Above: Balanchine and Stravinsky in 1965; photo by Elliott Erwitt
Saturday June 1st, 2013 - A sensational performance of Balanchine's STRAVINSKY VIOLIN CONCERTO opened the programme at New York City Ballet tonight. Arturo Delmoni was the violin soloist and guest conductor David Levi had the baton for this rendering of a 40-year-old ballet that looks as fresh and remarkable as if it had been created yesterday.
The curtain rises on Sterling Hyltin and four boys alone onstage; for a few moments they just stand there, and then they burst into movement and the ballet is off on its unique trajectory. Sterling has been having a great season and she danced with a beautiful clarity and energy tonight. Each of the ballet's other three principals - Maria Kowroski, Robert Fairchild and Adrian Danchig-Waring (role debut) then swept across the stage in their introductory passages. Their vitality was echoed by the dancers of the corps.
In the first of the ballet's two central duets Maria and Adrian formed a distinctive partnership, one that I hope we will see often in the future. Athleticism and artistry must mesh here as Mr. B sets improbable demands on the dancers in terms of flexibility and strength; Maria and Adrian shaped the movements into a long paragraph of expressive dance, captivating the audience.
The second pas de deux, equally demanding, has a more intimate and tender aspect in which Sterling and Robert created a palpable atmosphere. Taking their cue from the strange beauty of the music, the two dancers lingered in a private conversation; in the end the simple image of Sterling resting her head on Rob's shoulder as he shows her a vision of the world with a sweeping gesture of his arm was so poignant tonight.
The final movement, brilliantly structured in its folk-like feel, corps and principals united to superb effect reminding us yet again of the uncanny connection between choreographer and composer. I'm so glad their famous friendship left us with so many treasures.
The relentless drive of John Adams' FEARFUL SYMMETRIES set the large cast of this Peter Martins ballet in motion; it is a work that calls for boundless energy from the dancers and tonight's cast did a fantastic job of it: Teresa Reichlen, Jon Stafford, Sara Mearns, Taylor Stanley, Lauren King and Daniel Ulbricht seized on every opportunity to deliver the goods, and Troy Schumacher stood out in a featured role. There are stretches, though, which - despite excellent dancing - seemed a bit over-extended; and for some reason the piece does not quite have the snap! that I remember from some earlier revivals. But the dancing tonight was terrific.
In the dreamlike ballroom of the Elegie from TCHAIKOVSKY SUITE # 3, Rebecca Krohn brought a restless impetuosity to her dancing as the elusive beauty who has pierced the soul of Ask LaCour. The two dancers gave a rapturous performance both in terms of dance and poetry, and all the while the music tears at the heart. The mysterious rhythmic underpinnings of the Valse Melanconique were perfectly caught by Abi Stafford and Jared Angle; their dancing was lush and lovely. Ana Sophia Scheller swirled thru the swiftly lyrical combinations of the Scherzo to gorgeous effect while Antonio Carmena traversed the stage with free-flowing leaps.
For the final Theme and Variations, Megan Fairchild and Andrew Veyette displayed both striking virtuosity in their solos and courtly elegance in their pas de deux. Reeling off a fantastical pirouette combination, Andrew drew explosive cheers from the crowd; Megan's dancing throughout had her signature finesse of delicacy and technical command. As they stepped in to lead the ensemble in the grand promenade of the ballet's closing polonaise, all seemed well in Balanchine's House.