Oberon's Grove

Mayuko Kamio & Noreen Cassidy-Polera in Recital

CHAUSSON
Poème, Op. 25
BEETHOVEN
Sonata No.9 in A major for violin and piano, Op. 47 ("Kreutzer")
SZYMANOWSKI
“La fontaine d’Aréthuse” from Myths, Op. 30
FRANCK
Sonata in A Major for violin and piano


Friday February 29, 2008 - Violinist Mayuko Kamio and pianist Noreen Cassidy-Polera offered a programme today at the Caspary Auditorium that made the cold trek to the Far East side very much worthwhile. Their selections, listed above, gave the two excellent musicians many opportunities to display both their technical and interpretive  powers. Ms. Kamio, who made her debut at age ten in a concert under the baton of Charles Dutoit, has since performed with such illustrious conductors as Mstislav Rostropovich, Zubin Mehta, Yehudi Menuhin and Eliahu Inbal.  She has won top prizes at several prestigious competitions; she plays a 1727 Stradivarius. And she plays it superbly.

Ms. Kamio and Ms. Cassidy-Polera are refreshingly free of theatricality or any superficial elements in their music-making. Both women draw on great depths of emotion but they never become overwrought or phony; they seem instead to channel their feelings directly into their playing. Ms.Kamio was so invested in the music and so truly inhabiting her own world that it often seemed we were eavesdropping on something very private. Even in the most virtuoso passages she never shows off; everything is scrupulously musical with a profound sense of inner radiance. Ms. Cassidy-Polera likewise  wants the music to speak to us directly; they are a very compelling duo.

Ms. Kamio created the atmosphere immediately as she delved into the gorgeous textures of Chausson's POEME; she displayed voluptuous tone and impeccable trills while Ms. Cassidy-Polera cushioned her with a satiny approach. In Beethoven's Kreutzer Sonata the partnership blossomed further and Ms. Cassidy-Polera showed herself to be much more than a mere accompanist. Ms. Kamio sure-handidly met all the technical demands while infusing the classical structure with a deep sense of 'singing'.

The young ladies resumed their demanding programme after taking a very short break; other violinists might have needed a longer recovery time after the long play of the Beethoven, but Ms. Kamio seemed eager to reveal more of her incredible gifts and in fact surpassed herself in the second half. She played the shining, illusive Szymanowski "Fontaine d'Arethuse" from MYTHS with a mixture of delicacy and passion that was breathtaking. The overwhelming beauty of each melodic statement seemed to pierce the heart like a crystalline blade. Ms. Kamio's tone shimmered and glowed as Ms. Cassidy-Polera took a similarly ecstatic approach; I wanted it to go on and on.

The familiar Sonata in A Major by Cesar Franck was delivered with full-blown lyricism by both women; Ms. Kamio's passionate phrases alternated with moments of dynamic risk where she sustained an arc of piano/pianissimo with impressive control. Ms. Cassidy-Polera was especially fine in the pulsating mystery of the second movement. Again, the sense of the music coming from within was arresting.

In response to the warm applause of the large audience, the musicians offered Tchaikovsky's Valse-Scherzo as an encore; this lively bravura piece is known to New York City Ballet fans as the finale of Peter Martins' ZAKOUSKI. Ms. Kamio and Ms. Cassidy-Polera seemed to revel in the demands of the piece, transmitting a sense of joy to the crowd who responded with a standing ovation.

Ms. Cassidy-Polera has a CD of unusually interesting repertoire on the Centaur label with cellist Scott Kluksdahl. Amazon seems to have copies available.

Jeanette & Lisette

My high-school sweetheart Jeanette called me this afternoon from the Kennedy Center in Washington DC. She said she had awakened in the night and started reading my blog and realized that New York City Ballet was about to open in the Capital. Heading for the box office, she asked for a recommendation and I said March 2 matinee. If I can't be at Janie Taylor's SERENADE at least I'll know someone who is. Jeanette called back minutes later to say she had her ticket. And she promised to let me know how it goes. (Jeanette has just sent me a couple photos of the Kennedy Center's posters for the New York City Ballet's visit.)

Further down South, Lisette Oropesa is in New Orleans preparing to sing Gilda in RIGOLETTO. I miss Lisette terribly - Gotham is so dreary without her - so I consoled myself by listening to the vocal selections on her website; she has added the HAMLET Mad Scene to the choices. Her New Orleans performance dates are March 14 & 16, and her colleagues are Mark Rucker in the title role and Bruce Sledge as the Duke. Lisette then rushes back to NYC for her recitals, the first of which is at the Goethe Institute on April 9 with Vlad Iftinca, the extraordinary pianist. Lisette will spend the summer in Salzburg working with Barbara Bonney and Michael Schade in the Young Singers Program before returning to the Met for performances of Woglinde and the Forest Bird in the RING Cycle and as Lisette in the new production of LA RONDINE. 

