Oberon's Grove

Gotham Chamber Opera: THE RAVEN

Friday May 30th, 2014 - Gotham Chamber Opera presenting the U.S. premiere performances of The Raven, a monodrama by Toshio Hosokawa, based on Edgar Allen Poe’s immortal narrative poem. Mezzo-soprano Fredrika Brillembourg and prima ballerina Alessandra Ferri take the leading roles with the chamber ensemble under Neal Goren's baton; Luca Veggetti staged and choreographed the opera.  As a prelude, André Caplet's rarely heard Conte fantastique: Le Masque de la Mort rouge, inspired by another Poe work - The Mask of the Red Death - was performed by a quintet featuring harpist Sivan Magen.

The evening was engrossing both musically and visually; from the moment we entered the theater we were drawn to the stage by the shadow cast by Mr. Magen's harp. The players made ravishing sounds in the eerily colourful Caplet score, the harpist's pianissimo melismas delicately pricking the ear. The composer, in this conte fantastique, limns the tale of Prince Prospero who - with several guests - walls himself up in his castle to escape the plague. But Death finds him anyway. At one point Mr. Magen knocked on the wooden frame of his harp, a sinister effect.

Luca Veggetti had the excellent notion of creating a musical bridge between the Caplet and the Hosokawa by having the clarinetist play a sustained tone soon after the opening work ended. Other players took up the sound, an improvised entr'acte that prevented the audience lapsing into idle chatter as the stage was set for the opera.

The Raven takes place on a raked platform, imaginatively lit by Clifton Taylor. The mezzo-soprano sings/speaks the entire Poe narrative poem whilst the dancer moves about the space - is she is the Raven or the lost Lenore? - sometimes physically entwining herself with the singer. 

Toshio Hosokawa's score creates a sonic tapestry which sets the singer's incantation in high relief. Winds and strings mingle voices with piano and percussion, evoking the eerie nocturnal visitation of the raven. The chill of an evening breeze sweeping thru a graveyard, the darkling shimmer of moonlight on a marble tomb, the icy shudder of tree roots shifting in the frost-covered ground: these illusions are musically expressed, deepening the mystery of the theatrical experience. 

Fredrika Brillembourg offered a triple tour de force in her performance: she has mastered both lengthy and repetitive the texts of the poet and the sung-speech called for by the composer, and also the physicality of the director's staging in which the singer becomes an active counterpoise to the dancer. In the beginning, Ms. Brillembourg's speech had an exaggerated, measured slowness of expression; her narration later became more urgent. Her clarity of diction almost made the super-titles superfluous. In bursts of song, the mezzo revealed a vast range and a fine dynamic mastery: her vocal performance was engrossing at every moment. Ms. Brillembourg entered fully into the physical demands of the production, singing powerfully from improbable positions...

...and even at one point balancing Ms. Ferri on her up-turned feet, as in the childhood game of Flying Angels. [above photo by Richard Termine]

At the end of this marvelous portrayal, Ms. Brillembourg was rightfully cheered by the large audience who had experienced her riveting performance in a state of pin-drop silence.

Ms. Ferri was equally compelling, her slightest gesture or tilt of the head having a poetic quality that the greatest artists instinctively possess. I found my eyes constantly lured by her, even when she was merely standing still. Her silent presence spoke with the same authority as her singing colleague's, and together they made the strongest possible statement on behalf of the composer and the poet.

In an uncanny moment, while Ms. Ferri is kneeling at the far corner of the platform (above) her shadow suddenly rises and moves across the backdrop as if drawn by the sound of the music being played stage right. This theatrical trompe l'oeil literally gave me the chills, especially as it was so subtly done.

More images from The Raven, thanks to photographer Richard Termine:

Nothing but praise then for everyone involved in this excellent production: another feather in Gotham Chamber Opera's cap as they continue to play a vital role in the City's cultural realm.

Viktoria Tereshkina in ABT's BAYADERE

Thursday May 29th, 2014 - This red-letter date had finally arrived: the guest appearance of ballerina Viktoria Tereshkina (above) in ABT's production of LA BAYADERE. I fell in love with Tereshkina when I saw her dancing Balanchine's BALLET IMPERIAL with the Kirov at City Center in 2008. Vladimir Shklyarov was this evening's Solor while ABT's beautiful Isabella Boylston portrayed Gamzatti.

ABT's BAYADERE is old-fashioned looking, but that's fine...it's an old-fashioned ballet. The Lanchberry arrangement of Ludwig Minkus's melodious score often takes on a cheapish, 'music hall' feeling, yet nothing can destroy the perfection of the Kingdom of the Shades, in which the ABT corps danced so well tonight; they very much deserved the sustained applause they received after their entrée.

