Tag: Ballet

Images from NYCB’s SLEEPING BEAUTY

Photos by Paul Kolnik from the New York City Ballet‘s performances of the Peter Martins production of SLEEPING BEAUTY, Winter 2013 season. Above: Marika Anderson as Carabosse. Click on the image to enlarge.

Ashley Bouder and Andrew Veyette

Robert Fairchild, Rebecca Krohn and Sterling Hyltin…click on the image to enlarge.

Gonzalo Garcia and Ana Sophia Scheller

I think this production should become an annual Wiinter-season tradition at NYCB: full houses, beautiful sets and costumes, a great score and…wonderful dancers.

Henning Rubsam reflects on the performances he saw here.

My thanks to Mr. Kolnik and the NYCB press department for providing these photographs.

February 21, 2013
NYCB Tchaikovsky Festival 2013 #6

Saturday evening January 26, 2013 – This evening’s performance at New York City Ballet was filled with wonderful dancing (and playing from the pit) and went a long way to compensate for the previous evening’s late-seating debacle.

The programme was the same as the night before, but what a difference! Tonight we were able to fullly enjoy the delicate mysteries of BAISER DE LA FEE, led by Andrews Sill. I have a special fondness for this ballet since it was the first work I ever saw at NYCB lo! these many decades ago. My ‘premiere’ cast featured Patricia McBride and Helgi Tomasson and it is pleasing to report that Megan Fairchild and Andrew Veyette made just as fine an effect in the ballet as ther illustrious predecessors. Megan and Andrew caught the quality of rhapsodic youthfulness right from the start, abetted by the very nice dancing of the corps ensemble. Andrew’s solo had a dreamy feeling, but it’s one of those restless dreams (we’ve all had them) where you are seeking something that seems to elude you; his dancing was so expressive, making me want to see him as Jerome Robbins’ Dreamer in OPUS 19. Megan’s solo, set to the birdlike song of the flutes, was fetchingly spun off by the ballerina. The couple then brought a lovely feeling of quiet ecstacy to the magical backing-away which brings this Balanchine jewel to a close. Erica Pereira and Mary Elizabeth Sell led the corps to charming effect.

Tiler Peck and Joaquin de Luz then went to town, pulling out all the stops for an exciting Tchaikovsky Pas de Deux in which Tiler scintillated with her magical pirouettes whilst also capturing the warm lyricism of the adagio. Joaquin fills the stage and the theatre with his generous dancing and genial smile; if there’s a dancer with a bigger heart than Joaquin de Luz I haven’t met him. The two dancers swept thru the bravura fireworks of the coda to the audience’s delight, and if the fish dives took on a risky quality tonight, that’s part of the fun. They swept off as the curtain fell, igniting a full-house ovation which made them smile all the more as they stepped out to take their bows.

Now being in a really good mood, I even decided to give BAL DE COUTURE another try and strangely enough I liked a lot of it tonight, or maybe I should say that I saw where it might – with a few alterations – become something to enjoy. The music’s wonderful for one thing, but my first change would be getting rid of the women’s bizarre, fanciful costumes. And since the costumes are the whole point of the piece my other ‘fixes’ wouldn’t matter. It’s nice to see all that star-power onstage even though – as a friend pointed out – turning principals into a corps tends to make them anonymous. Despite its drawbacks, I found I could sit thru it, and could again – if the need ever arises.

In the concluding DIAMONDS, Maria Kowroski and Tyler Angle were elegant, and they seemed to filter the melodies of the score directly into their dancing. Maria’s magical way of sculpting her long limbs into the regal poses of the adagio was finely echoed in Tyler’s handsome and ardent partnering. There’s a lovely simpatico quality between these two dancers and it was shining brightly tonight. The demi-solistes and corps filled the stage with Mr. B’s grand patterns in the finale; the audience loved it.

