Lincoln Center Festival put together a big show this week: a multinational staging of George Balanchine’s 1967 ballet Jewels, with performances by the Paris Opera Ballet, New York City Ballet, and the Bolshoi. The contrasts were fascinating, and paradoxically, had the effect of focusing attention on the ballet itself, revealing more clearly than ever why Arlene Croce described it as an “unsurpassedbBalanchine primer, incorporating in a single evening every important article of faith to which the choreographer subscribed”. My review is at DanceTabs.
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.
I asked a few dancers and choreographers—Cory Stearns, Kate Weare, Glenn Allen Sims, Wendy Whelan—about the art of partnering, and here’s what they said:
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 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.”