Friday May 22, 2009 - Kathryn Morgan and Robert Fairchild (above) along with Brittany Pollack all debuting in SCOTCH SYMPHONY, a second look at Benjamin Millepied's new QUASI UNA FANTASIA and then Ben the Dancer with my Wendy and the bravura trio of Ana Sophia Scheller, Gonzalo Garcia and Joaquin de Luz in Ratmansky's brilliantly unique CONCERTO DSCH. In all three ballets the corps (frequently laced with soloists) maintained a high level; the music - so diverse in style and colour - was a pleasure in and of itself under Maestro's Karoui's ever-attentive baton; and the audience were on best behavior. What more could I ask? Well, to be seated next to Allegra Kent!
Brittany Pollack (above) kicks off SCOTCH SYMPHONY with her jaunty solo all dressed in red: cap, plaids, even red toe shoes. Brittany made a wonderful impression dancing in Jiri Bubenicek's new TOCCATA with Andrew Scordato and she further enhanced that impression today. If I say that she put me in mind of Alexandra Ansanelli - who danced this role in one of her earliest 'stepping out' performances with the Company - that's is the best compliment I can give to Brittany's joyous dancing.
I hardly know where to begin in describing Kathryn Morgan's performance; as the ballet unfolded one began to sense a very special atmosphere in the House which does not occur all that often: a sort of spellbound feeling. This very young ballerina carried us right out of our own world and into Balanchine's Scottish dream with the poetic rapture of her dancing. Kathryn's adagio style is breathtaking. There was never any hint of nerves or of rushing; she floated on the musical calm - a dancer who can transform a slow developpe into a moment of pure magic. When the maiden turns a bit playful, Kathryn's sense of girlish modesty was captivating. What I felt watching Kathryn's performance was not only her tear-inducing beauty but also a vision of the future.
Robert Fairchild's youthful sincerity and tall, handsome presence made him a perfect compliment to Kathryn's interpretation. Making an important role debut here on the evening after his televised Romeo, I admired Rob's dedication and concentration in being beautifully prepared for SCOTCH in the midst of all the ROMEO & JULIET madness. His partnering of Kathryn was seamless and serene; they look so very fine dancing together.
The corps girls were particularly attractive in SCOTCH (well, they are always particularly attractive!) and I so enjoyed watching Dena Abergel and Saskia Beskow from my very-close vantage point. Dara, Gwyneth, Lydia, Glenn and Marika were visions of loveliness in pink. And so nice to see Kaitlyn Gilliland back on pointe after a brief hiatus; she danced unannounced but there's no mistaking her tall, splendid appearance.
The dancers were liberally applauded, Katie and Rob called out for and extra bow and they were all the buzz on the Promenade.
Karin von Aroldingen's new backdrop for SCOTCH, which I was not quite sure about on first viewing, is actually very appealing with its moody view of the wind on the waters of the loch and its dusky shore. The dancers look vivid dancing against it, and that's exactly what a good ballet backdrop should accomplish.
In the past few days I have spent hours listening to Henryk Gorecki's score QUASI UNA FANTASIA which Ben uses for his ballet of the same title. At the premiere this ballet left me drawing a blank and I regretted not having studied the music before seeing it. Today I was prepared for this dark journey. The ballet looks far more impressive viewed from the orchestra than from above. It also appeared to much better advantage in this programme-setting than at the Gala; offset by the romanticism of SCOTCH SYMPHONY and the fanciful colours of CONCERTO DSCH, I let the treading beat of Gorecki's opening passages draw me in. Janie Taylor with Jared Angle (above, in Paul Kolnik's photo) and Rebecca Krohn with Sebastien Marcovici are the leading couples; they all dance with commitment and intensity though in the long run they aren't really given memorable passages to express themselves. But perhaps this is more an ensemble ballet than a star vehicle; the corps file in counter-motions, girls are swept aloft, there is an odd waltzing pattern which I liked very much. It seemed to me that some red over-shirts have been added during one sequence; I don't remember them from the premiere.