There was lots of excellent dancing to be seen all evening, starting with Aaron Scott's energetic and commanding Head Fakir: very clever of him to slip the antidote to the High Brahmin just before Nikiya finds an asp at her bosom. One distracting element of attending ballet performances at The Met is the noise the toe-shoes make on the opera house's stage. Somehow the lovely Stella Abrera overcame this problem in her Shade solo, lyrically and silently danced; her sister Shades were Skylar Brandt (very impressive as she crossed the stage in a series of arabesque hops on pointe) and Melanie Hamrick, always a pleasure to watch.

Zhiyao Zhang (above) stepped out from the corps to dance the demanding solo of the Bronze Idol and did a very neat and precise job of it; he is a young dancer to keep an eye on.

Casting about for a photo of Isabella Boylston, I recalled the day Jade Young and I watched Bella (above) rehearsing with Pontus Lidberg for MORPHOSES.  She was on particularly radiant form tonight as Gamzatti, a more complex character than she at first seems. Though vengeful, she is merely acting as her position dictates: a princess can't be trumped by a mere temple dancer. Gamzatti accepts and embraces her arranged marriage; it's Solor who has thrown a monkey wrench into things by failing to observe the accepted etiquette and giving his heart elsewhere. Thus for all her spitefulness in Act I, Gamzatti does engage our sympathies when her wedding ceremony crumbles before her very eyes in the ballet's final scene: Isabella was particularly lovely in the solo here, expressing a bride's hope and quiet joy, shadowed by the knowledge that her husband's heart is elsewhere. Earlier, at the betrothal fete, she showed her technical command with some elegant and very grand dancing. The audience loved her.

Above: Tereshkina and Shklyarov in the Mariinsky production of BAYADERE; photo by John Ross.

Vladimir Shklyarov completely won the Met audience's collective heart tonight; enthusiastic applause greeted his solo passages and his partnering of Ms. Tereshkina was simply exquisite. Shklyarov's dancing was marked by big virtuosity, his jumps sublimely floated and grandly elevated, his turns rapid and sure. His portrayal was marked by great tenderness for Nikiya and the despair of helplessly watching his beloved expire, forced by decorum to turn his back on her anguish. Remorse and guilt, and then the elation of finding Nikiya again among the Shades, were finely depicted by the danseur; by the time he stands before the Brahmin to be married, Solor is nearly mad, haunted by visions of his love. 

Ms. Tereshkina was everything one can hope for in a Nikiya; her dancing - all rooted in a stupendously strong technique - was refined, spiritual, and deeply musical. Forming a particularly resonant relationship with her partner, the ballerina reveled in the tenderness and ecstacy of their mutual love. In the solo danced before the betrothed Gamzatti and Solor, Tereshkina's lithe and fluid body revealed the temple dancer's sense of both duty and humiliation in a finely nuanced performance. In the Kingdom of the Shades, the ballerina attained a remarkable level of technique and artistry, re-affirming the great admiration I had felt when I first saw her dancing with the Kirov. She made a stunning spirit in the final scene as she drove the bridal couple asunder.

When the final curtain fell on Nikiya and Solor ascending the stairway to heaven, the audience commenced an appreciative ovation that lasted longer than anything I've heard at the opera or the ballet in recent seasons. Tereshkina and Shklyarov bowed together several times, and even after the house lights were up and the gold curtain definitively closed, they were called out yet again. The audience clearly wanted solo bows, but the two stars remained resolutely a couple throughout the ovation.

One especially lovely moment during the bows: Tereshkina came to the very edge of the stage and gave a deep curtsey to the musicians in the pit, thanking them with a sweeping gesture. 

I must remember in future not to spend the extra money for a balcony seat at ABT; there's a massive invasion of the Balcony level from Family Circle: people who have paid less but want more clambering over me, marking seats with jackets and scarves, inquiring 'Is that seat taken?'  The Met's depleted ushering staff aren't able to police the area, so this practice is virtually unimpeded. I myself retreated to the near-empty Family Circle once these eager, pushy people descended. I mean, if you are half-a-block from the stage, a few more yards either way hardly matters. But then, even during Shades, people continue playing musical chairs, much to the disadvantage of the performance. Had it been anyone other than Tereshkina, I probably would have left.

In the Studio with Breton Tyner-Bryan

Wednesday May 28th, 2014 - Following my 'discovery' of Breton Tyner-Bryan earlier this year when I saw her gorgeous duet Un Tanguito Cualquiera at The Current Sessions, I had the opportunity to meet her on May Day this Spring when she was rehearsing Tanguito with her colleague Catherine Correa for performances at Dixon Place. 

