MidsummerMagic Reports from SPAC

"Hello from Saratoga, at the end of the first week of NYCB's truncated SPAC season. Sorry to beat my drum yet again, but the two week season not only breaks the hearts of NYCB's many many local fanatics, but it also denies our region an influx of economic energy. So there are many reasons to restore our three week season.

Before you read about the first week of NYCB at SPAC, please take a moment to read and reply to this informal survey.
 

On to the ballet--and I must tell you that the dancers are giving their "all" and it is noticed and appreciated. Wendy Liberatore in today's (Schenectady) Daily Gazette says it best when she says that the dancers are "dancing their hearts out". From the bottom of MY heart, thank you, thank you. As well, the orchestra sounds wonderful in our open air.

 

From the first ballet to open the season on Tuesday (MERCURIAL MANOEUVRES) to the close of last night's spectacular gala program (SLAUGHTER, in its only SPAC showing),  we have witnessed a phenomenal week. Perfect for us to begin with NYCB's two rising stars: Tiler Peck and Adrian Danchig-Waring. Gonzalo Garcia, the man in red, along with the two for-certain soloists Kathryn Morgan and Erica Pereira set a pace that never diminished. And the central pas de deux with Tiler and Adrian was breathtaking.

 

After a brief interlude of Sean Lavery's lovely Romeo and Juliet balcony scene, Adrian returned to tear up the stage as one of the principals in SYMPHONY IN THREE MOVEMENTS. MVP honors to him.

As for the Romeo and Juliet pas de deux. I know that it is not critically acclaimed choreographically. But I confess to loving it and finding it very moving. I also think it is one of Yvonne Borree's very best roles. She is vulnerable and yet secure--how could a ballerina not feel totally secure with the partnering of Tyler Angle? Tyler did all three peformances due to injury to Chase Finlay--sorry to have missed that Saratoga debut. In the third time, Stephanie Zungre (a favorite of mine among the corps) was radiant. Aside--thank you to Jenifer Ringer for giving Steph the "giggle dance" from DAAG in the Dancers' Choice evening--a treat!

 

SYMPHONY IN THREE MOVEMENTS looks wonderful. Although those of us with long memories remember with fondness the original cast (and particularly Sara Leland, a major coaching presence) this cast of young principals (and should-be principals) also knocks me out with their non-stop energy in a ballet that never diminishes in intensity, even during the langorous 2nd movement pas. The demis and corps were astonishing in their unison and sharpness of attack. I must single out Sterling Hyltin and Daniel Ulbricht who set a standard to which the rest of the cast gladly followed.

 

Also with casting new to us, CONCERTO BAROCCO looks better than in has in years. Tess Reichlen (above in a photo by Arthur Elgort) sets the new standard for the first ballerina. Soaring in the lifts, higher with each set as it must be done, precise in the presto final movement--we only had two viewings. WHY?

 

Justin Peck is also wonderful in the sole male part--supportive and strong, and yet in the background always. The adagio second movement belongs to the ballerina. And I loved the contrast between Tess's blondness and Ellen Bar's brunette vivacity.

 

I am (as always during NYCB here) running late for a lunch date, so I am going to continue later on--but before I do, kudos to Andrew Veyette who looks better each season and earns MVP honors for dancing in almost EVERYTHING this week.

More later - MM."

Comments

[perky]

Thanks for your report MM!
And thanks for the shout out to Sara Leland. She was a little before my time but I often think she is overlooked when listing NYCB'S memorable ballerinas. Balanchine made several roles on her and she was very important to Robbins as well.
Please add more reports when you have time! Thanks!

[Deborah]

It was nice, Perky, to have a Sara (Sally) Leland shout out. But she was a star (as much as you can be at NYCB) in her day (lots of Balanchine/Robbins interviews with Ms. Leland). I remember seeing her in the mid-70's (I was actually a teenager then. Seems hard to believe now!) and being incredibly impressed. Her contribution to coaching/assistant ballet mastering over the years has been a true gift to today's NYCB dancers.