to the rhapsodic waltzes while individual players took advantage of the ballet’s numerous colorful, characterful solo vignettes. The marvelous, ominous tick-tock leading up to the stroke of midnight and the ensuing mad dash were all terrific fun. The score, full of romance, humour, and irony – and the charming introduction of maracas – provided a superb debut vehicle for Maestro Jurowski. Let’s hope he’ll be back at Avery Fisher Hall soon. And Ms. Benedetti as well.

May 21, 2014
Balanchine’s “Davidsbündlertänze” @ NYCB

Above: Ashley Laracey and Sean Suozzi in Robert Schumann’s Davidsbündlertänze, photo by Paul Kolnik

Tuesday May 20, 2014 – Created in 1980, George Balanchine’s setting of Robert Schumann’s Davidsbündlertänze was one of the choreographer’s last works. It’s a unique ballet, deeply moving in its depiction of the composer Robert Schumann’s descent into madness.

During the winter of 1854, Schumann’s developing insanity took a dramatic turn: he began hearing “angelic” voices which evolved into the bestial cries of wild animals. One February morning he walked to a bridge over the Rhine and threw himself in; he was rescued by fishermen. Schumann himself asked to be institutionalized, to prevent his becoming a burden on his wife, Clara. He was placed in a sanatorium. His doctors prevented Clara from seeing him for more than two years, until days before his death.

The Rouben Ter-Arutunian setting for this ballet, which has an antique look, surrounds the dancing area with gauzy curtains. The backdrop shows a body of water – perhaps alluding to Schumann’s attempt to drown hmself – and a far-shining cathedral hovering in the sky, the source perhaps of the “angelic” voices summoning the composer. At one point, mysterious figues all in black and holding large quill pens appear: these represent the Philistines, whose admonishing writings were poised to oppose art or innovation in the arts and against who the Davidsbündler (the League of David – the composer’s imaginary society of artists) took a firm stance.

The ballet, danced by four couples, seems to depict various phases of the relationship between Schumann and Clara; it may also hint as certain aspects of Balanchine’s many romances. In Suzanne Farrell’s book, Holding Onto The Air, the great ballerina says that Balanchine never told her what Davidsbündlertänze was “about” during the course of the ballet’s creation. It wasn’t until later that she made the connection to Schumann’s own life.

Suzanne Farrell came very much to mind tonight in the ballet’s opening duet, for Rebecca Krohn reminded me more than ever of Farrell, who was of course Balanchine’s longtime muse. Partnered by the dashing Zachary Catazaro, Rebecca’s sweeping lyricism and the communicative range of her expressions and gestures kept me riveted to her throughout the ballet. This was Farrell’s role (the girl in blue) at the ballet’s premiere and – like Suzanne – Rebecca may eventually take on the “Clara” role (the woman in white). Tonight her dancing was spell-binding.

Above: Rebecca Krohn in Robert Schumann’s Davidsbündlertänze, photo by Paul Kolnik

This evening’s entire cast in fact were new to this ballet, having all debuted in it together the previous week. Continuing to make a vibrant effect in each new assignment, Ashley Laracey was at her most delightful here…impetuous, charming, and dancing so very well. Sean Suozzi, who always brings his own distinctive energy to each role he undetakes, was her excellent cavalier. Tyler Angle, dancing with space-filling generosity and fineness of line, courted Tiler Peck with gentle urgency. Tiler, who to my mind seems to move from one pinnacle to another in the progress of her career, was just spectacular, her lush swirls of pirouettes radiating confidence and grace.

In her portrait of Clara, Teresa Reichlen, so elegant in her presence and so refined in her line and port de bras, strove poignantly to comprehend the changes that were overtaking her beloved. Her attempts to draw him back to her embracing tenderness became increasingly desperate, and Tess at the end must finally accept their parting: in an exquisite moment, she bows her head in silent grief as the light fades.

