New Bigonzetti/Darci's VALSE TRISTE/Pazcoguin!

Wednesday January 23, 2008 - Wheeldon's AMERICAN IN PARIS is not a ballet I ever really expected to like but after last night's tedious FANCY FREE it seemed like a masterpiece. What gives it the big edge over FANCY?  1) Gershwin is ten times the composer Bernstein ever thought of being  2) more real dancing 3) girls on pointe. Wheeldon's informal view of a slice of Parisian life seemed particularly vibrant tonight with Damian Woetzel as the American Artist, Tiler Peck as the Object of his Desire and Sara Mearns as the Distraction in a Red Beret: they were all perfectly cast. The inimitable Pauline Golbin (Kristin Sloan photo, above) strikes a pose. Pauline is among the parade of Parisian characters who populate the painter's world. Her fellow 'hat sisters' are Dena Abergel and Saskia Beskow. Sara Mearns slyly appears as a nun early in the ballet, and Georgina Pazcoguin was a tempting tart - the start of a sensational Pazcoguin evening. Katie Bergstrom has stepped elegantly from the pages of VOGUE and Vincent Paradiso looks like a young Jeremy Northam. Max van der Steere wins the Tour de France; Gwyneth Muller & Justin Peck are priceless as American tourists.  Faye, Savannah and Giovanni are there in the whirl of things...and Stephanie Zungre was back. At the center of it all, Tiler dances beautifully.

VALSE TRISTE is set to a melancholy score by Jean Sibelius and provided an oasis of romantic style in an otherwise rather contemporary evening. Like many balletic duets, this one starts with a sad and lonely woman seated onstage. A man appears and draws her out of her solitary reverie. They dance together and he leaves her. Yes, it's a scenario we've seen a dozen times but VALSE TRISTE is particularly appealing for its musical setting. Darci Kistler, her hair darker than I have ever seen it and wearing a beautifully cut black frock with a diamond clasp, danced with a lovely sense of surrender. Her costume, which ideally shows off her superb legs, is subtly swept by a breeze. She was partnered with calming tenderness by Jared Angle.

The premiere of Mauro Bignozetti's OLTREMARE ("Beyond the Sea") to a score by Bruno Moretti was the centerpiece of the evening. It is a very unusual work and unlike anything in the City Ballet repertoire. Dark and tinged with despair, the piece opens as a line of emigrants wait with their suitcases to board a ship in search of a new life across the sea. They are clad in simple working-class clothing and remind us immediately of photographs from the Ellis Island archives of the arriving masses in the early 1900s. On board ship, their suitcases arranged across the stage in a semi circle, they pass the time dancing. Folk-flavoured dances from the fatherland alternate with intense duets  which mirror the relationships of the various couples. The tone of the ballet is very dark; the girls are not on pointe but wear soft low boots. What makes the piece so memorable is the fascinating Moretti score: hardly any strings (a couple of cellos); a huge array of percussion instruments including a marimba; featured harp, piano and - most poignant - accordian. The orchestra pulses with dance rhythms or lilts us like the rolling sea; a magical meshing of harp and bass clarinet was particularly inspired.

Quoting:  <Mr. Bigonzetti expressed similar appreciation for his dancers. “It’s a new sensibility so it can’t be easy,” he said of his work. “But they’re so generous. They give everything. They have no limits. I don’t know another company with such range.”>

The New York City Ballet dancers were phenomenal; working in a style quite unusual for them, my dancers met every challenge of technique and expression that Mr. Bigonzetti flung at them. You thought you'd seen every side of Maria Kowroski? You have to see her in this. So intense, the extension blazing as she executes impossible moves with stunning control of her body. Partnering her, Tyler Angle leaps up yet another level. They turn their duet into a drama. Tiler Peck has left her smile in Paris; here we see a darker side of her altogether as she is manipulated by the forceful Amar Ramasar. In a solo of revelatory passion and sheer guts, Andrew Veyette is astonishing. Then there was Jason Fowler; you know, that nice Dr. Stahlbaum you saw in the NUTCRACKER? Guess again: a looming, brooding dramatic force with masterful partnering skills and catching Georgina Pazcoguin out of the air with icy aplomb. Gina herself was spectacular, so facially vivid and alert to every nuance of the music. Jonathan Stafford had a haunted look, his big lyrical presence shorn of its usual kindness. Maya Collins and Teresa Reichlen danced with passion and looked superb; Megan LeCrone was compelling in her every move. Sean Suozzi's remarkable dancing had just the right edge, and Vincent Paradiso and Ana Sophia Scheller looked beautiful and believable as a young couple on an uncertain journey. The ballet was received with cheers, numerous bows, and flowers for the ladies. I have to see it again.

{UPDATE: OLTREMARE is causing my site stats to pulsate - sixty people read this story in a five-minute period this morning! But how could I have left Faycal Karoui out of the equation? He and his musicians were an integral part of the ballet's success.}

(UPDATE 2: I guess I was so blown away by the dancing that I forgot to mention the SINGING - or rather, the humming - as the dancers softly join voices in a somewhat dirge-like melody. Really a beautiful touch. They also sing a 'Alleluia' in RUSSIAN SEASONS.}

(UPDATE 3: Signature move. Oh, man...how could I have forgotten to mention this! The women, facing the men, place their foot on their partner's chest, provoking them while holding them at bay. Tonya has just forwarded the Paul Kolnik photo at left which shows you exactly what I'm talking about. That's Tyler & Maria; later the other girls employ the same bit of footwork with their respective menfolk.}