Andrews Sill conducted the first two ballets tonight, then passed the baton to Daniel Capps for the rest of the evening. The NYCB musicians played the entire programme very appealingly and they well-deserved the audience’s warm cheers as they took a spot-lit collective bow at the end. The players were recently chided in the press for playing too many wrong notes. Yes, musicians – even the finest ones – do sometimes hit wrong notes, especially the wind players. Anyone who has ever played a musical instrument knows that the best intentions and plenty of rehearsal can still be undone by fatigue or plain old bad luck. It’s nothing to write home about since it tends to happen randomly, even among the excellent players of at the NY Phil or the Metropolitan Opera (where the orchestra is considered one of the best ‘pit bands’ in the world). For myself, having played piano, guitar and French horn, I always have a sympathetic ear and am grateful when things go as well as they do on a given night. The NYCB musicians work hard and it’s nice when the audience acknowledges their nightly contributions to the success of the ballet.

Heading home on the A train, I met the three people who’d been sitting behind
me at the performance. Students at Columbia, they drew out a season brochure and began asking me questions about what they should see next. “Who was that woman with the long legs in the last ballet?” the girl asked. “She was awesome!” I could only agree.

DIVERTIMENTO FROM ‘LE BAISER DE LA FÉE’: M. Fairchild, Veyette, Pereira, Sell

TCHAIKOVSKY PAS DE DEUX: T. Peck, De Luz

BAL DE COUTURE: Lowery, Reichlen, Krohn, Scheller, Hyltin, A. Stafford, T. Peck, M. Fairchild, Bouder, Taylor, J. Angle, la Cour, Danchig-Waring), Veyette, R. Fairchild, Ramasar, Finlay, De Luz, Carmena, Marcovici

DIAMONDS from JEWELS: Kowroski, T. Angle

January 26, 2013
NYCB Tchaikovsky Festival 2013 #4

Tuesday January 22, 2013 – Where better to be on January 22nd than in the house that Philip Johnson built for George Balanchine? Today we celebrate the great choreographer’s birthday and New York City Ballet saluted their founding father with a beautiful evening of Balanchine ballets set to the music of Tchaikovsky.

Conductor Gerry Cornelius and the NYCB musicians mined all the melodic gold to be found in these three marvel-filled Tchaikovsky scores. Six principal ballerinas appeared (including our newest two) along with four of the Company’s most impressive and unique cavaliers; two handsome boys from the corps de ballet assumed major roles, and two girls who should be soloists led the ensemble passages in SWAN LAKE.

No one who was there will ever forget the performance of Peter Martins’ SWAN LAKE in 2006 in which Sara Mearns – then a young unknown from the corps de ballet – stepped into the role of Odette/Odile and took her first leap to stardom. Tonight she re-created her Odette in the Balanchine setting and danced radiantly and with a quiet intensity that was enhanced by the nobly responsive presence of Jared Angle as her cavalier. Both the partnering and the poetry of this pairing made the familiar ballet seem fresh and ever-resonant. Megan LeCrone leading the Pas de Neuf has her own brand of magic – a truly intriguing dancer – while Lauren King, always a pleasure to watch, seemed particularly ravishing tonight as she embraced the full-bodied lyricism of the Valse Bluette. Scanning the ranks of the black-clad corps de ballet, faces and forms both familiar and new to me continually seized my imagination.

Megan Fairchild’s plush technique finds a perfect expression in ALLEGRO BRILLANTE; she begins in a rather serious mode but as the ballet sweeps onward her smile illuminates the stage just as her silky-smooth pirouettes illuminate the music. Amar Ramasar’s space-filling dance, his deft partnering and sheer magnetism all add up to a top-notch performance in this ballet. The ensemble of King, Laracey, LeCrone, Gretchen Smith, Laurent, Peiffer, Tworzyanski and Andrew Scordato (stepping in unannounced) added nicely to this charming classic-style ballet all underscored by Elaine Chelton’s playing from the pit.

Rebecca Krohn appeared in the haunted ballroom of TCHAIKOVSKY SUITE #3 to dance the Elegie, which has over the years become one of my great favorites among all of Balanchine’s works. Bare-footed and beauteous, Rebecca seemed so Farrellesque to me tonight. Zachary Catazaro, his pale and handsome face recalling the great matinee-idols of the silver screen era, made a wonderful impression as the lonely lover who momentarily finds his ideal. As Rebecca wafted her gorgeous gown and hair thru the music, Zachary was an ardent dream-cavalier; yet when the moment of their parting came his downcast expression of resignation was so moving: his fingers brushed the spot on his face where her hand had caressed him – did her perfume linger there? – and then he looked at his hands which had held his beloved and which were now empty. A frisson swept thru me at that moment.

