…after seeing an all-Balanchine/all-Stravinsky quadruple bill at New York City Ballet in this opening week of the spring season. See my review for DanceTabs here.
Here’s my review of the Jan. 20 and Jan. 22 programs at New York City Ballet, which included six works by Balanchine: Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, and Chaconne. Not bad for two nights at the ballet.
A little excerpt:
“These Balanchine evenings quickly establish the company’s core values: musicality, speed, lightness of touch, spaciousness, style. They also impress upon the audience the vast range of balletic modes in which the choreographer worked…. The ballets are not only worlds in themselves but, taken as a group, they seem to encompass most of ballet.”
The continues through March 1.
New York City Ballet has been going from strength in a series of all-Balanchine programs. I review ballets with music by Stravinsky and Tchaikovsky here. A short excerpt:
“On the Stravinsky program (Sept. 25), Robert Fairchild returned to Apollo…He has relaxed into this challenging role and is now able to take risks, tilting dangerously (and excitingly) off-balance and pushing the tempo to create moments of surprise and wildness. Like the unruly young god he depicts, Fairchild tests his strengths and weaknesses before us on the stage.”
The company ended its season in the key of Balanchine, with a strong program of black-and-white ballets: Concerto Barocco, The Four Temperaments, and Stravinsky Violin Concerto. All in all, it was a smashing performance, with the usual highs and lows. Right now, Violin Concerto is in the best shape of the three, with dancing so sharp it made me laugh with glee more than once. Here’s my review, for DanceTabs.
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…
My first review of New York City Ballet’s winter season is out today on DanceTabs. It’s never a bad idea to start of a season with an all-Balanchine program, especially if it includes “Concerto Barocco,” a microcosm of musicality and modernity. The company seems to be in good form. Here’s a short excerpt from the review:
“We see and hear each of its moving parts, understand the transitions, and notice the way certain phrases, like a repeated hop on pointe followed by a small bow, or a courtly Baroque dance step, return from one movement to the next, leading to a logical, almost inevitable conclusion….And yet, for all its concern with structure, the ballet reads as pure, sublimated meaning and emotion.”
Alexei Ratmansky’s Namouna, a Grand Divertissement, is back at New York City Ballet. And what a ballet it is: witty, intelligent, sophisticated, joyous, bubbling over with steps. If you haven’t seen it, you should. (It will be performed again on the evening of Oct. 10, and Oct. 12 at 2.)
I review it here, for DanceTabs. And here is a short excerpt from that review: “Some ballets improve with age, or, to be more accurate, our eye evolves and we learn to see them better. I remember being befudled at the New York City Ballet première of Alexei Ratmansky’s Namouna, A Grand Divertissement in 2010. By the second viewing, I had started to warm to its oddball charm. And by the end of that season, I was smitten. Tonight, revisting this ballet for the first time in three years, it was clear that it is the best new work the company has commissioned since, well, Ratmansky’s Concerto DSCH (2008).”