In a major career leap, the tall and poetic Russell Janzen’s portrayal developed a melancholy acceptance of Schumann’s tragic destiny. At the end of his very first duet with Tess, Russell’s visage showed an early indication of madness with a far-away look. These momentary drifts away from reality eventually overtake him, and at the end of the ballet he withdraws with an expression mingling fear and resignation. Earlier, Russell’s solo – set to the score’s most haunting melody – was beautifully danced.

Above: Russell Janzen, with Cameron Grant at the piano, in Robert Schumann’s Davidsbündlertänze, photo by Paul Kolnik

Cameron Grant, seated at the onstage grand piano, played the Schumann score with clarity and with tempos that seemed to propel the dancers while allowing them opportuniy for nuance.

Just as singers have sometimes told me they can’t sing anything after performing Franz Schubert’s “An die Musik”, it’s difficult to imagine watching (or dancing in) another ballet after Davidsbündlertänze, such is the haunting atmosphere it creates. And so I didn’t stay beyond the intermission: even going out to the Promenade seemed too hasty a return to reality. I was in a very subdued mood, and glad of a peaceful train ride home to reflect on the beauty of Schumann and touching artistry of tonight’s dancers.

ROBERT SCHUMANN’S “DAVIDSBÜNDLERTÄNZE”: Reichlen, Krohn, Laracey, T.Peck; Janzen, Catazaro, Suozzi, T. Angle [Solo Pianist: Grant]

May 20, 2014
All-Robbins @ New York City Ballet

Above: Wendy Whelan, photo by Henry Leutwyler

Saturday May 17th, 2014 (evening) – My first opportunity to see Wendy Whelan dancing since her return to the stage following surgery. She danced tonight in Jerome Robbins’ GLASS PIECES. I can’t begin to tell you how much I’ve missed her; at least I had the pleasure of running into her a few times in the interim.

From the moment she appeared tonight, seemingly floating into view in Adrian Danchig-Waring’s big, beautiful hands, everything suddenly seemed right with the world again: the rift in the time-space continuum was sewn up, clocks started ticking again, the lights came back on. This is what’s been missing these past few months, why everything has seemed ever-so-slightly awry. Wendy’s been such a symbol for me of my whole New York Experience, of my dream that came true; seeing her dancing again was like an affirmation of faith.

She and Adrian cast a spell over the crowd in their mesmerizing, other-worldly duet. With their stylized gestures, they speak to us over the trance-like repetitive musical motif. We are drawn into their parallel universe, and it’s breath-taking to behold. Beautiful creatures.

If their pas de deux could have gone on and on I would have been content, but as Wendy is gently borne away the jungle drums begin to beat. And who is this tall, handsome demi-god who comes wheeling into view? It’s Russell Janzen, and he’s coming into his own at NYC Ballet now: Barber Violin Concerto this past February, and now he’s been cast in the lead role of Davidsbundlertanze, which I hope to see in the coming week. He looked fantastic tonight, leading off the third movement of the Glass.

Earlier, in the ballet’s opening segment, the three ‘angels-among-us’ couples were Ashley Laracey with Daniel Applebaum, Meagan Mann with Joseph Gordon, and Emilie Gerrity with Andrew Scordato. They all look wonderful, and Mr. Gordon is stepping up nicely in each assignment.

Clothilde Otranto was on the podium tonight, and for the Prokofiev score of OPUS 19/THE DREAMER, she had City Ballet’s excellent concert-master Kurt Nikkanen spinning out the music, by turns tranquil and restless. Speaking of gods, Gonzalo Garcia certainly looked divine and his dancing was powerfully expressive. Sterling Hyltin has just debuted in this ballet and she makes a vibrant impression; the ballerina here is not always dreamy – she has some jagged, almost harsh moments mixed in – and Sterling handled these transitions with compelling musicality. She and Gonzalo looked superb throughout; the ballet ends in its iconic pose with the dancers resting their heads gently in one another’s open palms. Quiet murmurs from the crowd as the music faded indicated that OPUS 19 had again bewitched us.

