Italian Trip Diary -- Day #3, Rome-Orvieto-Florence

Friday, June 15, 2001, Rome to Florence via Orvieto:

The next morning we searched high and low for the Hertz office; finally finding it deep within the parking garage under the Borghese Gardens.  With our Opel station wagon loaded down with (too much) luggage we drove out of Rome, getting lost on our way to the Autostrada to Florence and getting an unexpected tour of a Roman residential neighborhood filled with apartment buildings, shops and schools.  It's always interesting to see the places where a city's middle classes actually live. 

We stopped in Orvieto – a beautiful old walled town perched atop a mesa – for lunch right across the square from the Gothic cathedral (Santa Maria Assunta). 

Orvieto Cathedral, Santa Maria Assunta, west facade from our lunch table. Photo by Blomme-McClure

The exterior is horizontally striped white travertine and blue-grey basalt except for the elaborate three-door Gothic west front, considered a masterpiece of the middle ages.  The colorful mosaics show scenes from the life of the Virgin, with her coronation depicted in the top center gable.  The bas reliefs depicting Old Testament scenes on the piers between the doors are among the finest 14th century sculptures anywhere.  

Orvieto Cathedral, Rose Window in west facade created by Orcagna between 1350 and 1380 AD.
Statues of the 12 Apostles in niches across the top; statues of Old Testament prophets in double niches
on each side;  four 'Doctors of the Church' in mosaic corner spandrels; head of Christ in center.
Photo by Blomme-McClure 

Bronze statues of an Eagle, symbol of the Evangelist John, and an Ox, symbol of the Evangelist Luke,
by Lorenzo Maitani on west facade of Orvieto Cathedral.  Photo by Blomme-McClure

The interior is also striped in the same black and white stone and seems very high, although after visiting the great gothic cathedrals of France and England, the round arches and exposed wooden roof beams are a bit disappointing.  

Nave of Orvieto Cathedral looking west from the altar.  Photo by Blomme-McClure

Apse and Altar of Orvieto Cathedral.
Gothic frescoes on three sides of Apse depicting scenes from the life of the Virgin were created
 by Ugolino di Prete Ilario with help from others circa 1370.  
They restore the frescoes once every 100 years.  Photo by Blomme-McClure

There is a lovely crucifix in the second chapel on the north aisle and lots of other wonderful art.  

The views from the walls of Orvieto out over the surrounding countryside striped with vineyards and dotted with villas is captivating. 

View from the walls of Orvieto.  Photo by Blomme-McClure

The highlight of the day, though, was arriving in Florence and being escorted to our room (#305) at the Loggiato dei Serviti (Piazza SS. Annunziata 3, Firenze; 055 28.95.92 or 055 28.95.93). It must be the original “Room with a View” – a corner room on the top floor.  In one direction we had a view over tiled rooftops to the Duomo and Campanile bathed in the glow of the late afternoon sun when we arrived.  From another window we could see the bell tower of San Marco rising above the skylight over Michaelangelo’s “David” in the Accademia.  The concierge confided to us the next morning that it was the best room in the hotel and that she tried not to give it to those who requested it (the Loggiato had recently been featured in an article in one of the airline magazines which mentioned this room by number).

View of  the Duomo and Campanile from Room #305 of Loggiato dei Serviti, Florence.
Photo by Blomme-McClure

Carl’s room was two floors lower with no particular view, but with a lovely 4-poster iron bed with white gauze draperies.  We all loved the hotel and found the staff to be both efficient and very kind and friendly. 

The Loggiato sits on the square directly across from the  Ospedale degli Innocenti designed by Brunelleschi.  The entrance is on a loggia that mirrors the more famous one of the Ospedale with its medallions of infants – each one different – by Andrea della Robbia between each arch.  On the north side of the square sits the lovely church of Santissisma Annunziata which we visited on Sunday morning.  It contains lovely frescoes and a “miraculous” painting of the Annunciation which was “completed by an angel” when the painter fell asleep in front of the unfinished work.