In the Valse Melanconique, Abi Stafford looked so angel-like and lovely with her hair down and clad in diaphanous white; as she swept about the ballroom amidst the bevy of beautiful corps ballerinas, Abi constantly kept us aware of the pulsing nuances of the waltz tempo. Justin Peck was excellent in the cavalier role here. And it’s always a real pleasure to see Faye Arthurs onstage.

Beauty and brilliance combine in Ana Sophia Scheller’s superb dancing of the Scherzo; she brings a touch of prima ballerina elegance to everything she does and she puts her own gracious signature on every ballet in which she appears. Viva Ana!! Antonio Carmena’s vivid leaps and the handsome polish of his dancing matched up so well with the remarkable Scheller as they flew about the space in high style.

Costume note: could we get rid of the blouse-like Pagliaccio tops for the men in this ballet’s first three movements?

Ashley Bouder whipped up a delicious frosting for this evening’s Balanchine birthday cake with her brilliant dancing in Theme and Variations. In total contrast to her wonderfully lyrical performance of SERENADE‘s Russian Girl last week, here was Bouder in full ballerina tutu-and-tiara mode and dancing with regal aplomb. Andrew Veyette’s dynamic series of stupefying air turns won the crowd’s cheers, and his partnering was strong and sincere. The demi-solistes Mlles. Hankes, Sell, Muller and Pollack were finely shown-off by their handsome cavaliers: Devin Alberda (welcome back), Cameron Dieck, Daniel Applebaum and David Prottas.

In recent seasons they’ve taken away the lyre and re-branded the Company
(like cattle?), changed the name on the theater’s facade, carved aisles
in the seating where Balanchine/Johnson wanted none, arranged an
alienating ticket-pricing scheme, scattered the faithful of the 4th Ring
Society, put butt-ugly furniture on the wonderful wide-open space of
the Promenade – where they have also (currently) piled up a useless
tower of mediocre MoMA PS-1-type artwork – and all for what? But it
doesn’t matter in the end because all that really matters is the dancers
and the dance, the music and the movement. And in those essential
elements, the Company stays strong.

There was no Balanchine Birthday Vodka Toast this year but I’d rather be intoxicated by the dancers than by any beverage that might be served up. Happy Birthday Mr. B !!

SWAN LAKE: Mearns, J. Angle, LeCrone, King, Dieck

ALLEGRO BRILLANTE: M. Fairchild, Ramasar

TCHAIKOVSKY SUITE NO. 3: ELEGIE: Krohn, Catazaro; WALTZ: A. Stafford, J. Peck; SCHERZO: Scheller, Carmena; THEME & VARIATIONS: Bouder, Veyette

January 22, 2013
Preview of Justin Peck’s New Ballet

Watch a brief video preview of Justin Peck’s new ballet for New York City Ballet here. Entitled PAZ DE LA JOLLA, the ballet is set to Bohuslav Martinu‘s Sinfonietta La Jolla and will premiere on January 31st, 2013 with additional performances February 2nd, 6th and 8th. Justin talks about the work and his choreographic career in a Time Out New York interview here.

Photo of Justin by NYCB‘s Paul Kolnik.

January 22, 2013
My Only 2012 NYCB NUTRACKER

Sunday December 23, 2012 matinee – Due to the rise in ticket prices at New York City Ballet, I’ve had to adopt strict budgeting rules: for the first time since moving to NYC, I found myself forced to skip NUTCRACKER season altogether. I’d been in the habit of going as many as eight times each year, seeing debuts and covering interesting casting combinations for my blog with genuine enthusiasm. I came to really love and admire the entire Balanchine NUTCRACKER experience, always finding fresh details in the thrice-familiar production.

But this year, with prices really out of my reach and with the Tchaikovsky Festival looming ahead (I want to go every single night!), I was forced to forego NUTCRACKER; I’ve looked at the casting each week, wishing I could be there but simply unable to deal with the monetary situation. Fortunately, my friend Monica very kindly offered me a ticket to today’s matinee.

