Jewels of the World, Unite!

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.

Teresa Reichlen in Rubies, from Jewels. Photo by Paul Kolnik.

Violette

Violette Verdy died this week, a terrible loss.

I had the good fortune to spend time with her last year, when I was preparing a profile of her for The Nation magazine. Those hours were amongst the most delightful I have spent with anyone. I brought her maccaroons and tea, which we ate in her hotel while we talked. One night, we went to the ballet. It was a privilege to sit next to her.

I miss her, as do many, many other people.

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Violette Verdy

“Phrasing is a recognition of the values of talking, of thinking; it’s an evaluation, an itinerary,” says Violette Verdy, the great ballerina, coach, and storyteller. My profile of Verdy just came out in The Nation. You can read it here

 Violette Verdy in George Balanchine's Jewels, 1967. (Martha Swope)
Violette Verdy in George Balanchine’s Jewels, 1967. (Martha Swope)

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Violette Verdy and Liebeslieder

A Violette Verdy coaching at City Center from a few years back. Jenifer Ringer’s rendition of Liebeslieder with Jared Angle, which starts at 34:14, is seared into my brain from that day. So simple, and intimate, and true.

In the French Manner

Janie Taylor and Sébastien Marcovici in "La Valse." Both will retire at the end of the season. Photo by Paul Kolnik.
Janie Taylor and Sébastien Marcovici in “La Valse.” Both will retire at the end of the season. Photo by Paul Kolnik.

New York City Ballet is performing an all-French program this week, with ballets by Liam Scarlett (Acheron), Jerome Robbins (Aftenoon of a Faun), and Balanchine (Walpurgisnacht Ballet and La Valse). Here’s my review for DanceTabs.

And a short excerpt: “Two of the works on the program (Afternoon of a Faun and La Valse) were created for the ballerina Tanaquil LeClercq, Balanchine’s third wife, struck with Polio at the age of twenty-seven, and now the subject of a moving documentary, Afternoon of a Faun. LeClercq’s dramatic intelligence, sense of chic, and air of knowingness – she was half-French, born in Paris – hover over the evening.”

A Fond Farewell—Jenifer Ringer

Final farewells. Photo by Paul Kolnik.
Final farewells. Photo by Paul Kolnik.

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.

The cast of Dances at a Gathering. Photo by Paul Kolnik.
The cast of Dances at a Gathering. Photo by Paul Kolnik.

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.”

Jenifer Ringer in Union Jack. Photo by Paul Kolnik.
Jenifer Ringer in Union Jack. Photo by Paul Kolnik.

The Long Goodbye

Jenifer Ringer as the cigarette girl in Ratmansky's "Namouna." Photo by Paul Kolnik.
Jenifer Ringer as the cigarette girl in Ratmansky’s “Namouna.” Photo by Paul Kolnik.

It was just announced that four principals will be retiring from New York City Ballet next winter and spring. I’m especially sad to see Jenifer Ringer go. She hasn’t danced much lately–she’s been busy with her two children–and she’s been missed. Ringer was one of the first dancers I fell in love with, unsurprising since she is a particularly warm, welcoming presence onstage. She seemed to me to represent something essential to American dancers: a kind of easy-going naturalness, musicality, and sense of freedom. She is always herself onstage. I’ve loved her in so many ballets, including as Sugarplum in Nutcracker, in which she exuded beauty and almost maternal warmth. She was the essence of femininity and interiority in Emeralds and Dances at a Gathering. And she could be  sophisticated too, as when she danced the fabulous role of the cigarette girl in Ratmansky’s Namouna (see above). And then there was Liebeslieder, most especially the duet in which the woman slowly slides her leg along the floor beneath her dress, and miraculously rises up, like a ship on the seas, then floats down again. I’ll never forget watching Violette Verdy at a public coaching of Liebeslieder with Ringer and Jared Angle; after the pas de deux, Verdy said only: “how lovely.” I’ll be at her farewell performance, on Feb. 9, and I’m sure I’ll shed a tear or two.