The beauty of the square was somewhat marred by an outdoor café with a stage backed by a large movie screen and an adjoining photo exhibit in a big white tent. Latin American music blared from the stage almost every night as we went to and from the hotel, but none of the din penetrated to our rooms.  They continued to offer the serene calm of the old city – especially the Duomo spotlit against the dark sky viewed from our “room with a view”.

Looking down Via Dei Servi toward Duomo, Florence.  Photo by Blomme-McClure

After settling at the hotel, we walked out to the Duomo where the light of the setting sun on the west front and campanile created a warm rose and gold aura, then on to the bustling Piazza della Republicca and the Piazza della Signoria. 

Evening light on west facade of  the Duomo, Florence.  Photo by Blomme-McClure

Lorenzo Ghiberti's 'Gates of Paradise' -- the east doors of the Baptistry, Florence with
our friend, Carl, in the foreground.  Photo by Blomme-McClure

Detail of the 'Story of Joshua' panel of Lorenzo Ghiberti's east doors of the Baptistry, Florence.
Photo by Blomme-McClure

Baptistry, Duomo and Campanile in setting sun, Florence.
Photo by Blomme-McClure

They were just setting up a stage in front of the Palazzo Vecchio for a brass band concert as we wandered through.  

Palazzo Vecchio on Piazza della Signoria at sunset, Florence.  Photo by Blomme-McClure

We strolled over the Ponte Vecchio, always packed with tourists and unfortunately a heavy police presence, and into the neighborhood of Oglisanti on the far bank of the Arno, before turning back to search for a place for dinner in the Piazza della Signoria and the Piazza della Republicca.  

Twilight on the Arno, seen from the Ponte Vecchio.  Photo by Blomme-McClure

We finally settled on Ristorante Il Bargello in the Piazza della Signoria, but the only table was inside – so we couldn’t hear the band concert very well.  The food wasn’t good, the service was lousy, there were little flies buzzing around everywhere, and they proceeded to begin closing up before our meal was finished.  An unforgettably awful meal to end an otherwise lovely day.

Jonathan Stafford Farewell Performance in 'Jewels'

SUNDAY MATINEE, MAY 25, 3:00 PM

JEWELS

JONATHAN STAFFORD FAREWELL PERFORMANCE

(Guest Conductor: Kessels)

EMERALDS: Bouder, Ramasar, A. Stafford, J. Stafford, Pereira, Carmena, Laracey 

RUBIES: Hyltin, Veyette, Reichlen [Solo Pianist: Grant] 

DIAMONDS: Mearns, J. Stafford 

We attended the first performance of 'Jewels' in April, 1967.  The performances of its original cast are the after-images against which I judge all of the performances that we've seen in the intervening 47 years -- not only by NYC Ballet, but also by Paris Opera Ballet, San Francisco Ballet, the Maryinsky Ballet, Miami City Ballet, Pennsylvania Ballet.

Balanchine with his 'Jewels' ballerinas: (clockwise from lower left) Suzanne Farrell (Diamonds);
Mimi Paul & Violette Verdy (Emeralds); and Patricia McBride (Rubies).
McBride's puffy ruffled skirt was jettisoned after the initial performances.

In fact, we also saw Sara Mearns and Jonathan Stafford make their debuts in 'Diamonds' in 2008.  This past January at a NYC Ballet seminar, we heard the four retiring principals (Ringer, Taylor, Marcovici, and Stafford) talk about their careers and their future plans.  The moderator, Tyler Angle, asked them each to pick a word about their career and explain it.  Jon chose the word 'proud' and explained how proud he was when he and Sara finished their joint debut in 'Diamonds' after working so hard to realize it.  I remember noting at the time that they looked thrilled, even triumphant, at having scaled this particular peak of the Balanchine repertory together.