Images from the Winter Season

A few Paul Kolnik photographs from the New York City Ballet's winter season starting with the wonderful partnership of Allen Peiffer and Erica Pereira in ROMEO AND JULIET. Below are Sara Mearns and Jared Angle in IVES SONGS; Jonathan Stafford and Ashley Bouder in Tchaikovsky PIANO CONCERTO #2; Amar Ramasar and Georgina Pazcoguin in RUSSIAN SEASONS and Kathryn Morgan and David Prottas in the pas de deux from Bournonville's FLOWER FESTIVAL AT GENZANO.

Oberon's Reunion: Paul Taylor Dance Company

The Paul Taylor Dance Company was always at the top of our priority list back in the days when we filled our Summers with treks to Jacob's Pillow. In fact, Paul Taylor's was the first non-ballet dance troupe I ever saw. (Photo from ARDEN COURT by Tom Caravaglia). The Company opens their season at City Center on February 28.

My first encounter with Paul Taylor's choreography dates back to 1981 when ABT performed AIRS as a curtain-raiser for GISELLE. AIRS was so bright, light and brilliant that I knew I'd want to be seeing more Taylor and so I was really pleased when his Company was listed for Jacob's Pillow in the summer of 1982. The Pillow programme we chose opened with CLOVEN KINGDOM which we loved for its unique combination of baroque and jungle rhythms ("Man is a social animal"). Our first look at the Paul Taylor dancers induced an immediate desire to see them again and again.

In April 1983 the Paul Taylor Company were at City Center and that is where I first saw his haunting and remarkable SUNSET, set to a score by Edward Elgar. In the photo (far left) are three of the Company's most fondly remembered dancers: the late Christopher Gillis, the petite and fascinating Kate Johnson, and the very tall David Parsons. David of course went on to form his own tremendously successful Company but I'll never forget the impact of his dancing and stage presence in the Taylor works. Kate Johnson's unforgettable dance  energy left her signature on so many Taylor works. In 1988, David & Kate danced in the premiere of Peter Martins' BARBER VIOLIN CONCERTO at New York City Ballet.

Christopher Gillis was a whole other story. I couldn't begin to tell you the impact this man made onstage. He was so handsome, utterly natural and for a tall man he moved with a sort of savage grace. In those summers at the Pillow, fans would arrive early and crowd the studio doorways to watch the Company warm up. Everyone - of both sexes - was in love with Chris Gillis and David Parsons. I wonder if they were aware of the the commotion they caused? Once Christopher came over to towel off and asked my friend David A what time it was. My friend was speechless. Christopher's death in 1993 at the age of 42 marked one of the most tragic early losses the dance world ever sustained.

Lois Greenfield photos from ESPLANADE and DUST, two Taylor works we greatly admired in the summer of 1983. We went up on consecutive weekend to see the entire summer rep that Taylor was offering. The dazzling  ESPLANADE with the dancers flinging themselves onto the floor and darker-toned DUST, to Poulenc's unusual harpsichord CONCERT CHAMPETRE, provided striking contrasts. Other treats from that season were the unbelievably witty THREE EPITAPHS and the by-now classic AIRS.  By this point we were considering ouselves die-hard Taylor fans - to trek to the Pillow twice in a single summer for the same Company was a sign of our allegiance - and the dancers started to seem like family.

The summer of 1985 brought us one of the most profoundly satisfying of all Taylor's works, ROSES - his image-rich view of Wagner's SIEGFRIED IDYLL. Once you've seen this piece it seems like no other setting of this score could ever be as moving. The photograph shows the staircase of Villa Tribschen where the musicians quietly gathered on Christmas morning, 1870, to awaken Cosima with her husband's birthday offering - one of the most touching stories in the history of music.

The panels at left show the Taylor roster for the 1986 season at City Center. We'd become so accustomed to these dancers by this point. One of our favorites was Elie Chaib who had iconic status for us.