Today, Breton invited me to her studio again to watch a rehearsal of a new work-in-process, Self, which may be seen June 12th and 13th at the Tisch Summer Residency Festival and on July 9th at the HOT Festival at Dixon Place. For Self, a dancework about gender perception, Breton has teamed up with one of the Gotham dance scene's most intriguing personalities, Shay Bares, and a dancer who sings (awesomely): Mary Carter. The three are good friends offstage, and they are obviously enjoying their collaboration on Self.

Breton

Mary...her rich, natural vocals are incorporated into the dancing, and Breton tells me there's also a bass player who'll be involved in Self.

Shay...in addition to dancing, singing, and being his sexy self, Shay is designing the costumes for Self. 

Breton's plan is that Self will eventually expand into a three-part, full evening dancework. It will be interesting to follow the development of the piece. Meanwhile, for today, it was a pleasure to watch these three friends working together.

Ballet Next in Rehearsal

Tuesday May 27th, 2014 - Michele Wiles (above), artistic director of Ballet Next, invited me to her studio today where she is re-structuring Querencia, a ballet she created earlier this year for Columbia Ballet Collaborative, on her own Ballet Next dancers.

In this ballet, set to a 'Passacaglia' by Heinrich Ignaz Franz von Biber, a violinist playing live mingles onstage with the dancers.

The ballet opens with the girls - Kaitlyn Gilliland, Tiffany Mangulabnan, and Brittany Cioce - in a cluster. From there the movement becomes expansive and technically quite demanding. The dancers today were concentrating on the nuances of the work, preparing for a studio showing next week.

Tiffany

Brittany

Kaitlyn

Michele, demonstrating the fine points

Join Ballet Next for a studio showing of Querenica and Brian Reeder's Rameau ballet, Strange Flowers:

And Ballet Next will be at Kaatsbaan June 7th and 8th, 2014. Information here.

Honoring Isadora Duncan's GRANDE MARCHE

On Saturday, May 31, 2014 at 5:00 PM, the Green-Wood Historic Fund will host a tribute to Isadora Duncan (above), one of the most innovative and fascinating figures in the history of dance, as Catherine Gallant and her dance company (Catherine Gallant/DANCE) perform some of Duncan’s most memorable works. 

Green-Wood (above) is located at 5th Avenue and 25th Street in Brooklyn.  Further information and tickets here.

The performance marks the centennial of Duncan’s GRANDE MARCHE (created in 1914), set to the music of Franz Schubert, and further includes other late-period Duncan dances born of her sorrow. The Company will also present works of hope and rebirth, set to a Nocturne and Polonaise of Chopin, followed by Isadora Duncan’s dances of exuberance and light to celebrate the rising of the sun.

Since I was otherwise engaged on the day of the performance, Ms. Gallant (above, with dancer Michelle Cohen) very kindly welcomed me to a studio run-thru of her programme; this took place on an overcast, rainy afternoon at the Gibney Dance Center. Beautiful atmosphere in the studio as the women prepared their costumes and arranged their hair for the dances to come.

In addition to the Duncan works beging presented, Catherine Gallant has created new pieces which resonate with the inspiration of Isadora. One of these, WAVE (set to Chopin) was being rehearsed when I arrived:

Above: Magherita Tisato, Megan Minturn (seated) and Michelle Cohen rehearsing WAVE...

...and (above), the same moment in costume. Ms. Gallant has also created PRAYER, set to music of Leonard Bernstein, which will close the programme.

In addition to GRANDE MARCHE, the Duncan works to be presented are: POLONAISE (1919); HARP (1920); MOTHER (1923); ANDANTE (1917); SCHERZO (1917); and NOCTURNE (1914).

Here are some photos from my studio visit:

Megan Minturn in WAVE

The ensemble in POLONAISE

Margherita Tisato, Megan Minturn, and Natalia Brillante

Michelle Cohen

Catherine Gallant

Loretta Thomas, soloist in GRANDE MARCHE

Margherita Tisato and Loretta Thomas in GRANDE MARCHE

Loretta Thomas and Margherita Tisato

Loretta Thomas

Recessional from GRANDE MARCHE

This was one of those studio experiences that seemed to touch upon the very essence of dance; as Miki Orihara said of her recent solo concert RESONANCE, we must look to the past to find the future of this art form.  Those who think that Isadora's dances are outdated and irrelevant today should perhaps stop thinking and start feeling. In the work of Ms. Gallant and her dancers, the past finds us in the present; I commend them all for keeping the flame burning.

