Opening Night: NYCB 2009 Winter Season

Tuesday November 24, 2009 - Henry Leutwyler's photograph (copyright 2009) of Tiler Peck and Craig Hall to celebrate the opening of the season at New York City Ballet. Tonight's gala highlighted the completion of renovations to the Theatre interior and - for most of us - provided our first look at the auditorium with its new aisles in the Orchestra level seating area. But even before getting to our seats we noted several improvements: the restrooms have been overhauled and modernized, carpeting installed in the orchestra level access areas and simple illuminated signs tell you which level and side of the house you are on as you ascend to the upper reaches.

The first sensation on entering the hall is that it seems smaller but once you've adjusted to the new layout the right sense of space returned; for a large theatre, the ballet's home has a feeling of intimacy. I do wish the orchestra aisles were carpeted: it makes for a cozier feel. The new seats are handsome and comfortably plush. 

Then the best innovation of all was unveiled: Maestro Karoui (Paul Kolnik photo, above) entered the pit and struck up the SLEEPING BEAUTY waltz and the orchestra began slowly to ascend almost to stage level as the audience greeted the players with prolonged applause. The new adjustable pit will allow the musicians to be more prominently featured on occasion. We often take the NYC Ballet orchestra for granted, I think, forgetting that they play some of the trickiest and most demanding scores on a routine basis as well as often tackling new commissions. So good to see them in the limelight.

While the waltz was played, one of Kristen Sloan's video treats was projected, showing us the transformation of the House in high speed. At its conclusion, Peter Martins rightly called for a round of applause for the workmen who accomplished the massive project on deadline. He said: "They aren't here, but they'll hear about it."

As Maestro Karoui waved farewell from his desending podium the lights dimmed and Ratmansky's CONCERTO DSCH kicked the season off with a burst of colour and motion.

Ashley Bouder, Joaquin de Luz and Gonzalo Garcia (above with the choreographer in an Elinor Carucci photo) leap and spin thru improbable combinations with tremendous zest; Bouder's facial expressions are worthy of the commedia dell'arte tradition while her dancing is light and spirited. Gonzalo looks gorgeous and was on top form, nicely synchronized with Joaquin. So good to see Joaquin back onstage after a recovery period from a mid-performance injury this past Spring. His remarkable energy and bravado are awe-inspiring.  

 

Wendy Whelan and Benjamin Millepied in Paul Kolnik's photo from the CONCERTO DSCH adagio, the heart of the ballet, which they danced with a sense of quiet rapture and poetic grace. Benjamin looks superb, so slender of form and so refined in his dancing. How can we ever begin to thank Wendy Whelan for the sheer beauty she creates every time she is onstage? It's a privilege and a joy to be living in the realm of this incredible ballerina. The music of this pas de deux, wafted from the keyboard with extraordinarily poignant clarity by Susan Walters, always moves me to tears.

When CONCERTO DSCH was first danced here the ensemble was made up mainly of soloists; for this revival dancers from the corps have taken over. I have to say I find it hard to watch anyone else when Kaitlyn Gilliland is onstage; tonight she was dancing with Russell Janzen and I couldn't help but think of them as being destined for far greater things. Georgina Pazcoguin also stood out in this excellent group.

Guests from the Paris Opera Ballet, Aurelie Dupont and Mathias Heymann (above in Paul Kolnik's photo) brought a bit of Balanchinian dazzle to the evening with the pas de deux from RUBIES. They danced seamlessly together, Mlle. Dupont reveling in her long balances and Mr. Heymann reminding me a bit of Fernando Bujones. How I wish we could have had them in the complete RUBIES.

 

Paul Kolnik photo above, from the first movement of the new Peter Martins/John Adams ballet NAIVE AND SENTIMENTAL MUSIC which was danced by an all-principal cast. I liked it for the most part - although the first and second movements certainly had their longeurs - and will definitely see it again because I feel it has more to offer than one viewing could encompass. The premiere was preceded by yet another of Kristin Sloan's video gems with the composer and choreographer chatting while rehearsal footage captures the dancers at work.

The idea of an "all-star" ballet (with no supporting corps) is perhaps better on paper than in practice, in part because when they are all dancing in a large group you don't know who to look at. The John Adams score is dense and complex; not all of it falls easily on the ear. The first movement (for seven couples, the women in hues of green and blue) goes on a bit too long and the choreography starts to sometimes seem simply to be filling up the bars of music. Of course it would be difficult to say to a living composer: "I love your music and I'm going to cut some of it for my ballet." The second section (everyone in white) is an adagio for three pairs of dancers - and one visitor. Best of all is the third movement where the choreography finds its vitality and where three wonderfully-differentiated young ballerinas in shades of red got to shine and their matinee-idol cavaliers had the partnering well in hand.

The ballet begins with Yvonne Borree alone onstage in a lyrical solo passage - the women wear simple tunics with scarves attached at the back which accentuate the flow of the movement. One by one the other women appear: Jenifer Ringer, Jennie Somogyi, Abi Stafford, Ashley Bouder, Megan Fairchild and Janie Taylor. The men appear in fitted black trousers and sleeveless vests: Tyler Angle (who always partners Yvonne to her finest advantage), Philip Neal, Nilas Martins, Jared Angle, Andrew Veyette, Daniel Ulbricht and Joaquin de Luz.

As the music takes on an ethereal aspect a series of duets evolves and here we were able to focus on the dancers as individuals; each ballerina has her opportunity. I was particularly taken with Janie Taylor's quietly intense performance.