BYZANTIUM (to music of Edgard Varese) was an exciting addition to the Taylor repertoire with costumes by William Ivey Long. We continued to enjoy established favorites such as EQUINOX (Kenneth Tosti & Cathy McCann) and AIRS (Linda Kent & David Parsons). In 1990, 1993 and 1996 respectively we found new aspects of the Taylor repertoire to  keep us enraptured: THE SORCERER'S SOFA, COMPANY B and BRANDENBURGS:

Then came my move to New York City; Jacob's Pillow was no longer an exciting day trip away; it became a place of memories. The Paul Taylor Company danced here in the City many times over the past decade but I was wrapped up with other things. I'm truly grateful to Susan whose extra ticket has given me an opportunity to renew my old connection with Paul Taylor's repertoire; it was interesting to find that some of the dancers who were with Taylor when I last saw them are still dancing. And, all other considerations aside, how can anyone resist a dance company that has a man named Orion Duckstein on their roster? My reunion date is Sunday, March 2. Thanks, Susan!

RUSSIAN TREASURES III - Season Finale

Sunday February 24, 2008 matinee - The final day of the NYC Ballet's winter season is always the second saddest day of the year for fans of the Company. Sadder still is the end of the Spring season when we know we have to face five months without seeing them. Today's all-Tchaikovsky programme had the effect of really tugging at the heartstrings even more so than usual as we contemplate the two month absence. The house was substantially full and very enthusiastic, and many of the most devoted NYCB fans were out including Susan, Sarah, Laurel & Monica; I was in the orchestra next to a woman who told me she started attending in 1975 (same year as I did) and that she thinks the Company is looking as good as it ever has.

SERENADE certainly looked as fine today as at any performance of the many I have seen of this, my favorite ballet. I wonder if any other ballet looks as radically different from the orchestra as it does from the 4th Ring; I have been fortunate this season to have both perspectives. 4th Ring is the corps-watchers delight; armed with binoculars you can observe anyone at any point on the stage, as well as marveling at Balanchine's genius for patterns. Downstairs the focus is more on the principals, on facial expressions and dramatic nuance. The floated spaciousness of Kaitlyn Gilliland's dancing was stunning today; her long arms arc in a magically expressive flow. (Paul Kolnik photo of Kaitlyn). Dacri Kistler's interpretation puts the emotions in full play. At times she can be slightly fussy or fastidious but overall the sweep of her dancing and the way she builds the role are striking. Of course there has always been a debate as to what SERENADE is 'about'; surely as the ballet progresses, images of romantic loss and allusions to the mystery of death are woven in. Darci plays these up and the moment near the end when she realizes she cannot escape her fate is quite staggering and is summarized by the look of resignation and acceptance - tinged with fear - she gives Christian Tworzyanski, one of the men who have come to bear her away. (Kolnik photo of Darci and Stephen Hanna). In a third beautiful interpretation today, Yvonne Borree's gentle, hopeful expression and the smooth flow of her dancing mark this as one of her most appealing roles. Charles Askegard and Stephen Hanna were excellent. Demi-soliste Ashley Laracey, about to embark on a pirouette combination across the stage, held my attention with her elegant poise. I also want to mention the delicately measured tiny bourees of Dara Johnson as she follows the cortege heavenward.

MOZARTIANA (Wendy Whelan photographed by Paul Kolnik) is one ballet that looks immaculate from any point of view. From the orchestra one feels the work on a grander scale. Maurice Kaplow had been conducting this programme this season but today Faycal Karoui was on the podium giving slightly more urgent tempi which may have caused Wendy and Benjamin Millepied to make a few adjustments; they had one slight gaffe from which they recovered with good-humoured grace. The finesse of Ben's beats, the elegant energy of Tom Gold's Gigue and the profound calm of Wendy's Preghiera were high points of a very satisfying performance. Four of the City Ballet's most accomplished ballerinas transformed the Minuet into another memorable passage: Saskia Beskow, Dara Johnson, Dena Abergel and Gwyneth Muller. Their wonderfully coordinated steps and port de bras shone in this musical setting.

Someone asked me if I preferred Ashley Bouder or Teresa Reichlen in the prima ballerina role of the Tchaikovsky PIANO CONCERTO #2 and my answer is, I prefer both! They are vastly different, of course, but don't ask me to choose because I want to enjoy both of them in this ballet for years to come. How I wish it was coming back in the Spring since the Company are dancing it so well now. This afternoon, Bouder reminded me of a young queen who has the key to the crown jewels and is only too happy to put them on display for us. She has had a really stunning Winter season, piling up the triumphs one after another. It's exhilarating to watch her. Jon Stafford is going from strength to strength as partner, virtuoso and in terms of sheer presence. Savannah Lowery's dancing is commanding in scale and her lovely facial expressions are a definite enhancement. Christian Tworzyanski and Vincent Paradiso were both impressive.

