Tag: Sunday May

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
Chamber Music Society/Season Finale
Above: pianist Gilbert Kalish

Sunday May 18th, 2014 – With this concert of works by Mendelssohn and Brahms, the current season of Chamber Music Society of Lincoln Center at Alice Tully Hall came to a close. The Society’s programs – and the roster of incredible musicians they are able to draw from – have made CMS a key element in my musical life. It’s almost like going to church, but even more meaningful.

Gilbert Kalish is such a pure musician. Nothing clutters up his delivery; he sits down and plays, opening a direct conduit between composer and listener. Kalish’s virtuosity is so assured and the emotive qualities of his playing so genuine that the music comes vividly and memorably to life. He opened today’s concert with a selection from Mendelssohn’s Lieder ohne Worte (‘Songs Without Words’); composed between 1829 and 1845, these melodious miniatures were published in eight volumes. Mr. Kalish’s sampler of four of the songs covered the 15-year compositional span and were performed with astute dynamic contrasts and a lovely lightness of touch.

Waiting for the stage to be set for the string players, my friend Adi and I discussed which of the program’s two composers we preferred, and whether we’d rather take the music of Mendelssohn or that of Brahms to the proverbial desert island. I chose Mendelssohn – the man who wrote my very favorite chamber works (his piano trios); and a few minutes later, as the playing of the adagio from the Quintet #2 moved me to tears, I knew I was right. (Adi sided with Brahms…)

The Mendelssohn Quintet #2, composed in 1845 – rather near the end of Mendelssohn’s too-brief lifetime – shows the composer’s continuing attachment to the Classicism of Mozart or Haydn while coloristically venturing deeper and deeper into the Romantic territory. It is perhaps his occupying this very bridge between two great eras in musical history that makes Mendelssohn so intensely appealing.

The cellist Paul Watkins gave the music a velvety weight, and Arnaud Sussman took the viola 1 line with some lovely nuances. Violinist Philip Setzer and violist Richard O’Neill provided the inner voices – Mendelssohn keeps all the players singing throughout. For all the joy and clarity of the outer movements, it’s the adagio that gives this work its very special appeal. Here, violinist Shmuel Ashkenasi provided truly ravishing ascending phrases, soaring over the harmonies with poignant beauty of tone. This was the cause of my weeping today.

After intermission, Mr. Kalish was again at the Steinway for two Brahms Intermezzi – pensive, bordering on melancholic – which bracketed his splendidly agile playing of the Capriccio in G-minor (Opus 116) where his dexterity took us on a whilrwind ride, letting us catch our breath in the melodic central passage. Again, his connection to the music and the deep sincerity of his playing were much appreciated.

For the Brahms G-major Quintet (Opus 111), Mr. Setzer took the concertmaster post and all five of the musicians invested this music with glowing tone and intrinsic technical mastery. When Brahms submitted this quintet to his publisher in 1890, the score was accompanied by a message in which the composer suggested that this would be his final work. Fortunately he went on composing, producing several masterworks in the ensuing seven years until his death.

Above: violist Richard O’Neill

The Brahms G-major Quintet features a prominent role for viola 1, and today Richard O’Neill’s passionate playing was as inspiring to behold as to hear: gorgeous tone, impeccable technique. Reading up on Mr. O’Neill’s background, I came across this quote: “To violist Richard Yongjae O’Neill, music is like a religion in which Mozart and Beethoven are gods.” No wonder I feel such a connecton to his playing: we’re worshipers at the same altar.
- Mendelssohn Selected Lieder ohne Worte (Songs Without Words) for Piano
- Mendelssohn Quintet No. 2 in B-flat major for Two Violins, Two Violas, and Cello, Op. 87 (1845)
- Brahms Selected Intermezzos for Piano
- Brahms Quintet in G major for Two Violins, Two Violas, and Cello, Op. 111 (1890)
This evening’s participating artists:
Gilbert Kalish, piano