At NYC Ballet: Jonathan Stafford's Farewell

Above: Jonathan Stafford, photo by Henry Leutwyler

Sunday May 25th, 2014 matinee - Jonathan Stafford's farewell performance at New York City Ballet turned out to be not only a royal send-off for this all-American prince, but one of the finest performances that I've seen the Company give in recent seasons. Everyone - musicians and dancers alike - were really on their game and the affectionate tributes at the final curtain showed the sincere esteem and friendship in which his dancing colleagues hold Jonathan. It was a very emotional but also a truly happy farewell: the fact that Jon's not going anywhere - he stays on with us as ballet master and also continues to teach at SAB - reassures us that we'll continue to see him around Lincoln Center from time to time. It also would not surprise me if he pops up onstage again in an acting role some day.

When I think of Jon Stafford's dancing, two images immediately come to mind: his beautiful air turns - in several diifferent ballets - where he could effortlessly change from left turn to right in the blink of an eye; and a truly mirthful moment in the first-season performances of Ratmansky's CONCERTO DSCH where Jon stood in place, simply jumping up and down endlessly, keeping a straight face the whole time. These two elements - technical finesse plus an ability to transform the simplest of movements into something vivid - have always made Jon's performances so highly enjoyable to watch.

And then there's the partnering: Jon is a prince of a partner (above, in CORTEGE HONGROIS with Maria Kowroski in a Paul Kolnik photo). At the end of this afternoon's performance, the principal ballerinas and then the female soloists all came out to present Jon with bouquets; their hugs seemed particularly sincere because over the years he's helped them all to look their best onstage.

Siblings: Jon and his sister, NYCB principal ballerina Abi Stafford, in Balanchine's SYMPHONY IN C, photo by Paul Kolnik. Jon and Abi danced together in EMERALDS this afternoon.

A special memory: Jon's performances in Balanchine's setting of Tchaikovsky Piano Concerto #2 during the 2008 season moved me to tears in the ballet's second movement. I saw it several times that year, when Jon danced with Ashley Bouder (Paul Kolnik photos, above and below).

Today Ashley danced the 'other' girl in EMERALDS and gave a remarkable performance. 

Above and below: Jon in DIAMONDS with Sara Mearns

Sara danced this role with Jon this afternoon, celebrating a grand finale to his NYCB career in high style.

Of course, 'retirement' performances always summon up a vast array of memories of the dancer being celebrated. Of the many evenings I have watched Jon Stafford onstage, I especially recall his perfect characterizations of several "Prince" roles: in FIREBIRD, in SLEEPING BEAUTY and in SWAN LAKE. From Balanchine, we enjoyed his LIEBESLIEDER, WESTERN SYMPHONY and NUTCRACKER cavalier, and from Robbins his IN THE NIGHT and DANCES AT A GATHERING (where he played "catch-the-ballerina" so memorably). Jon also made his mark in such diverse contemporary ballets as RUSSIAN SEASONS, VESPRO, LUCE NASCOSTA, OLTREMARE, and RIVER OF LIGHT; in the last-named Peter Martins ballet, Jon pulled off some thrilling one-armed lifts of Erica Pereira. His height and noble bearing made an outstanding impression as the venearble Father in PRODIGAL SON.

Aside from dancing, Jon showed his organizational skills when he put together the 2008 Dancers' Choice event, a performance I recall clearly to this day.

Above: Jon with colleagues Amar Ramasar, Jared Angle, Jenifer Ringer and Abi Stafford in Robbins' DANCES AT A GATHERING, a Paul Kolnik photo. Amar partnered Ashley Bouder in EMERALDS this afternoon and together they launched the afternoon with their elegant and truly inspired dancing.

And so, now to the details of today's performance. Guest conductor Koen Kessels was on the podium and as always the under-sung musicians of the NYCB orchestra played beautifully, especially in the Faure which was so moving today.

Sometimes at a farewell, the actual performance is eclipsed by the event. Ashley Bouder and Amar Ramasar assured us immediately on curtain-rise that we were in for a super-JEWELS: save the confetti and flowers for later, we're going to do some serious dancing! What a poetic atmosphere these two dancers created immediately, summoning up a quiet yet somehow electrifying bond between two charismatic personalities. Amar's courtliness and Ashley's lyric wistfulness played beautifully off one another. Complete enchantment.

The iconic and perfumed solos which Balanchine created for the two principal ballerinas in EMERALDS were so expressively danced today by Ms. Bouder and Abi Stafford. And the gracious pas de trois was danced with lovely, refined virtuosity by Erica Pereira, Ashley Laracey, and Antonio Carmena.

And then at last Jonathan appeared: the music here is too delicate to allow for applause for his entrance, but a murmur of excitement passed thru the House. Ever the dedicated cavalier, Jon devoted all his poetic energy to presenting his ballerina as if she were a precious jewel. Abi's dancing, so light-filled and polished, had a calm radiance that ideally embodied the music. Together they were perfect.