I was thinking before the Piano Concerto started: what am I going to do if I start crying during the second movement (actually it was not "if" but "when")? Upstairs I can sob to my heart's content and no one knows (except Wei) but here I was with two members of the mainstream press on my left and a kindly but unknown woman on my right. I surely didn't want to distract them with my sniffling. Things were under control until the second arabesque phrase for Amanda Hankes and Faye Arthurs started and then I began losing it.  After Jon withdrew I quietly swiped my eyes with my shirtsleeve and then noticed that the woman next to me was having her own quiet little cry.

Corps-watching - even from the orchestra - had major rewards today when a couple of unannounced replacements piqued my fancy. Lauren King, standing in for Alina Dronova in a demi role in SERENADE, was a complete joy. I've been watching this extraordinarily pretty blonde ballerina for the past 2 or 3 years and one of the (many) things I like about her is the way she can draw the audience in with her eyes.  Lauren and Likolani Brown really captivate me in the Piano Concerto and, with Alina out, Brittany Pollack seemed to have stepped into her vacant spot in the line up. I sometimes wonder how it must be to  switch corps assignments in the big ballets; how do you keep track of which steps you should be doing and when? Brittany was coolly at ease and she drew the task of the big supported sustained balance (along with Likolani) in the third movement. This is one of those balances that goes on and on and on while Maestro Karoui takes his sweet time. Likolani & Brittany looked like they were prepared to stay up there forever. (Brittany, Lauren & Likolani in Paul Kolnik headshots).

So the season regrettably has come to an end. There was an affectionate ovation for the dancers and a strange mixture of euphoria and dejection among the fans. Now we're home waiting for the Oscars. Faye and Amanda deserve 'best supporting' trophies...I wonder what their acceptance speeches would be like?

And while I have sometimes been tempted to give out 'best of the season' awards in numerous categories I usually abstain because quite frankly I can't say that one dancer was 'better' than another. But I think this season no one in the Company would begrudge the mention of Georgina Pazcoguin's incredible accomplishments starting with her Arabian in NUTCRACKER on thru her WEST SIDE STORY and fantastical Woman in Red in RUSSIAN SEASONS to the unforgettable impression she made in OLTREMARE. Tonight in the large corps ballets Gina always captured the imagination even though she was just one of two dozen onstage. That kind of allure can't be taught. (Photo from The Contact Sheet).

If readers want to mention some of the dancers who particularly impressed them this Winter, use the Comments section below. I'd love to read your views.   

PASSAGES II

Saturday February 23, 2008 matinee - My friend Deborah was down from Connecticut for the afternoon. She was just back from a trip to Rome and told me all about her time in the Eternal City. Appropriate that another European center was the focal point of today's opener: Christopher Wheeldon's AMERICAN IN PARIS. This entertaining ballet was well-danced by Damian Woetzel, Tiler Peck & Sara Mearns with a large cast of cameo appearances by the members by members of the corps (plus a smattering of soloists).This was followed by the Peter Martins setting of VALSE TRISTE by Jean Sibelius (picture) which seems more and more poignant with each viewing. Darci Kistler, in a beguiling black dress and smoothly partnered by Jared Angle, danced with wistful lyricism.

Seeing Mauro Bigonzetti's OLTREMARE for the second time confirmed my earlier esteem for the piece and seemed even more powerful today. Kolnik photo of the boys on the boat: Jon Stafford, Andrew & Amar. This extremely dark ballet about immigrants on a ship bound for New York features a uniquely inventive score by Bruno Moretti that emphasizes the rigors of the journey and the heartbreak of leaving one's homeland mixed with spirited dance tunes as the group entertain themselves below decks. But even the lighter moments are laced with images of male domination and general despair. This is not a hopeful voyage.

The NYC Ballet dancers responded to the arduous demands of Mauro Bigonzetti's brutally strenuous choreography with total disregard for physical risk and a deep sense of commitment. Having watched these dancers so closely over the past few years, they can still startle me in a work like this with their energy and unfettered physicality. You think you know their capabilities and then they go beyond any imagined limits.