The cast this afternoon included some debuts, and there wasn’t a principal dancer to be seen onstage. But the soloist and corps de ballet did the Company proud, stepping into the leading roles with confidence and charm. Clothilde Otranto led a lively performance, and special kudos to concertmaster Kurt Nikkanen for his ravishing playing of the Interlude, replete with shimmeringly subtle trills in the highest register.

Lauren Lovette’s debut as the Sugar Plum Fairy was a major point of appeal in the casting today. This young ballerina has been doing excellent work in the corps, and she always makes a beautiful impression when she’s cast in a prominent role; her debut recently in Christopher Wheeldon’s POLYPHONIA was a real eye-opener, for she held the stage in mesmerizing fashion in her mysterious solo, danced to one of Ligeti’s most trance-like works. Her Sugar Plum today was lyrical and light in the opening solo, and showed the confident radiance of a seasoned star-ballerina in the pas de deux where her cavalier, the story-book-prince Chase Finlay, showed off his ballerina with élan. Together they sailed smoothly thru the duet’s many difficulties: difficulties that have been known to undo the most seasoned dancers. Lauren and Chase drew the audience in with their youth and poise, winning a particularly warm reception.

I met Mary Elizabeth Sell shortly after she joined the Company in 2006, and have kept an eye on her ever since. She and I share a birthday; I took the above picture of her one day a couple years ago when I ran into her on a rehearsal break. Always a dancer to draw the eye in any ballet because of her vivid presence and perfect smile (she was one of the few dancers to make an impact in the leaden OCEAN’S KINGDOM), her performances stand out in a way that have always made me think she could do well in major roles. This Winter the opportunity came her way – she had debuted yesterday as Dewdrop – and, just as I suspected she would, she seized the opportunity and gave a really exciting performance. Her Dewdrop was on the grand scale, able to make her own musical statement in the role by playing ever so subtly with the timing: holding an arabesque one moment, then swirling forward in a flurry of pirouettes. Her jeté was effortlessly brilliant, her extension regally unfurled, her attitude turns silky, her fouettés gracefully swift and sure. To all of this she added her dark eyes and gracious smile. Her performance had amplitude and (rare commodity:) glamour; in short, she put me in mind very much of one of my all-time-favorite Dewdrops, Colleen Neary. There’s no better compliment, in my book.

Other notable newcomers were Cameron Dieck (handsomely squiring the marvelous Gwyneth Muller in Spanish), Claire Kretzschmar (leggy and cool as Arabian), and Joseph Gordon (bouncing high in Chinese). Sara Adams was pretty, precise and perfectly pleasing as Marzipan; Anthony Huxley – he of the fabulous feet – a stellar Candy Cane (I was hoping he’d jump thru his hoop on his exit in the finale, as he did when he first danced the role); Andrew Scordato an amusing Mother Ginger; Lauren King and Ashley Laracey led the Waltz of the Flowers with distinction…two of my favorite ballerinas.

In Act I, Sean Suozzi replaced David Prottas as Drosselmeyer; the change was unannounced. Sean was superb, as we could expect from one of the Company’s most intriguing personalities; he even gave the grandmother a startlingly emphatic kiss. Amanda Hankes and Christian Tworzyanski were the appealing Stahlbaums, Kristen Segin and the very pretty Claire von Enck danced charmingly as Harlequin and Columbine, and Giovanni Villabos neatly executed the Soldier Doll’s solo.

It’s kind of amazing that there are now dancers in the Company I cannot
identify onstage; things seem to be changing more rapidly that ever in
terms of the roster. During 2012 some of my favorite dancers left the
Company unexpectedly; others are currently injured (an ongoing problem).
The total complement of dancers stands at 85, the smallest number in my
years of attending,; apprentices and (sometimes) senior SAB students
seem to be filling the ranks in the big ensembles.

SUGARPLUM: *Lovette; CAVALIER: Finlay; DEWDROP: Sell; HERR DROSSELMEIER: Suozzi; MARZIPAN: Adams; HOT CHOCOLATE: Muller, *Dieck; COFFEE: *Kretzschmar; TEA: *Gordon; CANDY CANE: Huxley; MOTHER GINGER: Scordato; FLOWERS: King, Laracey; DOLLS: Von Enck, Segin; SOLDIER: Villalobos, MOUSE KING: J. Peck; DR & FRAU STAHLBAUM: Hankes, Tworzyanski

The house seemed nearly full, and so nice to run into some of the Company’s most ardent supporters during intermission.