Jonathan Stafford and Sara Mearns in Balanchine's 'Diamonds', 
(NYC Ballet has used this dramatic photo by Paul Kolnik in their advertising this Spring)

Due to debilitating injuries, Jon Stafford has had a rather stop-and-go performing career at NYCB.  He received his early training at Marcia Dale Weary's Central Pennsylvania Youth Ballet, then came to the School of American Ballet in 1997.  He was named an apprentice at NYCB in October, 1998 and joined the company's corps de ballet in February, 1999; advanced to soloist in March, 2006, and to principal in May, 2007.   Jon began teaching at SAB in 2006.  He now teaches intermediate and advanced men's classes and beginning adagio classes when his performing schedule permits.  Upon his retirement from performing, Jon will become a ballet master at the company and continue to be on the SAB faculty.
  
Jon is a tall, elegant dancer and an attentive partner.  His stage presence is somewhat stiff and formal, often lacking fluency and personal charisma, but Jon can be close to ideal in certain Balanchine cavalier roles.  His first important principal role was as the 'walking' cavalier in 'Emeralds' and one of his outstanding personal successes was in 'Diamonds' with Sara Mearns.

On Sunday afternoon, Jon danced the 'walking' cavalier (created for Francisco Moncion) in 'Emeralds' with his younger sister, Abi (in the role created for Mimi Paul).  Although they looked very comfortable dancing together they have only rarely been paired at NYC Ballet.  For me, some of their steps looked too robotic, lacking the subtle interior pulse that the best performances of these roles convey and that is clearly heard in Faure's hushed, almost mystical music.

Jonathan and Abi Stafford in 'Emeralds', photo by  Julieta Cervantes for NY Times

Ashley Bouder and Amar Ramasar danced the 'Emeralds' roles created for Violette Verdy and Conrad Ludlow.  Both Ashley and Amar successfully tamed their more flamboyant instincts and danced their parts with sensitivity and nuance.  Ashley used her arms and hands to project the depth, mystery and musicality with which Verdy had imbued the role.  Amar was an attentive partner, but also a musically sensitive soloist.  He grins a bit too much when the music is livelier, which dissipates the overall solemnity that should permeates the piece. 

Ashley Laracey, Erica Pereira and Antonio Carmena danced the pas de trois (created for Suki Schorer, Sara Leland and John Prinz) with a nice airiness.  Antonio is a bit too solid to fit my ideal (Prinz was a tall, slender dancer), but he does have the lightness and precisely etched technique required.

Erica Pereira, Antonio Carmena, and Ashley Laracey in the 'Emeralds' pas de trois,
 photo by Andrea Mohin for the NY Times

The music for 'Emeralds' is from Gabriel Faure's incidental music for 'Pelleas et Melisande' and 'Shylock'. In 1976 Balanchine added an additional pas de deux (to the 'Nocturne' from 'Shylock') and the final pas de sept (to 'La Mort de Melisande' from 'Pelleas et Melisande') to the original choreography. In some performances the intricate and stately finale can seem anticlimactic, but on Sunday it was spell-binding -- beautifully danced by all seven dancers while the audience seemed to collectively hold its breath.

A recent pas de sept cast including (front) Ashley Bouder, Jared Angle, Jon Stafford, Sara Mearns,
(back) Ashley Laracey, Antonio Carmena, Erica Pereira, photo by Andrea Mohin for the NY Times

It's interesting to note that six of the ten women in the 'Emeralds' corps are apprentices from the School of American Ballet.  They looked lovely and danced the simple corps passages with novice solemnity and unity. 


On Sunday, Sterling Hyltin, Andrew Veyette, and Teresa Reichlen danced the roles created by Patricia McBride, Edward Villella, and Patricia Neary in 'Rubies'.  The music for 'Rubies' is Stravinsky's 'Capriccio for Piano and Orchestra' with Cameron Grant as the piano soloist.  It is one of Stravinsky's jazziest and most approachable scores and inspired Balanchine to choreograph a lively 'American' piece filled with his version of bathing beauties, pin-up girls and jocks.

At this point, Tess Reichlen virtually owns the role created by Patricia Neary as the tall, enigmatic siren.  Her technical control of the difficult balances, soaring jetes and assorted exotic moves is astonishing and she dares to be witty, flirty, sensuous and aloof.