Georgina Pazcoguin and Jason Fowler were spectacular in passages where Gina throws herself into Jason's arms or hurtles onto his back or shoulders. The audience, myself included, were frankly astonished by Gina and Jason...and by Andrew Veyette's explosive solo with its flying scissor leaps and violently off-balance turns which caused the crowd to gasp and later to scream approval. Whatever injury has caused Maria Kowroski to cancel her performances in these last two weeks of the season, it hasn't affected her extension. She and Tyler Angle have a duet of blazing physicality and breath-taking dramatic tension. Surprisingly, the duet originally danced by Tiler Peck and Amar Ramasar was today danced by Amar with Ana Sophia Scheller even though Tiler was onstage. In this passage, Amar manipulates Ana Sophia in extraordinary lifts, catches and contortions. The audience was dumbfounded by their speed and sense of daring. I did miss the vignette for Ana Sophia and Vincent Paradiso which seemed to have turned into an 'encore' for Ana & Amar. Last night's royalty, Teresa Reichlen and Jonathan Stafford, were here living in reduced circumstances. Sean Suozzi was fantastic here and then surpassed himself in RUSSIAN SEASONS. Maya Collins and Megan LeCrone dove right in to the demands of this ballet with great vitality. The audience seemed entranced by the work and lavished the dancers  with an ovation, calling them out three times. Faycal Karoui and he City Ballet orchestra played Moretti's score with haunting colours and acute attention to detail; in particular the harpist, accordion  player, bass clarinetist and the whole percussion section were inspired.

RUSSIAN SEASONS (in rehearsal, left) is not an ideal follow-up to the Bigonzetti as it doesn't offer sufficient contrasts. But the attractive cast led by the sensational partnership of Wendy Whelan and Albert Evans gave a polished account of Mr. Ratmansky's work. Rebecca Krohn and Amar Ramasar (in red) drew the audience's approval for their risky, expansive style and Rachel Rutherford's solo was impeccably danced. Abi Stafford and Adam Hendrickson make an interesting pairing and I'd love to see them together in other works. Antonio Carmena and Jon Stafford, Glenn Keenan and Alina Dronova all make their distinctive contributions and Sean Suozzi gives every one of his performances that extra little edge; in RUSSIAN SEASONS his clarity and sharpness of attack were riveting. Wendy turns an abstract character into a multi-faceted woman  who is jolly, then pensive and then mysteriously transforms herself at the end. Albert's sunny personality and easy style give the ballet an extra lift.   

RUSSIAN TREASURES II: Reichlen Reigns!

Friday February 22, 2008 - What a night! One of the best times I've had at NYC Ballet. Ever! Which is saying a lot as I've spent hundreds of evenings there. This all-Tchaikovsky/Balanchine programme is my favorite of the current season and I'm seeing it all three times. It's a shame that SERENADE and the TCHAIKOVSKY PIANO CONCERTO won't be in the repertoire for the Spring season. But I suppose even the greatest ballets need a rest now and then.

SERENADE looks as perfect as ever with the excellent corps that has been assembled this season. The opera glasses can focus on anyone or any combination of dancers and something beautiful is discovered. Darci Kistler, Yvonne Borree, Kaitlyn Gilliland, Charles Askegard and Stephen Hanna danced the principal roles again; Darci's very intense interpretation can only work when the other personalities are strong enough to match her and that was the case tonight. A powerfully expressive performance.

Most great ballerinas are have three or four roles that are their most memorable but for Wendy Whelan the list is endless and today she reached into her jewel case and pulled out a MOZARTIANA which glowed with the fire of diamonds and the lustre of pearls. If Balanchine's desire was to let us 'see the music' then Wendy is the greatest Balanchine dancer of all; she doesn't just dance to the score: the music seems to be coming from inside her. I would imagine that Balanchine and Tchaikovsky - watching from on high - would be very happy with Wendy.

Over the past few seasons I have pretty much given up on the idea of actually describing Wendy's performances. Mostly I just sit there feeling grateful that she and I are in the same place at the same time. This winter, she and Benjamin Millepied have been on a sort of balletic joyride - first in GOLDBERG VARIATIONS and now in MOZARTIANA. They haven't ever danced together all that much in the past - that I can recall - but they really seem to be bringing out the very best in each other. At one point Ben tossed  off a gazillion pirouettes; I wondered if he was ever going to stop. Their joy was infectious and the audience showered them with applause. Today they had the wonderful Tom Gold joining them, dancing an immaculate Gigue, as well as a very pretty quartet of demi-solistes. It was nice to see Gwyneth Muller in her customary role and Dena, Saskia and Dara all looked great.