Thanks so much, Monica!

December 22, 2012
Atlanta Symphony @ Carnegie Hall
Above: baritone Brett Polegato, one of tonight’s soloists at Carnegie Hall

Saturday October 27th, 2012 -The Atlanta Symphony Orchestra brought three 20th century works to Carnegie Hall in a wonderfully crafted evening under the baton of Robert Spano. My front row seat put me right at the heart of things, beneath a row of lovely cellists that I could have reached out and touched. This was my third evening at Carnegie in a week’s time, and I felt so at home there.

I chose this programme because I wanted to hear the Canadian baritone Brett Polegato; his voice intrigued me when I first heard him singing on a tape of the 1995 Cardiff Competition which my friend Mollie had so kindly sent me. It’s taken me all this time to hear him ‘in person’ and it was well worth the wait; my impressions of him from that tape proved totally valid: he’s a first-rate singer.

But to start at the beginning, Mr. Spano opened the programme with Copland’s APPALACHIAN SPRING, by far the best-known of the evening’s three weeks. In classical music, familiarity can breed not so much contempt as a taking for granted of certain works. If you say ‘NUTCRACKER‘ or “Eine kleine nachtmusik‘, people will shrug and smirk and say “Again?” But these pieces are popular for a reason.

Listening to the Atlanta players in the Copland, I realized again how really original and purely enjoyable this score is. And it put me so much in mind of my recent links with the Martha Graham Dance Comany and with the Japanese artist Isamu Noguchi who designed the sets for Graham’s iconic ballet. Tonight APPALACHIAN SPRING felt like the masterpiece that it is, so lovingly played.

CHICHESTER PSALMS is one of the few Leonard Bernstein works that I admire, and possibly the only one that truly enjoy. I actually came to know this music thru Peter Martins’ ritualistc setting at New York City Ballet. Its rhythmic freshness and its heartfelt melodic strands make it so appealing, and tonight we had an adult male soprano rather than a boy treble; John Holiday’s gorgeous tone stole gleamingly into the huge Hall. His voice gave the music an erotic/exotic throb that a boy singer could never produce. The audience gave Mr. Holiday a rousing cheer as he bowed, and he very much deserved it.

William Walton’s BELSHAZZAR’S FEAST was an early success for the composer and it sounded magnificent last night as played and sung by the musicians and chorus of the Atlanta Symphony. The work tells the story of the proverbial writing on the wall, and of Belshazzar’s demise and the triumph of godliness. It plays out strikingly, though it does seem to me that Walton became just a shade long-winded in the final pages of the score: he doesn’t seem to know when to stop. Be that as it may, it was an inspired performance all round.

Brett Polegato’s noble tone sailed out into the Hall with warmth, focus and power, his exemplary clarity of diction making reference to the printed texts unnecessary. In the unaccompanied passage ‘Babylon was a great city…’ the singer forged a direct link with the audience, his voice speaking to us with remarkable directness and emotional force.

The evening posed the question, why isn’t Brett Polegato at The Met? And why, for that matter, isn’t Mr. Spano there as well? They are both masters of their respective crafts.

You can experience their work on the Grammy Award-winning recording of Vaughan-Williams SEA SYMPHONY.

Tonight’s concert:

Performers
- Atlanta Symphony Orchestra
  Robert Spano, Music Director and Conductor
- John Holiday, Countertenor
- Brett Polegato, Baritone
- Atlanta Symphony Orchestra Chorus
  Norman Mackenzie, Director of Choruses
Program
- COPLAND
  Appalachian Spring
- BERNSTEIN
  Chichester Psalms
- WALTON
  Belshazzar’s Feast
October 27, 2012
Upcoming: Pontus Lidberg for MORPHOSES

Above: MORPHOSES rehearsal director Reid Bartelme and ABT’s Isabella Boylston in rehearsal for Pontus Lidberg’s WITHIN; photo by Jade Young. MORPHOSES will present Pontus’s evening of dance and film entitled WITHIN (Labyrinth Within) at The Joyce from November 7th thru 11th. Information and tickets here.

