MUSICAL MUSES at NYC Ballet

Saturday June 21, 2008 evening - An all-Balanchine evening with Wendy Whelan in MOZARTIANA sharing a programme with two of my personal favorites from the Balanchine catalog - TOMBEAU DE COUPERIN and BAISER DE LA FEE -  provided more than enough reasons to attend tonight (as if I needed reasons!) even though it meant sitting thru LA SONNAMBULA at the end of the evening. It was a good opportunity to invite my friend Reese, poet & writer, who this season has been expanding his ballet horizons with lots of visits to both NYCB and ABT. Before the performance started I avoided telling him too many of my own impressions of the ballets we were to see or of the dancers since I love hearing the totally un-tainted opinions of people who haven't yet formed prejudices. Reese was thoroughly captivated by the ballets themselves and liked SONNAMULA far more than I do.

Casting her spell over the theatre from the moment the curtain rose on MOZARTIANA, Wendy Whelan immediately posed the eternal problem of writing about her: how do you describe perfection? What an atmosphere she created in the Preghiera tonight. Maybe the highest compliment I can pay her is: she makes you see the music. Purity of musical expression is always Wendy's signature, and its never been clearer or more beautiful than tonight. It takes a  true prince of the dance to hold the stage with Wendy in this ballet and what an immaculate, elegant and - again - wonderfully musical performance Philip Neal gave. His partnering was so silky and refined. At the curtain calls, Wendy and Philip generously deflected the audience's accolades to their colleague, Tom Gold, who was bidding farewell to NYC Ballet tonight. (Photo of Wendy by Paul Kolnik).

"Beloved NYC Ballet soloist" is more than just a catch-phrase when it comes to Tom Gold. Over the years, Tom (Paul Kolink photo) has endeared himself  to audiences night after night with his technically buoyant dancing aligned to his sprightly personality with its little dash of irony thrown in. He officially 'retired' in May with a performance of Stroman's DOUBLE FEATURE but sneaky Tom has popped up since then in THE CONCERT and tonight we had a chance to see him in one of his signature roles, dancing the Gigue in MOZARTIANA. His dancing certainly showed no sign that he'll be collecting Social Security any time soon: it was as light, precise and jubilant as ever. NYCB insiders knew what was happening; Tom came out for the bows and immediately went to the four demi girls (Saskia, Dena, Dara and Gwyneth) for some serious hugging. Then Wendy and Philip came out, skipping their own turn to bow and applauding Tom. Tom and Wendy had an enormous mutual embrace for themselves and both Wendy and Philip gave Tom a deep reverence when they all came before the curtain. Then Tom was called out alone and the audience had a chance to express their gratitude which he received with gallant grace. I hope Tom plans to do some more choreographing, since his colorful and dazzling MASADA at the Miller Theatre a couple years ago remains vividly in my mind.

TOMBEAU DE COUPERIN thrives on its delightful Maurice Ravel score which Balanchine transformed into an unusual ballet in which the corps are the stars. Stepping out from the ranks, sixteen of NYC Ballet's dancers show us the impeccably tailored steps Mr. B created in response to Ravel's masterpiece. The ballet is a corps-watchers dream-come-true and no matter where I looked tonight, someone I love was dancing his or her heart out, whether it was Pauline Gobin or Kyle Froman,  or Henry Seth or Ellen Ostrom...I simply couldn't take it all in. TOMBEAU is a treat.

The evening produced its third enchanting musical score with BAISER DE LA FEE. Megan Fairchild and Joaquin de Luz (photo by Paul Kolnik) took the leading roles and Faye Arthurs and Alina Dronova were the demis. With a corps of NYCB beauties, they gave us a performance lovingly danced and rich in atmosphere. Joaquin's solo was spellbinding in its phrasing and sense of mystery; Megan danced with clarity and spun off some brilliant turns along the diagonal. Together they imbued the final moments of the piece with an other-worldly quality. I promised myself that I would not devote myself exclusively to watching Faye whenever she was onstage. But like many promises, this one was broken.