Since we don't as yet have a photograph of Teresa Reichlen in the prima role of Tchaikovsky PIANO CONCERTO #2, we will have to make do with this one of her floating on air in NUTCRACKER. Floating was part of the Tess Reichlen story tonight as the ballerina gave a performance of incandescent beauty and thrilling virtuosity. I have been present at numerous sensational role debuts over the years and Tess moves right into the highest echelon. We could have expected the elegant turns, the elongated jumps, the sensational extension, the  wafting arms: all these elements were blended with such clarity and grace that she held the audience in a state of rapture. But in addition she found the queenly allure for the role and let it shine from within; there was no trace of artifice in her performance. We saw a beautiful young woman dancing with regal security and making a direct connection with her adoring subjects. On top of her to-die-for line and the sumptuous pacing of her combinations, Tess brings a luminous portfolio of facial expressions which make watching her an utterly thrilling experience. Re-reading this, I see I have failed utterly in describing her performance - the kind of performance that leaves us grasping for adjectives that haven't been invented yet.

This kind of ballerina needs a partner who is nothing short of princely and how fortunate that Jonathan Stafford has developed into the closest thing to royalty that this country allows. Jon was just great tonight, there's no other way to put it. He is such a sincere dancer, noble and refined and always making the virtuoso passages more than mere tricks: always impeccably musical. His partnering  of the sensationally tall Reichlen and his complete mastery of the solo passages were only part of his success for he is also at the center of Balanchine's breathtaking view of the second movement of the concerto in which, with Faye Arthurs and Amanda Hankes and the sterling corps, Jon takes us right out of this world. I was watching them in a breathless state and I can't even begin to describe the beautiful images that Jon, Amanda and Faye create here. Again, language fails.

Savannah Lowery was the featured soloist with some very accomplished turns; having a very tall prima one wants a tall seconda and Savannah had a fine success. Vincent Paradiso and Christian Tworzyanski were her cavaliers. How considerate of the gods to place Likolani Brown and Lauren King next to each other so that I could watch them both; the corps in fact was like an array of jewels, each shining with her own particular radiance. Watching them as often as I do it's like watching a group of friends - very attractive, talented friends. Sometimes as I sweep my opera glasses along the ranks I feel like they are dancing just for me.

Susan Walters played the concerto as if inspired and Maestro Kaplow kept the  piece rolling along, nicely indulging me with his luxuriant adagio pacing of the second movement.

The audience seemed to be thoroughly engrossed in the performance and the principals were lavishly applauded throughout the ballet. I began to sense that a triumph was in the making and sure enough at the end the dancers were called out before the curtain four times with the crowd roaring.

We met Ariel's sister Dione who is up from Mobile, and we enjoyed talking with Susan; last season Susan and I were nominating ballerinas for the prima role in the Tchaikovsky Piano Concerto and we both named Reichlen as the woman we wanted to see. I think Susan was as happy with the result as I was.

MATTERS OF THE HEART

Thursday February 21, 2008 -  The music of Glazunov's RAYMONDA, as conducted by Maurice Kaplow, seemed more lush and  attractive than ever tonight. Megan Fairchild  and Andrew Veyette  swept thru the demanding choreography with a sense of joy and the procession of soloists (Savannah Lowery, Tiler Peck, Sara Mearns, Rebecca Krohn, Teresa Reichlen) provided a panoramic view of the soloist echelon which promises so much for the future. The corps enhance the beauty of the ballet at every moment.

Today the STEADFAST TIN SOLDIER had a new doll: that living doll Erica Pereira. She was utterly charming and full of youthful vivacity. This tiny Balanchine treat seemed to really hold the audience tonight  thanks to the excellent dancing from both Erica and the magically mechanical Tom Gold. The Bizet score is very melodic and Balanchine uses it with his customary skill, nicely balancing the narrative and the dancing. Even though the ballet is a mere trifle, the ending is really quite poignant.

Wheeldon's NIGHTINGALE AND THE ROSE in rehearsal photos from The Contact Sheet - Wendy Whelan & Tyler Angle; Sara Mearns. I've now seen this ballet a half-dozen times and it's really something of a masterpiece in that Christopher has not only given Wendy one of her most moving roles but also he is able to depict the unusual event of a dead rosebush coming to life in terms of human movement. It was this part of the ballet that I watched more closely tonight: it begins with a tortured duet for Adrian Danchig-Waring and Sean Suozzi as the grimy, struggling roots of the rosebush...the boys look filthy and slightly deranged at being summoned from their slumber. Slowly the branches begin to awaken as more boys join the patterns. The blood-red colour accents of the costumes begin to take over from the dirty black-brown as the Nightingale's blood seeps into the plant; long red scarves are drawn out to herald the actual blossoming. The tangled mass of dancers skillfully pass Wendy's fragile body thru the branches manipulating her into uncanny poses as the sacrificial ritual evolves. (The Kolnik photo of the rosebush coming to life). Sean and Adrian, by the way, are magnificently unsparing in their commitment to this piece.