As EMERALDS moves towards its conclusion, the dancers walk slowly about the stage as the women begin to exit. In a beautiful moment, as Jon passed in front of Ashley Bouder, a subtle smile illuminated her face - a beautiful, personal homage from one dancer to another. 

A sizzling performance of RUBIES followed: Sterling Hyltin was absolutely stunning in her virtuosity, toying with the music whilst reeling off pirouettes at improbable speed and creating a character at once elegant, provocative, and playful. She met her match in Andrew Veyette who, fresh from a triumphant guest appearance in THEME AND VARIATIONS at ABT, cut loose with some vibrantly jazzy moves to Stravinsky today. The imperial Teresa Reichlen danced a signature role in today's RUBIES, wowing the audience with her extension and dazzling sexiness. At the close of the passage where she's manipulated by four men into uncanny poses, Tess plunges into a deep Arabesque Pencée, eye-to-eye with Giovanni Villalobos; she holds his gaze with remarkable intensity: does she want to kiss him or kill him?  Huge applause today for the RUBIES principals and corps.

And finally, DIAMONDS: Jon and Sara Mearns have created a special magic with their partnership in this ballet and the obvious shared joy of dancing beautifully together to beautiful music was tinged today by the knowledge that this would be the last time. Looking a bit forlorn at first, Sara was soon swept along by the gorgeous Tchaikovsky themes and the ardent support of her prince: her smile became luminous, her dancing grand and glorious.

DIAMONDS was somewhat truncated today; eliminating the Scherzo meant that the demi-soliste women had less chance to dazzle us, but in the opening movement Gwyneth Muller and Gretchen Smith gave us some excellent dancing, their contrasting personalities drawing us in to the music.

And so, inevitably, the stage is filled with dancers in white and gold, the opera glasses momentarily zeroing in on the individual dancers of the corps de ballet who make this Company what it is, with Sara and Jonathan at the helm of Balanchine's jewel-encrusted masterpiece.

What an extraordinary send-off for Jon: the respect and affection of his colleagues was shown in innumerable ways during the long ovation, streamers shooting down and bouquets being flung to the stage. The afternoon ended with Jon standing by a massive heap of flowers while the Company applauded him with sincere admiration.

Jon kept us waiting a long time at the stage door (I think secretly he just wanted to sneak out after everyone had left!); Wei met me there after his work day and we were especially happy to catch up with Faye Arthurs, and to greet so many of the dancers we admire so deeply. I'm sure they were all exhausted and just wanting to have supper, or a beer, and rest their weary bones. But they all took the time to chat us up, reflect on their association with Jon, discuss the highlights of their season, and tell us their summer plans. They are such incredible, dedicated, passionate, and amusing people and I'm so grateful to all of them, both for their dancing and just for being themselves.

At last Jon appeared and with a lovely mix of elation and exhaustion he thanked the intrepid fans who had stayed on to greet him. I mainly wanted to wish him a happy golf game!

On a personal note, Jon has his wedding to look forward to: in August he'll be marrying New York City Ballet soloist Brittany Pollack. And here they are, at a Yankees game:

Best wishes, Brittany & Jon!

And one more image of Jon, dressed by Valentino (above)...a class act if ever there was one. I'm sure to be seeing Jonathan around the Plaza in the months ahead, so there's no real need to say 'farewell'.

Benedetti/Jurowski @ The NY Phil

Wednesday May 21, 2014 - Vladimir Jurowski (above, in a Matthias Creutziger photo), who led a series of very impressive performances of Strauss' DIE FRAU OHNE SCHATTEN at The Met earlier this season, was on the podium at Avery Fisher Hall tonight for his New York Philharmonic debut. The programme featured works by Szymanowski and Prokofiev. In the days just prior to tonight's concert it was announced that the scheduled violin soloist, Janine Jansen, was indisposed and would be replaced by Nicola Benedetti.

Ms. Benedetti (above) hails from Scotland, of an Italian family. She trained at the Yehudi Menuhin School in Surrey and she maintains a full calendar of orchestra, chamber music, and recital engagements worldwide. A Decca recording artists, Ms. Benedetti takes an active role in music education and outreach. Tall and strikingly attractive, she was welcomed warmly by the NY Phil audience tonight following her excellent playing of the Szymanowski violin concerto #1. This was her Philharmonic subscription debut.

Karol Szymanowski wrote this concerto #1 in 1916. In the course of his musical career, this Ukraine-born but definitively Polish composer progressed from a Late Romantic style of writing thru an embrace of Impressionism (and a flirtation with atonality) to a later period when folk/national music became a strong influence.