Darkness rules the first two movements - I still need more viewings to sort things out here - but the third movement is really impressive both in imaginitive combinations and in structuring. Several of the ensemble dancers stood out: the duet for Tiler Peck and Amar Ramasar, for all its brevity, was a highlight (they are to debut together in ALLEGRO BRILLANTE next week) and it was certainly sporting of Kathryn Morgan to appear in her corps role here after her SCOTCH SYMPHONY triumph. Russell Janzen impressed here and in CONCERTO DSCH - we need tall men! - as did Ellen Ostrom. And there is even a Faye Arthurs moment as her unmistakable extension wafts on high.
I'll be wanting to see QUASI UNA FANTASIA again in the Winter; I felt like I'm more than halfway there now in finding my way into this shadowy ballet with its darkly-rich score. The dancers were rewarded with cheers from the house as they bowed.
It truly pays to go back and see ballets you weren't crazy about at first sight. Case in point: Ratmansky's CONCERTO DSCH which I thought was just a pleasant bon bon at its premiere. Since then it has seemed increasingly attractive to me with each performance and now I really love it. At the center of it is an adagio danced by Wendy Whelan and Benjamin Millepied (photos above and below) to a melody of ravishing, uncomplicated poignancy. Wendy, her airy serenity so appealing here, made the woman behind me sigh "So beautiful!" as the very boyish looking Benjamin floated his ballerina overhead. Normally such spoken thoughts would annoy me, but I could only agree.
In this duet we have an opportunity to simply sit and immerse ouselves in the expressive beauty of these two dancers. From the pit, pianist Elaine Chelton's wondrous sense of tranquility as she intoned this most marvelous of Shostakovich's melodic inventions combined with the poetry of Wendy and Ben for an unforgettable experience. Just thinking about it makes me feel like crying: it's that moving.
Ana Sophia Scheller, Joaquin de Luz and Gonzalo Garcia romped thru their music with brisk gaiety and whirlwind technical dazzle. The corps excelled; extra champagne for Christian Tworzyanski for his dead-pan hopping in place while keeping a straight face. The ballet built to its joyous conclusion as Joquin clambers up onto Gonzalo's shoulders. So gratifying to hear the genuine enthusiasm (and shouting!) as the dancers stepped forward for their bows.
A delightful review about a truly delightful evening at NYCB! Great to see you, and Tonya and Monica. I also see that you and Allegra Kent are now fast friends (I could see you from my seat). How, well, delightful! (the word of the day).
It was also a thrill when Monica realized, during intermission, we were standing next to Edward Villella!
Posted by: Deborah | May 23, 2009 at 10:57 AM
"Delightful" truly was the operative word last night...didn't all the dancers look superb? And what a treat to have the legendary Allegra and Eddie in the House!
Back tonight for more, esp want to see Maria K CHACONNE!
Posted by: Philip | May 23, 2009 at 11:20 AM
I saw you guys meeting up and felt silly so I didn't come over. I also spotted Edward Villella and thought, wow! I'll be there tonight as well,and will come say hi. Thanks for a great review, I was spellbound by Katie's debut. She's a star.
Posted by: Sandi D. | May 23, 2009 at 01:26 PM
Would have loved to have been there - esp. for SCOTCH.
Really nice review -
thank you so much for sharing your lovely night!
Oh to be in NYC for this season ... sigh.
Anne W.
Posted by: Anne Coburn Whitmore | May 23, 2009 at 02:19 PM
That was an eloquent review, Philip, and it captured the evening perfectly. How special it was to be there for Kathryn Morgan's SCOTCH debut! Her performance was truly magical - I have seen SCOTCH SYMPHONY many times over the years, and I cannot recall it ever having been danced better. She is poetry in motion!
Ben's ballet continues to grow on me with each viewing and CONCERTO DSCH was a wonderfully rousing finale with a gorgeous pas de deux for Wendy and Ben and exciting performances by Gonzalo, Ana Sophia, and especially Joaquin.
Posted by: Bob | May 24, 2009 at 12:27 AM
Can't wait for the next wave of promotions...whenever that may be...it's gotta be Tiler Peck to Principal and Katie Morgan to Soloist...
Posted by: Laura | May 25, 2009 at 08:13 PM