Alexei Ramansky's RUSSIAN SEASONS, a hit from the latest Diamond Project, was revived and tonight it was beautifully danced. Tonight's vocal soloist, Irina Rindzuner, seemed to me to be experiencing some waywardness of pitch. Rachel Rutherford stepped into the role originated by nouvelle maman Jenifer Ringer. Wendy Whelan reappears in the enigmatic part of the Woman in White who has been variously described as a bride, a goddess or a ghost. All of the men retained their original roles: golden and glorious Albert Evans and the characterful virtuosity of Antonio Carmena, Jon Stafford, Sean Suozzi, Amar Ramasar and Adam Hendrickson. Abi Stafford's Woman in Purple, a highlight at the premiere of this ballet, showed her scintillating technical security and she & Adam look great dancing together. Alina Dronova has a beautiful opportunity here and takes full advantage with her light, swift combinations. Glenn Keenan stepped into a new role and looked very comfortable. (Kolnik photos: Adam & Wendy;  Amar, Sean & Jon S)

Rachel Rutherford is one of NYC Ballet's most versatile dancers. She looks classy in the classic tutu ballets like DIVERTIMENTO #15; she's passionate and mysterious in LA VALSE & IN THE NIGHT; elegant in EMERALDS. Her unexpected triumph in DYBBUK helped to change my mind about that ballet. Rachel can sweep her hair into a ponytail, put on some sneakers and be a 50s sweater girl in NY EXPORT:OPUS JAZZ or she can dance a mean czardas in SWAN LAKE. The last-named 'folksy' experience puts her in good stead here in RUSSIAN SEASONS where character-style gestures illuminate the dance. Rachel was lively and lyrical by turns in this very attractive role debut.

Wendy's dancing has that internal flame and she phrases the steps with compelling musicality. I especially like the brief moments when she danced with Adam. There are hints of narrative built around her role but Wendy leaves it to us to ponder the enigma; her dancing has that intrinsic spiritual quality that flows thru her every step and gesture. There's no one like her.

The unexpected assumption of the role of the Woman in Red by Gina Pazcoguin gave the evening a final memorable flash of brilliance. Pazcoguin is gorgeous: we already knew that. She can command the stage and hold an audience: we knew that too. She has a high level of technical ability: check. But stepping into the role that Sylve created - and as a replacement for Rebecca Krohn - Gina was a revelation of the most gratifying kind. She sailed through the perilous turning combinations with the authority one expects from established primas and to everything she brought the allure and glamour that sets some ballerinas apart from the rest. Wei and I were awestruck by her performance.

Among the regulars there was some debate about the Bigonzetti; Ariel and Tonya reported considerable enthusiasm among the orchestra-level patrons. Wei thought that for the entire evening the dancers wore "too much clothing."  It did not seem like ideal programming to follow the new ballet with the Ratmansky  which is similarly on the darkish side and doesn't offer clear contrast. A big, bright classic like THEME & VARIATIONS might have worked better.

On the way home I was thinking about the dancers and how hard they've been working; it must have been quite an experience creating the Bigonzetti and then reaping the big ovation. I was also thinking of the great variety of styles and music they get to work with and the daily changes of 'character' that the repertory affords. Like Ana Sophia Scheller: one night she's a queen and the next night she's in steerage.

Comments

[perky]

Phillip that was the best post you've ever written. Really top-notch. Thanks!

[philip]

I'm hoping you are able to get an idea of what the new ballet is like, Perky. Thank you so much for being a faithful reader - I wish you were going to be here this Sunday when we have our bloggers & friends meet-up at NYC Ballet!

I know how fond you are of the NYCB dancers; you would have been so thrilled to see them in this unusual work. Hope you'll get a chance one of these days...

[perky]

I'll be there is spirit Phillip. Have a blast everyone!

[philip]

We'll send you some pictures!

[Ariel]

I second what Perky said, your description of "Oltremere" is so dead on. I'm jealous of both you and Tonya who write of dance so illustratively. My review, as always, was unintelligent lackluster prose!

[philip]

Ariel, you wrote what you felt. That's all any of us can do: watch and report. The more you watch, the more you will see and the more you will have to say about it. So just keep watching! And writing!

[Sandi]

Philip, I now worship Gina P. Tonight she was an absolute star- in Oltremare and in Russian Seasons. She carried this evening, along with Tiler, who was so lovely in "Paris" and then amazingly haunting in Oltremare. I really was moved and completely transported by this ballet. Everyone was so absolutely committed to their characters. Maria- wow! And I also loved the humming. I really felt like Gina's role is a principle role in this.. She anchors the longing for me. I would really like to see this ballet again. This was my first American in Paris and Russian Seasons... I found Paris to be delightful, and loved Damien and Tiler's dancing- I wished that Sara's role had more to do, but she was lucious. I enjoyed Russian Seasons, but was still being haunted by Oltremare, so I feel like I have to view this one again as well. (hopefully with Gina again!)I was very frustrated with the fact that the paper slip announced Gina but not Glenn... I really enjoyed watching Glenn Keenan and was proud of myself for identifying her by face. You inspire me Philip!
See you sunday!

[philip]

Sandi, people have been noticing Gina Pazcoguin for the past couple of years but having her in these two roles on the same night (plus as the street-walker in AMERICAN IN PARIS!)is a great opportunity for her to show her range and the power of both her dancing and her personality.

OLTREMARE stays in your mind for a long time; I will be looking forward to seeing it again on 2/23. The music is incredible.

See you on Sunday!