Several newcomers to the cast of THE CONCERT were enough to keep me in the theatre for this ballet, one that I often skip out on. Good thing I stayed, because it was a genuinely great performance. Pianist Elaine Chelton not only played the Chopin selections very well indeed, but entered into the drama with gusto. Sterling Hyltin was back in a role as different from OPUS 19 as one could imagine; she is as fine a comic muse as she is a lyrical one. Joaquin de Luz was perfect as the hen-pecked husband who finally rebels, and Lydia Wellington debuted in the role of the wife – which has been so memorably undertaken by Delia Peters and Gwyneth Muller – and made it her own: Lydia’s timing was spot on, and her facial expressions were a characterful delight. I hardly recognized Troy Schumacher, even though I had bumped into him before the show: he had transformed himself into a total nerd. Marika Anderson’s be-spectacled ballerina was another gem; she is so versatile, and – joined by five other off-beat sylphs – drew a prolonged round of applause and laughs as they presented an epically un-coordinated pas de six.

GLASS PIECES: Laracey, *Mann, *Gerrity, Whelan, Applebaum, *Gordon, Scordato, Danchig-Waring

OPUS 19/THE DREAMER: Hyltin, Garcia [Solo Violinist: Nikkanen]

THE CONCERT: Hyltin, *Scordato, *Adams, *Segin, Anderson, De Luz, *Wellington, Schumacher, Peiffer, Nelson

May 17, 2014
Morales Dance @ Ailey Citigroup

Above: Karina Lesko and Christopher Rudd of Morales Dance; photo by Rachel Neville

Friday April 18th, 2014 – In one of those perfect-timing happenstances, photographer Rachel Neville sent me her photos from Morales Dance‘ production entitled FOR YOU just as I was sitting down to write about the performance. Rachel’s beautiful images so perfectly captured many of the individual moments which lingered in the mind and are now made tangible thru her artistry. The only problem was in deciding which of the pictures to post since they are all so fine.

Tonight at Ailey Citigroup Theater, Tony Morales put together a programme of new and older works which he’s choreographed, as well as bringing forth a Leni Wylliams ballet QUIET CITY (re-staged by Tony) to open the evening.

Above: the ensemble in QUIET CITY, photo by Rachel Neville

Aaron Copland composed QUIET CITY from 1939 to 1941 as incidental music for a play by Irwin Shaw. Shaw’s play of the same name was a flop, never making it out of previews, and Copland’s original score went unpublished for years until it was restored to currency by sax player Christopher Brellochs. And thank goodness, because it’s really evocative music.

In the Wylliams/Morales setting, the ballet opens with a stylized triple pas de deux; the three women and then the three men dance separate trios and then there are three brief, intermingling pas de deux. It’s a piece that makes big use of the space and it was very well-danced, and especially well-lit (as was the entire production) by Mike Riggs.

Cassandra Lewis and Antonio Fini in QUIET CITY, photo by Rachel Neville

Jessica Black and Christopher Rudd in QUIET CITY, photo by Rachel Neville

Three familiar works from Tony Morales’ repertory followed:

PLEASED 2 MEET U is a duet, sometimes danced by two men and sometimes by two women, set to a folkish score by Bohuslav Martinů. Tonight this sporting, light-hearted piece was performed by Jessica Black and Karina Lesko, as seen in Rachel Neville’s photo above.

Above: Jerome Stigler in ABLUTION, photo by Rachel Neville

ABLUTION, which for me is Tony Morales’ most potent work, is a solo danced to music of Bach; it was chroeographed in 1992 and retains its full power to this day. Danced tonight by Jerome Stigler, the solo is ritualistic and athletic by turns with the dancer covering the space in agile leaps or bowed down in supplication on the floor. Jerome’s performance was intense and moving.

