My review of Justin Peck’s new ballet, set to Aaron Copland’s “Rodeo,” is here. It was performed in a program that also included Christopher Wheeldon’s “Mercurial Manoeuvres” and Alexei Ratmansky’s “Pictures at an Exhibition.” Here’s an image from the latter ballet:
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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.
Last night I saw my umpteenth performance of Balanchine’s Nutcracker at New York City Ballet, and was once again impressed by the construction, power, and fluency of this version. Yes, it was a particularly tight performance, without a weak link—even the kids were especially lively. But it’s not just that. There is something in the way the choreographer paced the action, the dancing, and the music that both streamlines and enlarges it. I talk about it some more in my review for DanceTabs.
And if you just can’t get enough, here is an excellent piece by Laura Jacobs about the history of the ballet, from Vanity Fair.
On Nov. 18-19, the Mikhailovsky performed a triple bill, consisting of Petipa’s 1896 one-act La Halte de Cavalerie, Asaf Messerer’s Class Concert, and Nacho Duato’s Prelude. I reviewed the program for DanceTabs. Here’s a short excerpt:
“The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement. None of the pieces is a masterpiece. However, Petipa’s Halte de Cavalerie, made in 1896, is certainly a charmer, a brainless little farce set to forgettable but lively music by the specialist composer Ivan Ivanovich Armsheimer, with lots of pretty dancing and even more clowning around.”
After a few performances of the Romantic classic Giselle, the Mikhailovsky Ballet moved on to far more original fare: the 1932 Flames of Paris, by Vasily Vainonen. Conceived as a thinly-veiled tribute to the October Revolution, the ballet is a celebration of group action, as represented by the company. The ensembles are as important as the soloists, if not more so. Ditto with “character” (i.e. non-classical) dance. The style ranges from Auvergnat clog-dances to 18th-century court dance to Soviet heroism. The story is rip-roaring, more Scarlet Pimpernel than fairy-tale or reverie. Simply put, it’s great fun, and fascinating to see a ballet in a style we never see nowadays. (Though, in its own way, Christopher Wheeldon’s Alice is not far off.)
Here’s my review, for DanceTabs.
The Mikhailovsky Ballet had its New York début this week in Giselle. Opening night was led by a starry cast: Natalia Osipova and Leonid Sarafanov. Here’s my review of that performance, as well as the one at the following matinée, with Anastasia Soboleva and Victor Lebedev as Giselle and Albrecht. Soboleva is a find.
And some background on the company.
Over the weekend, I saw a second cast in Liam Scarlett’s new “With a Chance of Rain,” plus Alexei Ratmansky’s beautiful “Seven Sonatas,” JIri Kylian’s “Sinfonietta,” and more. You can read my review here.