Szymanowski's violin concerto #1, often referred to as the "first modern violin concerto"  leaves aside the customary three-movement concerto structure and instead unfolds as a tone poem with the violin ever-prominent. Tonight's performance was entrancing from start to finish, Ms. Benedetti showing great control in the sustained upper-range motifs that permeate the violin part: here she was able - at need - to draw the tone down to a silken whisper. The composer further calls for some jagged, buzzing effects as well as flights of lyricism from the soloist; a long cadenza requires total technical mastery. Ms. Benedetti delivered all of this with thoroughly poised musicality. Meanwhile the orchestra, under Maestro Jurowski's baton, paints in a brilliant range of colours, periodically breaking into big melodic themes that have an almost Hollywood feel. Both the piece and tonight's performance of it were thrilling to experience, and Ms. Benedetti truly merited her solo bow and the enthusiastic acclaim of both the audience and the artists of the Philharmonic.

Following the intermission during which my friend Monica and I were enjoyably chatted up by a young reporter from the Times of London, Maestro Jurowski led a one-hour suite of selections from Prokofiev's ballet CINDERELLA. This is a ballet I've never seen in live performance, though the music's familiarity comes as no surprise. Tonight's sonic tapestry of excerpts allowed us to easily follow the narrative, and the Philharmonic musicians gave full glory to the rhapsodic waltzes while individual players took advantage of the ballet's numerous colorful, characterful solo vignettes. The marvelous, ominous tick-tock leading up to the stroke of midnight and the ensuing mad dash were all terrific fun. The score, full of romance, humour, and irony - and the charming introduction of maracas - provided a superb debut vehicle for Maestro Jurowski. Let's hope he'll be back at Avery Fisher Hall soon. And Ms. Benedetti as well.

Balanchine's "Davidsbündlertänze" @ NYCB

Above: Ashley Laracey and Sean Suozzi in Robert Schumann's Davidsbündlertänze, photo by Paul Kolnik

Tuesday May 20, 2014 - Created in 1980, George Balanchine's setting of Robert Schumann's Davidsbündlertänze was one of the choreographer's last works. It's a unique ballet, deeply moving in its depiction of the composer Robert Schumann's descent into madness. 

During the winter of 1854, Schumann's developing insanity took a dramatic turn: he began hearing "angelic" voices which evolved into the bestial cries of wild animals. One February morning he walked to a bridge over the Rhine and threw himself in; he was rescued by fishermen. Schumann himself asked to be institutionalized, to prevent his becoming a burden on his wife, Clara. He was placed in a sanatorium. His doctors prevented Clara from seeing him for more than two years, until days before his death.

The Rouben Ter-Arutunian setting for this ballet, which has an antique look, surrounds the dancing area with gauzy curtains. The backdrop shows a body of water - perhaps alluding to Schumann's attempt to drown hmself - and a far-shining cathedral hovering in the sky, the source perhaps of the "angelic" voices summoning the composer. At one point, mysterious figues all in black and holding large quill pens appear: these represent the Philistines, whose admonishing writings were poised to oppose art or innovation in the arts and against who the Davidsbündler (the League of David - the composer's imaginary society of artists) took a firm stance.

The ballet, danced by four couples, seems to depict various phases of the relationship between Schumann and Clara; it may also hint as certain aspects of Balanchine's many romances. In Suzanne Farrell's book, Holding Onto The Air, the great ballerina says that Balanchine never told her what Davidsbündlertänze was "about" during the course of the ballet's creation. It wasn't until later that she made the connection to Schumann's own life.

Suzanne Farrell came very much to mind tonight in the ballet's opening duet, for Rebecca Krohn reminded me more than ever of Farrell, who was of course Balanchine's longtime muse. Partnered by the dashing Zachary Catazaro, Rebecca's sweeping lyricism and the communicative range of her expressions and gestures kept me riveted to her throughout the ballet. This was Farrell's role (the girl in blue) at the ballet's premiere and - like Suzanne - Rebecca may eventually take on the "Clara" role (the woman in white). Tonight her dancing was spell-binding.

Above: Rebecca Krohn in Robert Schumann's Davidsbündlertänze, photo by Paul Kolnik

This evening's entire cast in fact were new to this ballet, having all debuted in it together the previous week. Continuing to make a vibrant effect in each new assignment, Ashley Laracey was at her most delightful here...impetuous, charming, and dancing so very well. Sean Suozzi, who always brings his own distinctive energy to each role he undetakes, was her excellent cavalier. Tyler Angle, dancing with space-filling generosity and fineness of line, courted Tiler Peck with gentle urgency. Tiler, who to my mind seems to move from one pinnacle to another in the progress of her career, was just spectacular, her lush swirls of pirouettes radiating confidence and grace.

In her portrait of Clara, Teresa Reichlen, so elegant in her presence and so refined in her line and port de bras, strove poignantly to comprehend the changes that were overtaking her beloved. Her attempts to draw him back to her embracing tenderness became increasingly desperate, and Tess at the end must finally accept their parting: in an exquisite moment, she bows her head in silent grief as the light fades.