The performances will open with the newly-staged ballet which has evolved from Pontus’s haunting film LABYRINTH WITHIN. Watch a brief trailer for the film – which features New York City Ballet principal Wendy Whelan, Pontus Lidberg and Giovanni Bucchieri – here. Following the ballet, the film will be shown.

A couple of weeks ago, Jade and I went to a rehearsal of the ballet at the Gibney Dance Center. It happened to be Isabella Boylston’s (above) first rehearsal of the work;, and indeed it fell on a day of firsts since I had earlier watched the New York City Ballet‘s compelling soloist Adrian Danchig-Waing in his first-ever APOLLO rehearsal. Adrian is Isabella’s partner in the Pontus Lidberg work, so I felt like a bit of a stalker following him from one studio to another.

Isabella Boylston and Adrian Danchig-Waring, photo by Jade Young.

Isabella worked with Reid Bartelme, Pontus’s rehearsal director, while Adrian perfected the partnering with Laura Mead, a lovely dancer I’d met earlier this year when she danced for Cherylyn Lavagnino. Laura will alternate with Isabella at The Joyce performances.

Laura Mead, photographed by Kokyat.

I was curious to find that a second couple are also involved in the ballet, since in the film it is definitely a romantic triangle (real or illusory). But Gabrielle Lamb – a favorite dancer of mine – and the handsome Berlin-born danseur Jens Weber were working on another pas de deux, Gabrielle wearing the stiletto pumps that Wendy Whelan wears in the film.

Gabrielle and Jens, photo by Jade Young

Now I’m very curious to see how the two couples will be woven into the story once the ballet takes the stage, and also to find how the staged dance dovetails with the film.

As the appointed studio time seemed about to run out, Pontus let the other dancers go but he stayed behind to work on his solo passages with Reid. Evening was falling outside, and the studio took on a very dreamlike atmosphere.

If you have seen the film, you will recall the striking image of flowers growing thru the floorboards of the mysterious old castle where the film was shot; that’s a Wendy Whelan photo, above.

For today’s rehearsal, Pontus had brought his own flower. His dancing is so poetic, and in these last lingering moments of the rehearsal the outside world seemed to vanish and the beautiful dancer drew us into his dreamworld.

Click on Jade’s images to enlarge.

October 25, 2012
Baroque Collaboration @ The Players Club

Above: Jared Angle, in a Henry Leutwyler portrait.

Friday September 28, 2012 – In a unique mingling of dance and song, New York City Ballet principal dancer Jared Angle and countertenor Anthony Roth Costanzo met up in the salon at the Players Club for a Baroque feast. Jared’s NYCB colleague Troy Schumacher (who is also the founder of Satellite Ballet) choreographed the Vivaldi piece in which Jared danced. At the harpsichord, the remarkable Bradley Brookshire made marvelous music all evening. The programme was presented as part of the Salon/Sanctuary Concerts series.

Above: Anthony Roth Costanzo, whose singing of Handel, Purcell and Vivaldi showed a delicious timbre, breath control of enviable security, and coloratura that left the listener astounded. For all the magic of his virtuoso vocalism, it was in the sustained poetry of the slow passages that the slender and agile young singer was at his most ingratiating. Tapering the phrases with staggering dynamic command, the voice spoke to us of a time when the great castrati brought audiences to the point of madness. If one or two highest notes seemed slightly strained, it hardly mattered. This was fabulous vocalism, and all the more fascinating for the engaging use of eyes and hands with which Anthony mesmerized his listeners.

Bradley Brookshire (above) played solo works by Bach and Scarlatti, his scale passages rippling off the keyboard with fantastical velocity and precision. A master of timing and of coaxing colours out of his instrument, Bradley even made the silences speak. His musical rapport with the countertenor was a complete delight to experience.

It was in the Vivaldi cantata Qual per ignoto calle that the artistry of the evening’s three participants converged. Clad in black tights and a simple grey shirt, Jared Angle stepped into the space where he encountered the bare-footed counter-tenor. Troy Schumacher’s choreography drew the singer into the dance, his lithe frame very much at ease with the movement. Jared circled Anthony like an unseen spirit, a guardian angel. Using his wonderfully expressive hands to poetic effect, Jared moved with consummate grace, sometimes lifting the singer and cradling him with consoling tenderness. There were passages where Jared displayed hs vituosity in leaps and turns, but he always returned to keeping watch over his charge. Bathed in the golden light of this antique salon, Jared’s face took on an other-worldly beauty. The duet hovered on the brink of unspoken romance – inevitable when two handsome men meet in an intimate setting – but the purity of the spell was never broken.

