Tuesday December 9, 2008 - ABT's Maria Riccetto and Alexandre Hammoudi (above, in a Matthew Murphy photo) were among the dancers appearing at the Joyce tonight as Benjamin Millepied's DANSES CONCERTANTES opened their season. A full house - including dance nobility from both our major Companies as well as Misha Baryshnikov - warmly applauded a superb group of dancers who appeared in two Millepied works, the second a world premiere. Adding a further lustre to the evening was the presence of two excellent pianists who performed the solo piano scores by Brahms and Chopin.
Blaine Hoven and Sarah Lane (Matt Murphy photo, above) generated major star-power in the opening 28 VARIATIONS ON A THEME BY PAGANINI. Over the past year I have begun going to ABT with much greater frequency and it was really exciting to watch several dancers I've taken a liking to at the Met or City Center in this up-close setting.
As the curtain rises on this Brahms ballet, five couples make a stately entry into a ballroom. The girls wear lovely long tutus in subdued colours and the boys are in tights and vests. The ballet is a sublime display of pure classicism with endless flowing combinations which demand great technical prowess, flawless partnering and the spirit of the Romantic Age.
The ten dancers made Benjamin's exciting choreography looks its best. Aside from the dazzling Ms. Lane and the technical fluency and appeal of Mr. Hoven, we had Nicole Graniero and Luis Ribagorda, Gemma Bond and Eric Tamm, and Melissa Thomas and Thomas Forster - the last-named couple bringing to mind their moving performance together in JARDIN AUX LILAS at City Center earlier this year. There were group dances and various brief solos: everyone had a chance to shine. And everyone did.
Isabella Boylston and Cory Stearns (Matt Murphy's photo above) were the central couple. A momentary flirtation with another girl costs Cory Isabella's trust. They must reconcile and renew their love in a touching adagio. A very refined partnership, they also danced together in the evening's second work which expanded on their dramatic range. Isabella has a distinctive attractiveness and Cory is an elegant and sincere cavalier.
The ballet was very enthusiastically applauded and there was an extra call.
Celine Cassone and Blaine Hoven (Matt Murphy's photo above) were one of five couples to dance in the new Chopin ballet, WITHOUT. This work, though again using strict classical technique, has a more contemporary feel. Each couple has their trademark colour: Celine and Blaine in purple were romantic but with a extroverted side. Maria Riccetto and Alexandre Hammoudi in deep grey were somewhat austere; they seemed to be working through a romantic reconciliation and it was quite moving as he knelt to her, seeking forgiveness. Which she grants.
I greatly enjoyed the blonde Gemma Bond's humourous solo and her by-play with Eric Tamm (they wear pale orange) while Melissa Thomas and Thomas Forster (in green) are all youthful impetuosity. Isabella Boylston looks striking in red and she and Cory Stearns are the passionate lovers but in the end he leaves her and she is consoled by the others. She is the one left without...
This ballet is set in a space surrounded by black curtains thru which the dancers enter and exit, sometimes appearing and vanishing as if by magic. Despite moments of lightness from Gemma and Eric, and passing flirtations and spirited group passages, the overall tone is rather dark.
Natasha Paremski (above) in the Brahms...
...and Pedja Muzijevic (above) for the Chopin were the pianists: both inspired the dancers with their playing and contributed strongly to the success of the evening, winning the audience's emphatic approval.
The gallant Benjamin presented flowers to his ballerinas at the end, and they were joined onstage by the Danses Concertantes ballet masters, Amanda McKerrow and John Gardner. A really wonderful evening of dance - I'd love to see it again!
[My thanks to Matt Murphy for his kindness in lending me his rehearsal photos for this article.]
Philip,
I am so sorry that I missed this! As you know, I had a ticket for last night but a work engagement came up (which I couldn't miss since I'm leaving for London -- also partly for work -- in an hour). Your excellent review was next best to being there! Thanks so much for this piece (and thank you, too, Matt Murphy!)
Posted by: Deborah | December 10, 2008 at 04:49 AM
Just saw this tonight and really enjoyed it, especially the second piece "Without". I thought the choreography had an interesting dynamic trajectory to it, and that it really brought out the individual character of all of the dancers. I found the Brahms to be a little generic, too much of a pastiche of solos and duets. And though I love all of these dancers and know them all well none really stood out to me except Lane & Hoven - each of them has such a distinctive way of moving that neither can really fade into the background. Then in the Chopin I was immediately struck by everything I love about each dancer - Cassone's drama & intensity, the way Hammoudi makes you see his partner through his eyes (he's starting to remind me of Gomes in that regard), Forster's lanky, loose-limbed charm, etc.
Posted by: Susan | December 10, 2008 at 10:48 PM
Susan, I agree the Brahms didn't break any new ground but it was so beautifully costumed, lit, played and danced that it seemed like a breath of fresh classical air. I was seated very close to the stage and it was just a total pleasure to watch...and to hear.
You have summed up Cassone, Hammoudi and Forster to perfection...and I thought Blaine Hoven almost stole the entire show. Great dancing from all.
Posted by: Philip | December 11, 2008 at 12:08 AM
det jeg var ute etter, takk
Posted by: ArrofsFoerb | January 21, 2011 at 05:14 PM