In a major career leap, the tall and poetic Russell Janzen's portrayal developed a melancholy acceptance of Schumann's tragic destiny. At the end of his very first duet with Tess, Russell's visage showed an early indication of madness with a far-away look. These momentary drifts away from reality eventually overtake him, and at the end of the ballet he withdraws with an expression mingling fear and resignation. Earlier, Russell's solo - set to the score's most haunting melody - was beautifully danced.

Above: Russell Janzen, with Cameron Grant at the piano, in Robert Schumann's Davidsbündlertänze, photo by Paul Kolnik

Cameron Grant, seated at the onstage grand piano, played the Schumann score with clarity and with tempos that seemed to propel the dancers while allowing them opportuniy for nuance. 

Just as singers have sometimes told me they can't sing anything after performing Franz Schubert's "An die Musik", it's difficult to imagine watching (or dancing in) another ballet after Davidsbündlertänze, such is the haunting atmosphere it creates. And so I didn't stay beyond the intermission: even going out to the Promenade seemed too hasty a return to reality. I was in a very subdued mood, and glad of a peaceful train ride home to reflect on the beauty of Schumann and touching artistry of tonight's dancers.     

ROBERT SCHUMANN’S “DAVIDSBÜNDLERTÄNZE”: Reichlen, Krohn, Laracey, T.Peck; Janzen, Catazaro, Suozzi, T. Angle [Solo Pianist: Grant]

Chamber Music Society/Season Finale

Above: pianist Gilbert Kalish

Sunday May 18th, 2014 - With this concert of works by Mendelssohn and Brahms, the current season of Chamber Music Society of Lincoln Center at Alice Tully Hall came to a close. The Society's programs - and the roster of incredible musicians they are able to draw from - have made CMS a key element in my musical life. It's almost like going to church, but even more meaningful.

Gilbert Kalish is such a pure musician. Nothing clutters up his delivery; he sits down and plays, opening a direct conduit between composer and listener. Kalish's virtuosity is so assured and the emotive qualities of his playing so genuine that the music comes vividly and memorably to life. He opened today's concert with a selection from Mendelssohn's Lieder ohne Worte ('Songs Without Words'); composed between 1829 and 1845, these melodious miniatures were published in eight volumes. Mr. Kalish's sampler of four of the songs covered the 15-year compositional span and were performed with astute dynamic contrasts and a lovely lightness of touch.

Waiting for the stage to be set for the string players, my friend Adi and I discussed which of the program's two composers we preferred, and whether we'd rather take the music of Mendelssohn or that of Brahms to the proverbial desert island. I chose Mendelssohn - the man who wrote my very favorite chamber works (his piano trios); and a few minutes later, as the playing of the adagio from the Quintet #2 moved me to tears, I knew I was right. (Adi sided with Brahms...)

The Mendelssohn Quintet #2, composed in 1845 - rather near the end of Mendelssohn's too-brief lifetime - shows the composer's continuing attachment to the Classicism of Mozart or Haydn while coloristically venturing deeper and deeper into the Romantic territory. It is perhaps his occupying this very bridge between two great eras in musical history that makes Mendelssohn so intensely appealing.

The cellist Paul Watkins gave the music a velvety weight, and Arnaud Sussman took the viola 1 line with some lovely nuances. Violinist Philip Setzer and violist Richard O'Neill provided the inner voices - Mendelssohn keeps all the players singing throughout. For all the joy and clarity of the outer movements, it's the adagio that gives this work its very special appeal. Here, violinist Shmuel Ashkenasi provided truly ravishing ascending phrases, soaring over the harmonies with poignant beauty of tone. This was the cause of my weeping today.

After intermission, Mr. Kalish was again at the Steinway for two Brahms Intermezzi - pensive, bordering on melancholic - which bracketed his splendidly agile playing of the Capriccio in G-minor (Opus 116) where his dexterity took us on a whilrwind ride, letting us catch our breath in the melodic central passage. Again, his connection to the music and the deep sincerity of his playing were much appreciated.

For the Brahms G-major Quintet (Opus 111), Mr. Setzer took the concertmaster post and all five of the musicians invested this music with glowing tone and intrinsic technical mastery. When Brahms submitted this quintet to his publisher in 1890, the score was accompanied by a message in which the composer suggested that this would be his final work. Fortunately he went on composing, producing several masterworks in the ensuing seven years until his death.

Above: violist Richard O'Neill

The Brahms G-major Quintet features a prominent role for viola 1, and today Richard O'Neill's passionate playing was as inspiring to behold as to hear: gorgeous tone, impeccable technique. Reading up on Mr. O'Neill's background, I came across this quote: "To violist Richard Yongjae O'Neill, music is like a religion in which Mozart and Beethoven are gods." No wonder I feel such a connecton to his playing: we're worshipers at the same altar.

