…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.”
New York City Ballet put on its fall gala on Tuesday, with three new works by Liam Scarlett, Justin Peck, and Troy Schumacher (this was Schumacher’s first for the company.) I reviewed the program for DanceTabs, here.
Here’s a short excerpt:
“It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose – replenishing the cash drawer – and they keep the plutocrats happy. For the rest of us, there are the new works to look forward to, often unveiled en masse at the opening of the season….As in previous seasons, fashion was the [gala’s] subtext. Each choreographer was paired with a designer whose eye, at least in principle, was called upon to enhance the work. That these designs also create buzz in fashionable circles just adds to their appeal.
A few shots of those dresses:
On May 8, New York City Ballet held its spring gala, marking fifty years since the opening of the State Theatre. Along with a toast, a short film, and a song from “Carousel,” the evening included two ballets: Balanchine’s whirling “Allegro Brillante” and the première of Justin Peck’s new “Everywhere We Go.”
Here‘s my review, for DanceTabs:
And a short excerpt:
“Peck has the mind of a mathematician; he finds ways to subdivide the stage and keep the eye continually guessing. Shapes appear momentarily and dissolve, only to reappear again somewhere else. Soloists weave in and out of the ensemble. The body is also subdivided in surprising ways: sometimes only the arms move, in complex phrases combining staccato and stretched combinations; other times, just the torso, or just legs.”
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.”
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.
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.”
For DanceTabs, I reviewed two programs at NYCB, “Just for Fun” (Carnival of the Animals, Jeu de Cartes, and The Four Seasons), and “Tradition and Innovation” (Vespro, Duo Concertant, and Dances at a Gathering). Yes, the company has taken to “naming” its programs, and also to grouping them by theme, which I often find to be problematic–too much of a good thing, not enough contrast. But still, serendipity happens. The seasons’ single performance of Jerome Robbins’ “Dances at a Gathering” turned out to be one of the freshest renditions I’ve seen in a long time. Tiler Peck, in particular, was ravishing as the “girl in pink” (see photo above).
Christopher Wheeldon’s “Carnival of the Animals,” which the company hasn’t done for a while, turned out to be a be a bit of a disappointment. It’s flat, and tries too hard to be funny (without succeeding). But there are some lovely images, like this one, of a mermaid, danced here by the beautiful Lauren Lovette.
New York City Ballet held its fall gala on Thursday (Sept. 19), at which it introduced three collaborations between choreographers (Justin Peck, Benjamin Millepied, and Angelin Preljocaj) and designers (Prabal Gurung, Iris Van Herpen, Olivier Theyskens). The focus of the past few galas has fallen—thanks to Sarah Jessica Parker, who’s on the board—mainly on the fashion side, and less on the side of intriguing choreography. The three works had their merits, but all the fuss seemed to be about the costumes. It’s clear that the tactic is meant to attract and entice the gala patrons, who get two thrills for the price of one: new choreography, big-name designers. But one wonders if they really feel they are getting a good deal? The applause at galas is always on the polite side, so it’s hard to tell. The evening looked sold out. So much the better. But will these ballets merit viewing and re-viewing?
Here’s my review of the evening for DanceTabs.