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Jenifer Ringer danced her last dance yesterday at New York City Ballet, in a program that combined Robbins’ Dances at a Gathering and Balanchine’s tribute to the British Isles, Union Jack. Unsurprisingly she seemed relaxed, dancing with her usual musicality and emotional transparency. Here’s my review of the show, for DanceTabs.
I’d love to hear people’s memories of her dancing. I’ll never forget a public coaching of Liebeslieder with Violette Verdy. Dressed in rehearsal clothes, under bright studio lights, Ringer and Jared Angle conjured a completely enclosed world in which only they existed. After they finished Verdy said simply, “that was perfect, I have nothing to say.”
But now he’s the artistic director of the Royal New Zealand Ballet, which will be performing at the Joyce next week. This is the company’s first visit in over twenty years. Stiefel is bent on molding them into a first-class ensemble, with Gillian Murphy’s help. Here’s my feature on the company, for the Times.
Here he is, in the Flames of Paris pdd with Murphy:
It’s too late to put in my review of Concerto Barocco at the New York City Ballet, but here is a photo from that performance, on opening night of the winter season, featuring Maria Kowroski (on the left) and Sara Mearns (on the right). Beautifully captured by Paul Kolnik.
Last night I saw Pam Tanowitz’s evening of new works at the Joyce, and it was…fun. Not a word one usually associates with this smart, analytical, and serious choreographer. Here’s my review of the evening, for DanceTabs.
And a short quote: “The dancers were both particles in space – you could watch them one by one without losing interest – and hubs of activity, entering into passing conversations. The whole stage felt alive.”
The show is at the Joyce through Feb. 6.
On Friday, New York City Ballet unveiled its first ballet by the young Briton Liam Scarlett, who, at 27, is considered one of the most promising new voices in ballet. The work is entitled “Acheron”—the name of a river in Greek mythology— and set to Poulenc’s Concerto in G for Organ, Strings, and Tympani, the same piece Glen Tetley used for his1973 ballet Voluntaries. You can read my review for DanceTabs here.
And here’s a short excerpt:
“The première of Acheron…revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning. Though the ballet is abstract, without characters or a plot, an underlying theme coalesces by the end. With this deeper understanding, everything that comes before is bathed in a different hue. I’m eager to see it again, armed with this knowledge.”
I’d love to hear comments and thoughts from others who saw the ballet.
Enjoy your sunday—I hear Renée Fleming will be singing somewhere in Jersey tonight…