Wendy's Adagio & Damian's Last WESTERN

Tuesday May 13, 2008 - I wish I'd been able to see all four performances of the SYMPHONIC BALANCHINE programme this season but I was limited to two and by good fortune there were just enough cast changes to make the second visit truly worthwhile. SYMPHONY IN C, which is usually a closing ballet was here the opener. I don't think this ballet has ever 'spoken' with such clarity as it did tonight. I was sitting in the orchestra and the atmosphere right from Maestro Karoui's downbeat was electrifying; there was a profound sense of concentration and stillness that one doesn't always get in that part of the house. Aside from waves of applause at appropriate moments - and a lot of yelling after the adagio - this state of awe lasted right to the end and then there was a one of those very satisfying, full-bodied ovations that don't happen all that often but which was so richly deserved tonight - along with the dancers coming out three times before the curtain. If they hadn't been so hasty to bring up the houselights, there might have been a fourth call.

Things got off to a fabulous start with Ana Sophia Scheller and Jared Angle (Paul Kolnik headshots) dancing with brilliance and with an elegant response to the music. Ana Sophia has evolved from princess into a young and beautiful queen; she has such a 'classical' feeling, always dancing with consummate clarity. One thing I love about her is the way her neck and head always achieve such a natural connection with her body as she dances: from toe shoes to tiara, Scheller is ravishing. Jared is so polished, his partnering steady and sincere and his solo dancing ever-increasing in both technical poise and sheer beauty. His hands and the way he finishes everything off always highlight his performances. Megan Fairchild and Benjamin Millepied were likewise on very fine form for the third movement, unfazed by the brisk tempo from Maestro Karoui. I like Megan's sense of joy which expands as the piece unfolds; Benjamin's dancing had a nice suspended quality in the air and successful flurries of pirouettes. Later, coming down the diagonal in a series of lifts, Ben's "hands off' tossing of Megan was an extra little bit of dazzle. Can anyone reel off multiple turns with the crispness and speed of Tiler Peck?  Her opening solo passage in the finale was sparkling and then she was joined by the ever-impressive Tyler Angle as they propelled the ballet towards its breath-taking climax.

Wendy Whelan (Joachim Ladefoged photo) and Philip Neal have danced the SYMPHONY IN C adagio dozens of times together; how do they keep it fresh and meaningful? I don't know their secret but by the time they got to that extraordinary passage where Wendy falls back three times only to be caught by Philip inches from the floor I was so high that the theatre disappeared and it was only them and me and Balanchine and Bizet. Wendy's entire body senses this music so acutely; tiny nuances seem to float right off the violin strings into her upper body, arms and hands. Transfixed, I was startled when the spell was broken by the applause.
    
Kyle Froman's photograph of the NYC Ballet corps girls in the opening line-up from SYMPHONY IN THREE MOVEMENTS from his book, IN THE WINGS. SYMPHONY IN C set such a high standard tonight that anything that followed would have to be pretty special. And this was. Right from the moment the curtain rose, the palpable mood of the evening was sustained.  Adam Hendrickson's first  entrance - rushing to the center of the stage and bounding skyward - sent a wave of anticipation thru the house and both Adam and his partner Sterling Hyltin sustained the excitement to the end of the ballet. Abi Stafford and Amar Ramasar took their cue for the adagio from the rather breezy flute melody that sets the tone; this is a more youthful approach to this duet than we sometimes see but it works thanks to Abi's technical prowess and sense of the music. I think this was Amar's finest performance I've seen to date at NYCB; his dancing was expansive, his gestural language vivid and his partnering secure...and both he and Abi revel clearly in the musical atmosphere. Savannah Lowery was powerfully appealing and Adrian Danchig-Waring continues to impress me as one of the Company's most remarkable dancers, one with an unusually compelling presence. Among the demi-solistes Faye Arthurs as always drew our appreciation as did Georgina Pazcoguin (subbing for Pauline Golbin) and some velvety, big-scale dancing from Henry Seth. Earlier, Henry stepped in as a demi in SYMPHONY IN C - his height a key asset - and Dena Abergel danced serenely (unannounced)  in the first movement.

After these classic and contemporary masterpieces, WESTERN SYMPHONY was joyously danced and sent the crowd home in a good mood. Jennifer Tinsley-Williams and Jonathan Stafford had a lot of fun in the opening segment without stinting on the demands of the choreography - which are many. The pairing of Kathryn Morgan and Albert Evans was a further delight; they built their little dream-romance with cozy comic touches but maintained a classic feel for the actual steps. This apparently was our last chance to see Damian Woetzel in one of his most celebrated roles; if anyone looks and dances anything less like a retiree it's Damian. He simply tossed off his turns and free-wheeling footwork with devil-may-care aplomb. Teresa Reichlen not only danced like a charm - what a spiffy set of fouettes she reeled off - but her characterization here is now full of sass and glamour. The audience greeted them with affection and we were hoping for a Damian solo bow but I guess they're saving that for his actual farewell. He deserved one, though. And so did Tess. (Photo of Damian in class by Rick Friedman).

Comments

[Bob]

A great review of what was an exceptional program! Those "critics" who like to say that City Ballet doesn't dance Balanchine ballets as well as it did in "the good old days" should have been there for last night's performances. There were too many individual dancers who stood out to mention them all, but I can't help but offer special kudos to Ana Sophia, Jared, Wendy and Philip in Symphony in C, Sterling, Adam, Abi and Amar in Symphony in Three Movements, and Kathryn, Albert, Teresa and Damian in Western Symphony. As far as I'm concerned, they all deserved at least four curtain calls!

[Philip]

Was it Carly Simon who sang: "...these ARE the good old days..."?

[Sarah]

The phrase "Damien's last Western" nearly brought tears to my eyes.

I am going to miss him terribly.

That being said, I am looking forward to seeing him another 3 or 4 times before the big retirement to-do.

[sophie b]

Oh I loved this program!

Damian is so fantastic - I'm desperately hoping to get some standing room tickets to his farewell performance.