Above: NYCB‘s Jennie Somogyi in a Henry Leutwyler portrait
Tuesday May 21st, 2013 – Principal dancer Jennie Somogyi has returned to New York City Ballet after being sidelined with an injury for several months. Tonight was my first chance to see her since her return and she gave a super-charged performance in Ulysses Dove’s RED ANGELS. NYCB cognoscenti scatttered throughout the house gave her a hearty cheer when she stepped out for her bows. It’s wonderful to have her back.
The house was fairly full tonight – including about half of the Fourth Ring – though I know there were people outside who really wanted to come in but who could not afford the available tickets. I’m going far less often myself, because it’s just out of comfortable reach financially.
Guest conductor Leif Bjaland opened and closed the evening conducting two great scores: Tchaikovsky’s Serenade for Strings and Stravinsky’s Firebird. In the Tchaikovsky, he gave a somewhat more spacious feeling to the music than we’ve heard here in recent seasons: the fast passages were lively but not frantic, and he was adept at bringing out the inner voices that intertwine in the serenade’s melodic arcs.
Curtain-rise for SERENADE still puts a lump in my throat; despite a couple of tiny faux pas tonight the ballet was beautifully danced, and of course it’s a corps watcher’s paradise. The recent promotion of some of the Company’s loveliest ballerinas to soloist means that we’ll see these girls less frequently onstage; but tonight three of them – Ashley Laracey, Lauren King and Georgina Pazcoguin – retained their familiar places in this Balanchine masterpiece. The entire ballet was a feast for my opera glasses as one appealing vision after another moved across the stage in their swirling pale plue tulle.
Sara Mearns danced with silken beauty, handsomely partnered by Jonathan Stafford. Ashley Bouder’s marvelous sense of the music allows her to sail on the score’s melodic ebb and flow, pausing here and rushing forward impetuously there; her peerless technique and expressive face invest the role with many felicitous details. Rebecca Krohn gave a radiant performance, her lyricism at full-flight and so attractive to behold. It seems to me that both Ashley and Rebecca would be ideal in the ‘waltz girl’ role, and I’m hoping they’ll each have the opportunity soon. Adrian Danchig-Waring made a striking impression both in physique and face; his deep immersion in the ballet’s unspoken drama was spell-binding.
So exciting to see RED ANGELS again; it’s a favorite ballet of my friend Arlene Cooper, and I was glad to spot her from above this evening. Mary Rowell has played every performance of this ballet that I have ever experienced and she’s phenomenal, turning her electric violin into both a percussive and melodic vessel. In sleek physique-defining red body tights, the four dancers appear in introductory solos, then in duets, second solos, and a brief coda for all.
Amar Ramasar gave a magnificent, stellar performance of expansive and space-filling dance wedded to undeniable sex appeal. Jared Angle has followed in the footsteps of Peter Boal as the Company’s most poetic male dancer; in this case it’s poetry with an edge and Jared reads it with power and clarity. Teresa Reichlen’s long-limbed amplitude and cool allure are perfect here, dancing with sharp attack and soaring extension. Ms. Somogyi, her body in Olympian condition, was intense and keenly aware of the sensual energy that pulses thru the Einhorn score. Throughout, the four dancers communicate in a rich gestural dialect. Mark Stanley’s lighting is a major factor. The audience whooped it up for these exciting dancers and their vivid one-woman rock band.
Clothilde Otranto took up the baton for a definitive change of pace with the Tchaikovsky Pas de Deux. Andrew Veyette stepped in for Joaquin de Luz and won continuous rounds of applause for his swift and scintillating turns and leaps while the charm and delicacy of Megan Fairchild’s dancing exuded lyric grace, reaching an apex in a set of delicious fouette turns in the coda. The audience loved them, and rightly so.
Maria Kowroski’s imperial Firebird was the perfect finale for this parade of super-dancers. The elegant ballerina shaped the elusive avian creature into a poetic statement, creating a compelling reverie in the haunting Berceuse. Earlier, her fluttery evasions and eventual taming were finely wrought in gesture and expression and – needless to say – her long legs are an exceptional asset. I love Jon Stafford in this ballet (he replaced Ask LaCour tonight) for his sense of wonderment and almost naive heroism. He and Savannah Lowery as the captive princess gave a charming account of their courtship, surrounded by a bevy of maidens consisting of some of my favorite ballerinas. The girls – I know – take this scene with a tongue-in-cheek quality. For me it’s quite beautiful, as is the Stravinsky score – his finest in my view, and wonderfully played tonight under Mr. Bjaland’s baton.
Oberon's Glade 