Above: Jerome Stigler in ABLUTION, photo by Rachel Neville

By the way, I love the symbol of the three religions which is projected during this solo: Islam, Judaism and Christianity are united in this image – and how lovely the world would be if that image became reality.

Above: Christopher Rudd and Karina Lesko in TRANSITIONS, photo by Rachel Neville

Lyricism, passion and tenderness were drawn forth in TRANSITIONS, a 1998 duet to music of Maurice Ravel. Here the Costa Rican beauty Karina Lesko was at her most ravishing, dancing with Christopher Rudd. In the second part of this sensuous – but also sometimes wary duet – each dancer moves in an individual pool of light.

Above: Rachel Neville’s photo of Karina Lesko and Christopher Rudd in TRANSITIONS

Above: Karina Lesko in TRANSITIONS, photo by Rachel Neville

After a pause, Tony Morales’ domestic dance drama AMOR BRUTAL was performed to a mix of songs by Manuel de Falla and the title song, performed by Tony’s father Isaac ‘Casito’ Morales on an old recording.

Above: Karina lesko and Antonio Fini in AMOR BRUTAL, photo by Rachel Neville

In AMOR BRUTAL, a long-married couple – a devoted but controlling wife and a care-free husband – find themselves in a love-hate tangle as each seek to align their three teen-aged daughters’ affections and loyalty. Although she looks far too young to be the mother of grown children, Ms. Lesko did a fine job expressing the emotional turmoil of the anxious woman while the handsome Mr. Fini danced with free-spirited energy as the errant but likeable husband. Jessica Black, Elaine Gutierrez and Cassandra Lewis were the lovely daughters.

Above: Karina Lesko and Antonio Fini in AMOR BRUTAL, photo by Rachel Neville

Above: mother and daughters…Karina Lesko with Mlles. Lewis, Black and Gutierrez in AMOR BRUTAL, photo by Rachel Neville

Antonio Douthit-Boyd of the Alvin Ailey Company (above) made a guest appearance dancing a new solo by Tony Morales, FOR YOU, set to the Elton John pop classic. In this tailor-made dancework, Mr. Douthit-Boyd was able to show off his astonishing technique and his emotional generosity, to the audience’s delight. Antonio dances with his whole body and soul; what a pleasure it must be to create something on such a dancer.

Above: a great leap by Antonio Douthit-Boyd, photo by Rachel Neville

Above: the majestic extension of Ailey’s Antonio Douthit-Boyd, dancing Tony Morales’ FOR YOU in a Rachel Neville photo

Six young women from Ballet Forte (above) put me in mind of Isadora Duncan in the opening phrases from SCENES, a 2012 Tony Morales work dedicated to the memory of Ruth Currier. Dancing at first in silence, the sextet of nymphs begin exploring the space to music of Benedetto Marcello. Their dance has a celebratory innocence about it.

In the ballet’s second part, six dancers from Morales Dance (above) dance in varying combinations, both in silence and to music by Chopin.

At the end, the twelve dancers unite in a communal circle: a grace-filled final image from this evening of dance.

All photography by Rachel Neville; my gratitude to her for her timely delivery of these inspiring images.

April 18, 2014
Joan Tower + Bach @ The Miller Theatre

Above: composer Joan Tower

Thursday April 17th, 2014 – “Bach is everything that I am not,” said Joan Tower modestly in a mid-concert interview at The Miller Theatre tonight where her works were interspersed with movements from JS Bach’s fifth Brandenburg concerto, all played live – and superbly. The programme indeed was something of a study in contrasts though also there’s also a commonality since Ms. Tower is a comtemporary composer with a heart and soul, as evinced in her music.