Bright Sheng's score captures not only the lonely vigil of the little bird but also her later curiosity and inner strength. The orchestra depicts the development of the rose bush in a dense, sluggish motif that underlines the struggle of growing things; this ends with a triumphant surge as the rose appears. (Kolnik photo: Sara & Tyler}

Wendy held the theatre in an enraptured state as this unusual story unfolds. The Nightingale evolves in her self-appointed duty by drawing upon Wendy's enigmatic combination of delicacy and hardness; her plaintive lyricism as she sings alone and those very subtle touches of humour when she thinks no one is watching her; her watchful eagerness as she observes the boy's dilemma. Once committed, the Nightingale becomes the driving force of the act of bringing the rosebush back to life. Wendy doesn't depict the small bird's sacrifice, she seems instead to be experiencing it. At the end her spent, crumpled body is all that remains. The house saluted Wendy with an ovation and called her out for a second solo bow.

It was here that I realized the problem with this particular programme: we are emotionally drained by the Wheeldon ballet and then we must prepare to be drained yet again with DAVIDSBUNDLERTANZE. Of course the two ballets are utterly unlike in music, tone and style but both end in a state of overwhelming sadness. A large number of people left after the Wheeldon but for those of us who stayed, the Schumann ballet was beautifully danced.

DAVIDSBUNDLERTANZE tonight had a new 'protagonist' (if that is the right word) when Ask LaCour made a seemingly last-minute debut replacing Charles Askegard. Charles seemed in fine fettle on Wednesday so it was unclear whether the change was due to  an injury or simply a decision to have Ask try out the role. This ballet affords one of Askegard's finest opportunities and I was looking forward to seeing him again; but these roles in the established repertoire will always need to have new interpreters coming along and Ask is a logical choice. He has been out for a while with an injury but he seemed very well prepared and formed a strong emotional bond with his partner, Sara Mearns. Ask's characterization will have plenty of time to develop but he is already impressive in the expansive lyricism of his gestures and his haunted, somewhat vacant expression: he seems already to be going over the edge. Beneath the tenderness of his moments with Sara was an underlying tension which was unsettling: always seeming to presage the inevitable. Sara, also quite new to this ballet,  is already finding more in herself: having a new partner brought out an increased sense of her vulnerability. She and Ask were very convincing.

Abi Stafford's first season as a principal has been rewarding as she moves into new roles which call for making a real emotional connection. In addition to her instinctive musicality and technical mastery, she  begins to show us her deeper passions; she and Nilas Martins were excellent together. Janie Taylor's return to the stage has been a one of the joys of the Winter season and her unique and rather impulsive style was beautifully in evidence tonight with Jared Angle's superbly committed partnering. Darci Kistler seemed in an expansive mood tonight, dancing with Stephen Hanna. Stephen was very attuned to the dramatic nuances of his role; his dancing is fresh and large of scale and keenly focussed on Darci.

Is there a morning-after pill for ballet fans? The double impact NIGHTINGALE and DAVIDSBUNDLERTANZE left me feeling pretty exhausted. I'm staying in, watching the snow and preparing for another emotional onslaught tonight.

{NIGHTINGALE rehearsal photos from The Contact Sheet. Performance photos and headshots by Paul Kolnik. Ballerinas by Degas.} 

Oberon Misses The Boat

Evan told me about the new New York City Ballet YouTube channel last night. How could I have missed this? You can get there from here.

THOU SWELL!

Wednesday February 20, 2008 - I've always avoided the Peter Martins ballet THOU SWELL (Kolnik photo) because it sounds like the sort of thing I would not enjoy. This season it's been on a programme with another of my favorite avoidables, WEST SIDE STORY Suite. It looked like we would get thru the Winter without attending this programme, despite the allure of Wendy in IVES SONGS. However, anyone who has read my blog knows that I have a gigantic weakness for Faye Arthurs and so when her name went up on the casting list I decided it was time to give THOU SWELL a whirl.