In the all-white adagio, subtitled Mother of The Man, Darci Kistler is dancing with Stephen Hanna (listed as a Guest Artist on the roster) when suddenly Jared Angle materializes, still in black, and takes over from Stephen. I'm not quite sure of the significance of this. (Darci & Jared above in Paul Kolnik's photo). Another couple, Sara Mearns and Jonathan Stafford, were back onstage after injuries and danced well though with a feeling of caution.

It was a great pleasure to watch Maria Kowroski, her duet with Charles Askegard allowing us to simply bask in all that is so remarkable about the divine Ms. K. If the choreography here was formula, Maria's dancing had its own inner light. Above: Maria & Charles in a Paul Kolnik photo.

The 'red' girls in the concluding Chain to the Rhythm looked enticing and gave us a glimpse of the future of NYCB: Sterling Hyltin, Teresa Reichlen and Tiler Peck not only danced beautifully but assured us that the next generation are ready to take on the world.  Handsomely partnered by Robert Fairchild, Amar Ramasar and Gonzalo Garcia respectively the three women had the most interesting and individualized choreography of the piece and made the most of it.

 

Above: Tiler Peck photographed by Paul Kolnik in the ballet's third movement.

In the finale, all twenty-six dancers appeared and it seemed to me that this ballet - despite its flaws - had given us a picture of the current upper echelon of the roster at a time when it seems transitions are imminent.

But where was my beloved Albert? I saw him in the street last week looking very trim and sexier than ever.

My thanks to the NYCB press office for promptly sending me the performance photos. 

The Promenade, all set for the Gala: photo above borrowed from NYCB's Facebook page. Nice opportunity to see all the fans again after the long break. Many of the off-duty dancers were there - all decked out in gala couture - including Katie Morgan, Gwyneth Muller, Adam Hendrickson, Sebastien Marcovici, Mary Elizabeth Sell, Vincent Paradiso, Lydia Wellington, Ellen Bar, Antonio Carmena, Megan Johnson and Sean Suozzi. Can't wait for NUTZ to start so we can see all of them onstage again. Elysia Dawn looked especially pretty; Irina Dvorovenko and Max Beloserkovsky of ABT were en fete, and what a delight to see Alexandra Ansanelli there in a splendid frock. Among the prettiest girls on the Promenade: Talicia Martins.

Party time: Tiler Peck and Joaquin de Luz at the gala post-performance reception.

Darci and Peter Martins cutting a rug. 

In the mood for a gala? Watch this. Jock & Suki!!!

Comments

[Laura]

Wonderful write up Philip! I was at the performance last night as well and thought Bouder especially was wonderful in DSCH.

Happy Thanksgiving to all and bring on Nutcracker!!!

[Deborah]

You and I have already discussed the Martins (I'm not a fan), but I do want to say that your review is very thoughtful and well done.

I very much missed our wonderful corps last night. With the exception of a few demi parts in the Ratmansky they were AWOL (lol!). I just adore our corps (and soloists!).

[Philip]

Deborah, I could certainly understand the negative comments I heard from several parties about the Martins piece. I think the main complaint seemed to be that it is simply too long. Nevertheless, I simply enjoyed watching several of my favorite dancers in the universe on that stage.

I did miss having the soloists and more of the corps participating last night but I know they are all very busy preparing for NUTCRACKER and also I have heard that some of the new ballets for Spring are already being rehearsed.

Laura, I too am waiting for NUTCRACKER. Even after seeing it a million times, it's still a treat.

Hope to see everyone there on Friday!

[Marisa]

Philip, I wish you could somehow have "previewed" the new ballet because I think I would have liked it better if I had watched it after reading what you wrote. You seem to have picked up on aspects of it that I failed to see. I guess maybe I should see it again.

Thanks for the detailed story about the evening. I think the improvements to the theater are wonderful, especially the ladies room, which is much nicer!

[Andrea]

Wish I could have attended (I'm already away for Thanksgiving) but your write up makes me feel like I was there.

Alexandra Ansanelli! Wow, I miss her so much!

[Vanessa Veronica]

dear Oberon, thanks for another lovely write-up. I was there too & you couldn't have captured the night more beautifully! all best & happy Thanksgiving, vanessa

[Philip]

Thank you, Vanessa! Have a great holiday weekend...

[Bob]

How wonderful to have NYCB back and in that marvelously renovated theater! I thought that Concerto DSCH looked better than ever, perhaps because of the return of Ashley Bouder to her original leading role in the ballet. When she was out with an injury the last few times it was performed, I felt that the ballet was missing that extra little spark that Ashley always provides. As for the performance of the guests from the Paris Opera Ballet in the Rubies pas de deux, I thought it was elegant and lovely, but more "classical" than "neo-classical Balanchine" in style. I just felt that it lacked the jazzy, earthy quality that NYCB gives it.

The Martins ballet is one that definitely calls for a second viewing. I do agree that the first two parts were too long, mainly because Martins could not (or chose not to) cut some of Adams' musical score, not all of which was "musique dansante." There were some beautiful moments in Part II (the "white" section") but even that dragged on a bit too long. I agree that the best part was the third ("red") section - it contained the vintage Adams sound, it brought out the best in Martins' choreographic imagination,and it featured some simply terrific dancing by the principals involved.

Should we read anything into Alexandra Ansanelli's presence there last night? Does anyone know what she is doing these days?