This programme, part of the Miller Theatre’s Bach, Revisited series, took wing on the artistry of an assemblage of excellent players: the young musicians of Curtis 20/21, a ‘new music’ ensemble based at Philadelphia’s Curtis Institute of Music, performed In Memory, Tower’s 2002 work for string orchestra. Players from Curtis 20/21 also appeared in the Brandenburg #5, joined by flautist Patrick Williams and harpsichordist Bryan Anderson. And pianist Lisa Kaplan from eighth blackbird was joined by 20/21‘s Eunice Kim (violin) and John-Henry Crawford (cello) for Joan Tower’s 2000 trio Big Sky. Tower’s string quartet #5, White Water (2011) was performed by Joel Link and Bryan Lee (violins), Milena Pajaro van de Stadt (viola) and Camden Shaw (cello). It was first-class playing all evening, with a special nod to Ms. Kim and Mr. Crawford for swinging effortlessly from Bach to Tower (and back), and to Mr. Anderson for his polished keyboard cadenza in the Brandenburg.

The movements of the Brandenburg #5 were played in sequence but with works by Ms. Tower alternating in the order, so that ones ear was constantly lured in different directions; the two styles really complemented each other, with the Bach seeming ever-fresh and the Tower works somehow ‘familiar’, even carressive, though I’d never heard any of them before.

The Brandenburg, so familiar, took on a youthful glow thru the poised and affectation-free playing of the ensemble. In the central movement, the trio of Ms. Kim and Mssers. Williams and Anderson developed a nice interplay of voices. The concerto’s concluding allegro brought the evening to a melodious conclusion.

Without reading the program note, I found Tower’s Big Sky progressing in alternating veins of mystery and of passion laced with a sense of yearning. In fact, this trio was inspired by the composer’s girlhood memories of riding her horse in the Andes-surrounded valley of La Paz, Bolivia. What an experience that must have been!

In Memory, for large string ensemble, opens with Eunice Kim playing a plaintive violin solo; the music evolves thru buzzing motifs and darkish strains of lyricism to a poignant minor-key adagio and then to a swirling agitato. A unison rhythmic passage followed by a pensive moderato for solo viola, joined by the cello, leads into a big theme which seems on the brink of fading but then goes impulsive and driven. A heady uphill climb thru the registers brings us to a sustained concluding note: a shining aural plateau.

The Miller Theatre’s Melissa Smey interviewed Ms. Tower briefly; the composer – subtle of wit and with a touch of self-effacement – spoke of how the current situation in classical music shows a marked change since the days when composers were also performers: now the two tasks are mostly separate careers. Ms. Tower, herself a concert pianist, reminded us of such names as Mendelssohn and Beethoven – to which I might immediately add Vivaldi, Chopin, Liszt and Mahler – as both writing and conducting or playing music. She often assigns composing tasks to her music students: a learning experience they might not enjoy but which expands their horizons, and is all to the good.

Tower’s string quartet #5, sub-titled White Water, a twenty-minute, single-movement work, commences with solo viola in a rising theme, to be taken up by the cello and then the violins in turn. The upward motion of the music is a persistent motif. My notes, scrawled in the darkness as the quartet moved onward, include “ghostly glissade“, “dense harmonics”, “seasick lurches”, “shimmering…delicate…buzzing violins”. A pacing unison passage is followed by up-and-down swoops in the violin’s high range. The music plunges to the depths, then rises and pushes onward to a finale where glissandos burst forth and the voices part ways at the end.

So much of Joan Tower’s music seems well-suited for choreography, as Pascal Rioult showed us in 2012.

April 17, 2014
Ballet Hispanico @ The Joyce 2014

Above: from Ballet Hispanico‘s production of UMBRAL, photo by Paula Lobo

Tuesday April 15th, 2014 – Opening night of Ballet Hispanico‘s two-week season at The Joyce. This fantastic Company have quickly made their way to my top echelon of Gotham dance-world favorites: the dancers are sexy and spectacular, the choreography is invariably exciting, the musical range is broad and seductive…what more could one ask?