And, as it turns out, I really liked it. It has a lot of DANCING in it which is all that matters. Arrangements of Richard Rodgers songs were transformed into a Deco-nightclub dance floor vignette in which four couples dance a series of duets with occasional trios or ensembles thrown in. When they aren't dancing, the couples sit at their tables talking quietly and observing those on the dance floor. A small corps of waiters and waitresses liven things up from time to time. An onstage trio of musicians as well as the orchestra in the pit played the Rodgers tunes with pure, unabashed romance and the superb song styling of Betsy Wolfe (photo) gave the piece a special lift. She really knows how to make these familiar tunes come alive. Mike McGowan was her vocal partner. As Evan noted, THOU SWELL would have been a more optimistic Valentine ballet than DAVIDSBUNDLERTANZE.

Faye (in the Contact Sheet photo, left) and her partner Charles Askegard gave a beautifully meshed performance, their line gracefully complementing each other as Faye showed off her spectacular extension and also delivered a couple of Plisetskaya kicks. Chuck's partnering is so effortless; he swirled Faye into beautiful lifts and they  spun through their duet as if dancing on air. Appropriately, their music was "The Most Beautiful Girl In The World". Nilas Martins also knows a thing or two about partnering and his wonderfully relaxed style gave Yvonne Borree the cushioning security to deliver one of her best performances ever. Looking dishy in a red & white ruffled frock and a red peony in her jet-black hair, Yvonne's allegro dancing was really impressive and she and Nilas made their duet passages sing. Darci Kistler, whose dancing has become increasingly fluent and spacious as the season has progressed, wafted thru her turns and sweeping extensions with ideal support from the dashing Jared Angle who at one point amazed the audience by taking over the keyboard from the onstage pianist. He plays really well. Sara Mearns brought just the right touch of vamp to her glamourous character, stunningly gowned in black with a diamond hairband. Dancing lavishly, Sara captured the hearts of the audience along with her dashing beau, Amar Ramasar.

IVES SONGS is a very dark 'Americana'  ballet with haunting images of lost childhood, regret and remembrance. Baritone Philip Cutlip (left) sang the songs with remarkably clear diction and plaintive, sombre tone; like many of the Jerome Robbins 'period pieces' this one is about five minutes too long. Robert LaFosse is the mysterious daydreamer. Wendy Whelan and Charles Askegard in an austere duet were hypnotic, and Sara Mearns had a solo that she danced as if she were reciting poetry, her arms creating beautiful images. She is developing into a really expressive dancer. Adam Hendrickson also had a solo which he danced with great clarity. Megan LeCrone stood in for Gwyneth Muller and was striking, and Jared Angle and Adrian Danchig-Waring made strong impressions. Dena Abergel and Jason Fowler as parental figures and the three charmers - Katie Morgan, Rachel Piskin and Stephanie Zungre - were part of an ensemble which included Glenn Keenan, Savannah Lowery, Justin Peck, Troy Schumacher and Christian Tworzyanski. Among the corps, Ashley Laracey stood out for the brimming lyricism of her every moment onstage. Cameron Grant at the piano seconded Mr. Cutlip to perfection. The ballet seemed to leave the audience mystified. Horribly, a cellphone started ringing just as Wendy began to dance. And it rang and rang and rang...

Georgina Pazcoguin, in a Contact Sheet photo with the City Ballet boyz: Adrian, Antonio, Adam, Andrew and Amar (hey, this must be the NYCB A-List...their names all start with A). Gina was the star of WEST SIDE STORY SUITE tonight. Overall, I didn't care for this ballet which is not really a ballet. It seems dated and overly long. But several dancers did very well, and Andrew Veyette can really sing, and so can Gretchen Smith.  Faye was a very pretty Maria and Gina really had a blast with AMERICA. Amar and Rob Fairchild were fine but as the piece progressed I found myself less and less engaged by it. It's actually something of a period piece at this point in time and maybe that is part of its appeal to some audience members; but young people seemed to enjoy it also even though they could not possibly remember the era. (Black & white photo of Saskia, Adrian & Kyle by Paul Kolnik). I remember back in the 1960s my brother, who was a James Dean sort - a rebel without a cause - went to see the film of WEST SIDE STORY. My mother was surprised that he would go see a musical but I think the girl he was dating wanted to see it. When he came home my mom asked him how he liked it; he said "When I go to the movies I want to see a fight, not guys dancing around."

I spent the evening with my fellow bloggers Evan and Taylor; during the intermission we caught sight of former NYCB corps dancer Emily Coates who always added something distinctive to performances in which she danced (far left: a Ben Beitler photo of Emily). Meanwhile, I've been questing The Winger in search of a photo of Charles Askegard and Faye Arthurs that I remembered Kristin Sloan had posted there. I told Evan I would find it and I did. And here it is.

On leaving the theatre we were treated to a view of the lunar eclipse.