Cruel World

In an effort to expand my ballet & dance repertoire beyond my beloved New York City Ballet, I've started getting videos from the library. My first choices from the Lincoln Center branch's pretty large selection were the Paris Opera Ballet's version of Balanchine's JEWELS and an ABT gala disc entitled VARIETY & VIRTUOSITY. The ABT performance which dates from 2000 features a number of exciting performances by some of the Company's brightest luminaries. But the piece that completely intrigued me and which I can't stop watching is a pas de deux from James Kudelka's CRUEL WORLD danced by Julie Kent and Robert Hill.

Julie Kent (signing autographs at the Met, above) is one of those dancers who makes me wish I had the time and the financial resources to go to ABT more often. Her performance in SWAN LAKE a couple of seasons ago was so expressive and so gorgeously danced that she overcame the defects of the production and along with Marcelo Gomes gave us a clear and profound vision of the immortal classic. When I was working at Tower, I had a wonderful conversation with her one day when she came in - very well-along in her pregnancy - and wanted some Mendelssohn to listen to. Being a little unsure of myself, I didn't let on that I knew who she was until our conversation was almost over and then she was so kind; I was completely captivated.

This photo of Julie and Robert is not from CRUEL WORLD but it's striking in its own right. In the Kudelka pas de deux, danced to one of those hauntingly romantic Tchaikovsky melodies - a romance coloured by regret - Julie and Robert display a fluidity of motion and depth of feeling that turn an abstract duet into a tremendously moving view of a relationship which is by turns tender and evasive with fleeting moments of passion and an ultimate sense of resignation. Julie makes us forget an unattractive costume within seconds; Robert, dressed to show off his elegant but powerful physique, displays a mastery of partnering that is very impressive. For all the fascination of their technical accomplishment, it is the emotional quality of their performance which leaves such a lasting image.

If the rest of the ballet, set to Tchaikovsky's SOUVENIR DE FLORENCE, is anything like this duet it is something I really want to see.   

Of course, it's on YouTube. Interesting interview with Kudelka here. I'll be wanting to watch Julie & Robert in this pas de deux many times; and wanting to see Julie at ABT this summer...for sure. 

Comments

[perky]

I have this vhs tape and have always loved this pas de deux. However, I know nothing about it. It almost seems as if the girl dies at the end. She becomes almost lifeless in his arms. Does anyone know the details? Kent and Hill are just gorgeous in this. She has a vulnerabilty that's touching.

[philip]

Hi Perky, I am hoping some of the ABT fans who read my blog will tell us more about the whole ballet from which this pas de deux is taken. Apparently it was a very big success when it premiered.

Yes, the woman does appear to be dying at the end of the duet; I really wonder what the context is??

Hill's partnering is just stunning, especially the way he 'flips' Julie twice in mid-air.

Julie Kent is one of a handful of ABT dancers who can lure me to the Met; I'm very much looking forward to her appearancs in OTHER DANCES at NYCB this spring/summer. She is an extraordinary dancer and presence.

[jolene]

I'm one of Julie Kent's fans as well - when ABT came to Berkeley last year, her brief part in "Fancy Free" was my favorite female performance of the night. She has this quality that looks like she literally glows.

Just curious, is it more expensive or harder to get tickets for ABT? Or are you talking about the time and resources it takes to go see ABT, in addition to the other shows that you watch?

Great blog!!

[philip]

Hi Jolene,

Thanks for your comment, and I am very happy to have a link to your 'West Coast' blog!

ABT is a somewhat more expensive proposition than NY City Ballet. City Ballet offers the 4th Ring Society which I joined ten years ago when I moved to NYC. You pay a very reasonable annual membership fee and that gets you half-price seats (two per show) in the 4th Ring for as many performances as you want to see. Thanks to corporate sponsorship, the full-price 4th Ring tickets have been $20 (!) for the past couple of years so basically as a member you can go for $10 per performance. ABT has nothing comparable.

But my main problem with ABT is that the Met is just so enormous that I never feel really connected to the dancing there, no matter where I sit. And also I am not a big fan of the full-length classical ballets in general. So between the ticket cost and the distancing effect of the big house, I hardly ever go. Which is too bad because I love Julie, and Gillian Murphy, Marcelo Gomes, David Hallberg, Carreno, Corella, Cornejo, Stella Abrera, Craig Salstein and Jared Matthews. And I'm sure I'd like everyone else who dances there if I went with more frequency.

ABT's City Center rep always attracts me but that's such a dodgy venue and the prices are just out of my reach.

For now, the NYCB rep, dancers and ticket prices really suit me ideally. And this past Winter I had the extraordinary good fortune to be placed on their press list. Still, I wouldn't give up my membership. I love watching from "above"...and besides, all the hardcore fans are upstairs!

Now I'm going to go read your blog!