September 28, 2012
Balanchine/Stravinsky @ NYC Ballet

Thursday September 27, 2012 – The third programme in the New York City Ballet‘s 2012 Stravinsky festival included the first ballet that I ever saw the Company perform: BAISER DE LA FEE. This work of pure enchantment holds a special place in my heart and while the memory of Patricia McBride and Helgi Tomasson dancing the ballet’s principal roles on that first night roles stays strong in the memory, I was particulary keen to see tonight’s pairing of Tiler Peck and Gonzalo Garcia making their BAISER debuts.

But first a zesty appetizer: SCHERZO A LA RUSSE was performed by students from SAB. It’s always fun to see, with it’s unfinished sentence at the end.

BAISER with its intoxicating score (conducted by Jayce Ogren, who at the end of the evening gave us a delicious reading of FIREBIRD) always weaves its dreamy spell. And under that spell, Tiler Peck and Gonzalo Garcia danced superbly: Tiler’s pirouettes so swift, soft and fair, and Gonzalo brushing the floor with his fingertiips in his mysterious solo. Their artistry, individually and in unison, is thoroughly satisfying to experience. As the melody of ‘None but the lonely heart’ pulses in the orchestra, the dream ends – or does it go on? – as the lovers back away from one another, eyes heavenward. Alina Dronova and Faye Arthurs were very agile and lovely in their demi-soliste roles.

DANSES CONCERTANTES with its fussy Eugene Berman costumes, old fashioned ‘flats’ setting and entr’acte curtain, has a music hall flavour. It seems a bit dated, and the score – perfectly pleasant – is unmemorable in the long run. Brilliant dancing from Megan Fairchild, Andrew Veyette and a dozen premiere corps dancers (forming four colour-coded pas de trois) showed the ballet to its best advantage, but tonight it seemed longish and very much of a theatrical era that has vanished.

But FIREBIRD seemed like solid gold tonight, with its glowing score – Stravinsky’s most marvelous, in my view – and its ever-entrancing Chagall designs. For me this is a ballet that never ages. Teresa Reichlen is an elegant vision in her fiery tutu, and with her fluttering gestures, her lovely stretched-out leaps and the gentle hush of her Berceuse, she was perfect. Ask LaCour and Savannah Lowery as the prince and princess were likewise impressive. And to the gorgeous melodies of their ensemble, a dozen fetching ballerinas in their Chagall peasant-gowns wove a particularly enchanting spell: Anderson, Arthurs, Brown, Hankes, King, Laracey, LeCrone, Mann, Pazcoguin, Pollack, Smith and Wellington – a fine corps-watchers opportunity. If the girls take the whole thing a bit tongue-in-cheek, that actually makes it all the more fun. Thank you, my beauties.

SCHERZO À LA RUSSE: Students from the School of American Ballet

DIVERTIMENTO FROM ‘LE BAISER DE LA FÉE’: *T. Peck, *Garcia, Arthurs, Dronova

DANSES CONCERTANTES: M. Fairchild, Veyette

FIREBIRD: Reichlen, la Cour, Lowery, Scordato

September 27, 2012
Escape to Stravinsky

Wednesday September 26th, 2012 – When we’re feeling down, music, dance, art and nature become sources of solace and ways of leaving our troubles behind, at least for a span of time. Tonight an all-Stravinsky programme at New York City Ballet served as a surprising means of escape. While the ballets are all thrice-familiar Balanchine-Stravinsky masterpieces, the dancing as well as the unusual sensation of freshness being found in the scores drew me out of myself for a while.

There were several cast changes this evening, with dancers scheduled for one ballet shifting to a different one to replace injured colleagues. It all turned out well in the end, though I was sorry not to see Abi Stafford dancing.