Tonight’s program opened with UMBRAL, choreographed by Edgar Zendajes to an original score by Owen Belton. This ballet honors the traditional Mexican celebration of the Dia de los Muertos (‘Day of the Dead’). Dark and evocative, UMBRAL benefits greatly from Joshua Preston’s lighting and the sleek costuming by Diana Ruettiger which displays the dancers’ lithe figures to maximum effect.

Light smoke drifts across the landscape as Mario Ismael Espinoza (above, in a Paula Lobo photo) appears in a sleek blood-red leotard, with his face painted deathly white, lips sewn shut: a living corpse. Mario, one of New York’s most alluring dance personalities, moves thru the community – an unseen spectre. His dancing has a remote beauty and mystique so perfectly suited to this role.

There is a pas de trois for Mario, Vanessa Valecillos, and Jamal Rashann Callender and then a solo for Mario danced in silence. This is interrupted by the ringing of a telephone – a message from the other side? – which the boys attempt to shush. In a passionate duet, Min-Tzu Li and Christopher Bloom display lyrical physicality. Then the six women appear, topless but discreet, as Mario moves subtly among them. The ballet ends with a stylied ensemble for the entire Company; as the dancers withdraw, Mario stands in a pool of shining light as if ascending to heaven. A brilliant piece, and a real tour de force for Mr. Espinoza.

Above, from SOMBRERISIMO, photo by Paula Lobo

Last season’s hit, SOMBRERISIMO, returned in triumph to The Joyce stage. Choreographer Anabelle Lopez Ochoa, using a collage of music that veers from propulsive to sensuous, evokes Magritte’s bowler-hatted men in this vastly pleasing ballet; and again the costumes (Ms. Ruettiger) and lighting (Mr. Preston) show off both the dancers and the dance to perfection.

Six men – Christopher Bloom, Jamal Rashann Callender, Alexander Duval, Mario Ismael Espinoza, Johan Rivera Mendez, and Marcos Rodriguez – move with vibrant authority thru the sexy, witty ensembles which include some sleight-of-hand passing of the hat and a bit of bowler-Frisbee. The men are jaunty, playful and ironic. Last year Christopher Bloom looked like a rising star, and now he’s shining brightly in the Big Apple’s firmament of dance: a man who moves with a particular energy that keeps our eye on him whenever he’s onstage. Both here and in EL BESO which followed, Chris served notice that he has arrived.

Ballet Hispanico in fact have a particularly strong contingent of male dancers and in SOMBRERISIMO each man has a chance to shine; the ballet drew a whooping ovation from the packed house as the boys stepped foward for several bows. And now someone needs to make a new and special piece for Hispanico‘s gorgeous women!

Above: Ballet Hispanico‘s Kimberly Van Woesik in EL BESO, photo by Paula Lobo

After watching a studio rehearsal of Gustavo Ramiriez Sansano’s new ballet EL BESO (‘The Kiss’) I was very curious to see how it would look onstage. In contrast to the dazzling colours and stately rhythms of the music (drawn from the enchanting scores of the zarzuela), the setting was much darker than I expected. I had imagined costumes of scarlet and canary yellow, with black lace and golden filagree, but instead designer Angel Sanchez has put the dancers in rather utilitarian outfits of black and dark blue. The stage lighting could be just a notch brighter so that the subtle interplay of the dancers and their many kisses becomes clearer. Some of the intimacy of the work has been lost in the move from studio to stage.

Once I adjusted to the unexpected black-and-blue setting, there was much to enjoy in this piece, for the choreography has wit and sparkle. EL BESO opens with Johan Rivera Mendez alone onstage, looking a bit shy. He is soon the object of Kimberly Van Woesik’s flirtatious affection. The ballet goes on to explore many variations of relationships and many varieties of kissing, including a passionate smooch for two men (Mssers. Bloom and Callender). A big unison ensemble heralds the finale, but at the last moment everyone rushes away leaving Mr. Mendez alone onstage as at the start.

April 15, 2014