Shmuel Ashkenasi, violin

Philip Setzer, violin
Richard O’Neill, viola

Arnaud Sussmann, violin

Paul Watkins, cello
May 18, 2014
Lydia Johnson Dance: Rehearsal

Sunday May 21, 2012 – On this beautiful, sunny day Kokyat and I climbed the many steps to Battery Dance Studio where Lydia Johnson was rehearsing with her dancers for their upcoming performances at Peridance, June 23rd & 24th, 2012. Lydia will be showing a new work to music of J S Bach, a darkly luminous female ensemble work to music of Osvaldo Golijov, a revival of her 2006 FALLING OUT, and a poignant domestic quartet entitled SUMMER HOUSE. Both FALLING OUT and SUMMER HOUSE are set to music of Philip Glass. In the photo at the top, dancers Lisa Iannacito McBride and Kaitlin Accetta.

For her June performances, Lydia has inviited two guest dancers from the Lar Lubovitch Dance Company: Attila Joey Csiki (above)….

…and Reed Luplau (above); Reed will be dancing in both the new Bach work and in SUMMER HOUSE. These two dancers, steeped in the Lubovitch style, look perfect in Lydia’s lyrically expressive choreography.

The rehearsal was underway when we arrived: working on the new Bach piece which is basically all mapped out but still open to editing or embellishment. Lydia works from instinct; she is likely to put refining touches on her work right up til curtain time. Her dancers are all accomplished performers who are able to find the nuances in the movement that make the choreography looks its best.

Here are some of Kokyat’s images from today’s rehearsal of the Bach:

Lisa Iannacito McBride & Attila Joey Csiki

Katie Martin, Lisa Iannacito McBride, Jessica Sand

Min-Seon Kim & Blake Hennessy-York

Kaitlin Accetta, Lisa Iannacito McBride

Sarah Pon, Blake Hennessy-York

Reed Luplau, Attila Joey Csiki & Sarah Pon

Attila & Blake

Katie Martin

Reed Luplau

Sarah & Blake

Attila & Lisa

Images from the rehearsal of SUMMER HOUSE appear here.

All photography by Kokyat.

May 21, 2012
At the Noguchi Museum

Sunday May 29, 2011 – Kokyat and I have been talking about going to the Noguchi Museum for months and today we finally made it there.

Noguchi’s Water Stone (1986) at the Met Museum is one of Kokyat’s favorite works of art. Every time we go to The Met we make a pilgrimage to sit and observe the stone. The best times are when there are no other museum visitors around. We usually fall silent when sitting there; it creates a peaceful atmosphere. There is a very similar work at the Noguchi Museum (top photo) but it’s outdoors, and the surface of the pool refects the sky and trees in every-changing patterns.

The Noguchi Museum is not all that easy to get to from Manhattan. It’s a long walk from the nearest subway stop (though there is shuttlebus service from Manhattan) and so it is blessedly free of baby strollers, cellphones and tourist traffic. The atmosphere is wonderfully tranquil and there’s a deep connection with nature both in the wood and stone which Noguchi fashioned into masterpieces…

…and in the garden’s trees and plants, some of them native to Japan and rarely seen in the States. The blending of art and nature is so calming.

The museum is housed in what was once a run-of-the-mill industrial building. Noguchi saw something in the space and its ‘courtyard’ (then a run-down parking lot and storage area), transforming the mundane property into a spectacular sculpture garden while creating ten galleries within the building to house a large collection of his works. He also bought a small building across the street where he lived.

Noguchi did not always sign and date his work, but his signature runes (above) can be found on many pieces. Most of the works are simply presented without the title cards and descriptive information one usually sees in a museum. Noguchi wanted the viewers to draw their own inferences from his work without being steered by his own concepts in creating them.

Noguchi at Versailles in the 1950s.

We spent a long time wandering the galleries…

…then Kokyat fell asleep in the garden beneath a wall of bamboo. It is such a serene and restful place.

Isamu Noguchi’s work with Martha Graham was recently celebrated in an evening of works on which they collaborated, performed at the Rose Theater. In another connection with dance, Noguchi designed ORPHEUS for George Balanchine and his stylized lyre from that production was for years the iconic logo of the New York City Ballet.

I’ve posted some of my photos from our day at the museum on Facebook.

May 29, 2011