• Mendelssohn Selected Lieder ohne Worte (Songs Without Words) for Piano
• Mendelssohn Quintet No. 2 in B-flat major for Two Violins, Two Violas, and Cello, Op. 87 (1845)
• Brahms Selected Intermezzos for Piano
• Brahms Quintet in G major for Two Violins, Two Violas, and Cello, Op. 111 (1890)

This evening's participating artists:

• Gilbert Kalish, piano
• Shmuel Ashkenasi, violin
• Philip Setzer, violin

• Richard O’Neill, viola
• Arnaud Sussmann, violin
• Paul Watkins, cello

All-Robbins @ New York City Ballet

Above: Wendy Whelan, photo by Henry Leutwyler

Saturday May 17th, 2014 (evening) - My first opportunity to see Wendy Whelan dancing since her return to the stage following surgery. She danced tonight in Jerome Robbins' GLASS PIECES. I can't begin to tell you how much I've missed her; at least I had the pleasure of running into her a few times in the interim.

From the moment she appeared tonight, seemingly floating into view in Adrian Danchig-Waring's big, beautiful hands, everything suddenly seemed right with the world again: the rift in the time-space continuum was sewn up, clocks started ticking again, the lights came back on. This is what's been missing these past few months, why everything has seemed ever-so-slightly awry. Wendy's been such a symbol for me of my whole New York Experience, of my dream that came true; seeing her dancing again was like an affirmation of faith.

She and Adrian cast a spell over the crowd in their mesmerizing, other-worldly duet. With their stylized gestures, they speak to us over the trance-like repetitive musical motif. We are drawn into their parallel universe, and it's breath-taking to behold. Beautiful creatures. 

If their pas de deux could have gone on and on I would have been content, but as Wendy is gently borne away the jungle drums begin to beat. And who is this tall, handsome demi-god who comes wheeling into view? It's Russell Janzen, and he's coming into his own at NYC Ballet now: Barber Violin Concerto this past February, and now he's been cast in the lead role of Davidsbundlertanze, which I hope to see in the coming week. He looked fantastic tonight, leading off the third movement of the Glass. 

Earlier, in the ballet's opening segment, the three 'angels-among-us' couples were Ashley Laracey with Daniel Applebaum, Meagan Mann with Joseph Gordon, and Emilie Gerrity with Andrew Scordato. They all look wonderful, and Mr. Gordon is stepping up nicely in each assignment.

Clothilde Otranto was on the podium tonight, and for the Prokofiev score of OPUS 19/THE DREAMER, she had City Ballet's excellent concert-master Kurt Nikkanen spinning out the music, by turns tranquil and restless. Speaking of gods, Gonzalo Garcia certainly looked divine and his dancing was powerfully expressive. Sterling Hyltin has just debuted in this ballet and she makes a vibrant impression; the ballerina here is not always dreamy - she has some jagged, almost harsh moments mixed in - and Sterling handled these transitions with compelling musicality.  She and Gonzalo looked superb throughout; the ballet ends in its iconic pose with the dancers resting their heads gently in one another's open palms. Quiet murmurs from the crowd as the music faded indicated that OPUS 19 had again bewitched us.

Several newcomers to the cast of THE CONCERT were enough to keep me in the theatre for this ballet, one that I often skip out on. Good thing I stayed, because it was a genuinely great performance. Pianist Elaine Chelton not only played the Chopin selections very well indeed, but entered into the drama with gusto. Sterling Hyltin was back in a role as different from OPUS 19 as one could imagine; she is as fine a comic muse as she is a lyrical one. Joaquin de Luz was perfect as the hen-pecked husband who finally rebels, and Lydia Wellington debuted in the role of the wife - which has been so memorably undertaken by Delia Peters and Gwyneth Muller - and made it her own: Lydia's timing was spot on, and her facial expressions were a characterful delight. I hardly recognized Troy Schumacher, even though I had bumped into him before the show: he had transformed himself into a total nerd. Marika Anderson's be-spectacled ballerina was another gem; she is so versatile, and - joined by five other off-beat sylphs - drew a prolonged round of applause and laughs as they presented an epically un-coordinated pas de six.

GLASS PIECES: Laracey, *Mann, *Gerrity, Whelan, Applebaum, *Gordon, Scordato, Danchig-Waring

OPUS 19/THE DREAMER: Hyltin, Garcia [Solo Violinist: Nikkanen]

THE CONCERT: Hyltin, *Scordato, *Adams, *Segin, Anderson, De Luz, *Wellington, Schumacher, Peiffer, Nelson