Maybe if you aren't an opera fan you won't be put off by Vittorio Rieti's horrible arrangements of melodies from the bel canto masterpieces of Vincenzo Bellini. It always amazes me that Balanchine would have condoned such trashy adaptations, and every time I hear this music I want to get up and run out of the theatre. The ballet Balanchine created is as contrived as the music, at least up to the point that the title heroine appears. Amar Ramasar was the brooding Baron and Sara Mearns totally glamourous as the Coquette, her dancing lavish and lyrical. In the divertissement, Rachel Piskin, Lauren King, Troy Schumacher and Austin Laurent were a lively quartet and Ana Sophia Scheller and Vincent Paradiso looked exotic in the 'mechanical' pas de deux. Daniel Ulbricht triumphed as Harlequin and climaxed his bravura solo by taking a diving leap into the wings.

The absence of Darci Kistler brought us Yvonne Borree's Sleepwalker opposite Sebastien Marcovici's debut as the Poet. Sebastien certainly has the feeling of romantic intensity the role calls for; as his curiosity about the sleeping woman develops into an obsession, the kneeling Sebastien swoons into a deep backbend. Yvonne's lightness as she skimmed the stage in bourrees had a ghostly feel; she was wistful and mysterious. Yvonne and Sebastien honed the timing ideally in those moments where the poet blocks the sleepwalker's path. Despite my perpetual dislike for this ballet I have to say that Yvonne and Sebastien were very moving, thanks largely to Yvonne's delicacy and vulnerability and Sebastien's poetic response to her. Reese liked SONNAMBULA very much and was really taken with Yvonne's performance.

During the intermission we had a chance to talk with Kristin Sloan who is continuing her filming of the repertoire for future projects; and also I finally met Deborah, a great NYCB enthusiast. My evening ended on the highest possible note as I was heading for the subway and met Miranda Weese. I wasn't just being polite when I told her how much I miss her; then on the long train ride home I started flipping thru a mental picture book of all the images Miranda left us with when she headed West to join Pacific Northwest Ballet. In the Paul Kolnik photo, Miranda and Seth Orza in Christopher Wheeldon's EVENFALL - one of the most memorable of all Miranda's roles at New York City Ballet. I was so glad to  have seen her again and to have a chance to express - awkwardly, as usual - my admiration.

Comments

[Deborah]

Philip,
I was so thrilled to finally meet you!
Thank you for introducing me to your friend too (and my, my, isn't Reese handsome and hunky! Not that you aren't, of course -- lucky Wei!). Your review was perfect (as always). I was so pleased that Yvonne did so well -- she was once one of my favorite dancers before nerves seem to get to her. Plus she's so pretty! She was exceptional in yesterday's afternoon program as well. But for me (as you know) it's all about Wendy!! But how gorgeous was Philip with her (he just keeps getting better if that's even possible)? Terrific, truly! And it's so great to see Sebastien dancing again. I actually like La Somn. but couldn't image anyone else doing Nicolaj's part.
However, Sebestien was excellent! And good for Yvonne for being able to hold him in her arms (she's so delicate and light)! Also, Joaquin has just being wonderful this season. He was great yesterday afternoon too.
And Tom -- what more can we say? I've spent the week crying (well, almost)
between Damian's retirement and Tom's
appearances (despite his "retirement").
I wanted to mention how especially stunning Rachel Rutherford was yesterday afternoon in Dances With a Gatherning. I'm hoping that we see a bunch of promotions: Sara, Rachel, Tyler, Amar (I'm a big fan of his), Sean (although I wish he'd dance more!), Rebecca and a few others. We are so blessed to have the NYCB. Even when they aren't "great" they are still wonderful. I'm going this afternoon too (with my friend, Stanley). Next week I'm
going every day except for Tuesday and Wed. I hope to see you at "Dancer's Choice!"

[Philip]

Yes, it really was great to meet you! Reese looks like a model, but he's very shy. You will meet Wei at Dancer's Choice...our last performance for this season.

I agree with your promotion wish-list and would add Adrian D-W to it.

[Laura]

Lovely review. I like La Sonnombula but it was tough seeing somebody else in Hubbe's role. However we must adjust to a whole new slew of dancers coming up the ranks. Things change - we must get used to it! I will be at the Dancer's Choice this Friday and am really looking forward to it. AND yes - who will be promoted next?!?! We will just have to wait and see but Adrian DW has been in the corps way too long.

[Philip]

Adrian has a lot of star-power, that's for sure.

[Deborah]

I totally agree about Adrian. I should have included him on my "wish list."
He's so outstanding that he often outshines some of the principals/soloists (on the same stage). And what a partner too!