The ballets look sleek and vital, and Kurt Nikkanen’s playing of the STRAVINSKY VIOLIN CONCERTO is always a pleasing experience. Curtain up, and there is Janie Taylor with the four boys. She does all the steps and port de bras that every woman who has ever danced this role have done, but her personal mystique is so intriguing you feel you’ve never seen the ballet before. Then each of the other three principals make their entree, and we’re off. I loved Sebastien Marcovici’s large-scale movement and his steady partnering. Robert Fairchild moves with incredible vitality; he and Janie are a great match-up in their pas de deux. Rebecca Krohn has one of her most congenial roles here; she was superb and she put me in mind of some of my earliest experiences with the leotard ballets, when the great ballerinas who knew Balanchine personally danced these roles. So good to see Faye Arthurs in a brief featured role, and the corps de ballet were looking spiffy with several appeasing faces and forms among their number.

I’ll always remember my first encounter with MONUMENTUM/MOVEMENTS; it was at a Sunday matinee in the 1980s. I was going to a 4:00 PM Kathleen Battle recital at Alice Tully but I took a standing room spot for the NYCB matinee and just watched the opening ballet. Helene Alexopoulos danced the leading role; I adored her, and I was so fascinated by the way the dancers broke ranks and re-arranged themselves between movements.

Tonight, the magnificent Maria Kowroski took the stage with her two cavaliers – Ask LaCour and Sebastien Marcovici – and it was a really impressive performance. Maria sculpted her long limbs gloriously into improbable shapes, ideally punctuating her phrasing on the music. The men gave her perfect support, and the audience gave the three a warm reception as they stepped out to bow. The Gesualdo score in particular stood out with burnished radiance in an evening of fine playing from the pit; Daniel Capps was the conductor here.

Although Autumn is approaching, it felt like Spring as Megan Fairchild and Chase Finlay took the stage for DUO CONCERTANT. This partnership, so thoroughly captivating in LIEBESLIEDER last season, gave this Balanchine classic a youthful glow. Chase is becoming – or maybe we should say ‘has become’ – quite the dashing cavalier, and when Megan ignited a manège of swift pirouettes, all seemed right with the world. Their joint allegro dancing was perfect, and in the slower and more tender passages of the ballet, the two dancers had just the right feeling of intimacy. Arturo Delmoni and Susan Walters were the musical duo.

Is there a more iconic image in all the Balanchine canon that the curtain-rise diagonal that opens SYMPHONY IN THREE MOVEMENTS? But we only have seconds to savour it before Daniel Ulbricht comes sailing onstage and bursts into a series of fantastical leaps. Tiler Peck joins him in this rousing passage of tucked-up bounces. (And it’s time yet again to commend Tiler’s vast range and her contagious joy of dance). Savannah Lowery and Adrian Danchig-Waring danced vividly as is their wont, and the pas de deux with its oddly appealng melody was very well-danced by the delectable Sterling Hyltin and Amar Ramasar. Amar received a screaming bursts of applause at his curtain calls, and he deserved every bit of it.

That opening diagonal and the ‘melting’ of it at the end of the ballet’s first movement showed us some of our current corps beauties. A very strong group of demi-solistes kept the opera glasses darting madly whenever they were onstage: mesdamoiselles Brown, King, Laracey, Pazcoguin and Smith and their cavaliers Alberda, Dieck, Laurent, Peiffer (long time, no see) and Schumacher.

The house was far from full though there was considerable enthusiasm all evening. But it is so sad to see the 4th Ring gallery empty and gaping forlorn: that is the place where I and (I am sure) thousands of others first experienced the Balanchine/Stravinsky ballets. And if new generations are to be lured in, these seats at realistic prices are the place to do it.

STRAVINSKY VIOLIN CONCERTO: Taylor [replacing Hyltin], R. Fairchild, Krohn, Marcovici [replacing Ramasar]

MONUMENTUM PRO GESUALDO: Kowroski, la Cour
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MOVEMENTS FOR PIANO & ORCHESTRA: Kowroski, Marcovici
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DUO CONCERTANT: M. Fairchild, Finlay

SYMPHONY IN THREE MOVEMENTS: Hyltin [replacing A. Stafford], T. Peck, Lowery, Ramasar [replacing J. Angle], Ulbricht, Danchig-Waring

September 26, 2012