Teresa Reichlen with corps women in 'Rubies', photo by Paul Kolnik for NYC Ballet
(I'd swear that this was Photo-Shopped, if we hadn't just seen Tess do it live)

Hyltin and Veyette are less persuasive in the McBride and Villella roles.  Sterling's technique has improved tremendously since she first burst on to our radar as Juliet in Peter Martins' 'Romeo+Juliet', but McBride made this role more angular and spiky than Sterling manages.  No one any longer bends her knee slightly the way McBride did when she swung her leg forward with knee nearly touching forehead and then back so toe nearly touched the back of her head -- which always struck me as one of the role's signatures -- or crumples rag-doll limp into her partners arms the way McBride did.  Sterling performs the role like a slightly inebriated southern sorority girl, never achieving McBride's mix of control and abandon.

Andrew Veyette and Sterling Hyltin in 'Rubies', photo by Paul Kolnik for NYC Ballet

Like Villella, Veyette is a jock.  Balanchine made this role a slightly tongue-in-cheek tribute to Villella's prowess as a college baseball player and championship boxer.  Veyette came to ballet via gymnastics and his dancing is always athletic and usually vital.  On Sunday though, he seemed a little off his game and slightly preoccupied -- not fully invested in this role that can seem such a delightful romp with jogging, mimed rope skipping and chases by the four corps men.

Teresa Reichlen with corps (including Messrs. Schumacher, Villalobos and Laurent) in 'Rubies',
photo by Paul Kolnik for NYC Ballet

The work of the four corps men (Ippolito, Laurent, Schumacher, and Villalobos) was vibrant and joyous throughout.  Their interaction with the disdainful Reichlen was especially fun to watch.

Balanchine set 'Diamonds' to the last four movements of Tschaikovsky's 'Symphony #3 in D Major (he deemed the first movement 'undanceable').  On Sunday afternoon, the fourth movement (Scherzo: allegro vivo) -- with its swirling bravura variations for the lead couple and eight demi-soloists -- was also omitted, probably in deference to Jon Stafford's having earlier danced a leading role in 'Emeralds' as well.  I believe that there are some previous precedenst for eliminating or truncating this section. 

'Diamonds' was Balanchine's tribute to the Imperial Russian ballet of his youth.  The ballet's first movement (Alla tedesca: allegro moderato e semplice) for 12 corps women and two demi-soloists is filled with diamond patterns and often lacks a sense of urgency or purpose.  The two demi-soloist women drift on and off stage, while the corps women form various pretty configurations to a gentle waltz tempo.  Basically, it feels like the warm-up to the main event.  

The principal couple have an extended pas de deux (Andante eligiaco) which makes allusions to the encounter between Odette and Prince Siegfried in the second act of 'Swan Lake', the vision scene in 'Sleeping Beauty', and even moments in 'Raymonda' -- all works that Balanchine knew from St. Petersburg.  It was created for Suzanne Farrell and Jacques d'Amboise, although it is more closely associated with Farrell and Peter Martins.  Martins began dancing with NYC Ballet as a guest artist in 1967 and became a principal in 1970.  One critic suggested that d'Amboise presented Farrell like a proud father at his daughter's debut, while Martins treated her as a consort fit for a royal prince.

Peter Martins and Suzanne Farrell in 'Diamonds', photo by Paul Kolnik for NYC Ballet

Jon Stafford presented Sara Mearns on Sunday afternoon with both pride and deference.  As Balanchine intended this adagio is all about the ballerina (Farrell, the 'elusive muse') and Sara looks splendid with Jon's support and guidance.  Jon seemed appropriately enthralled, dropping to one knee at the end to kiss Sara's hand.

Jon Stafford and Sara Mearns in 'Diamonds', photo by Paul Kolnik for NYC Ballet

Moving from the pas de deux directly to the finale (Finale: allegro fuoco: tempo di polacca) brought the entire cast of 12 corps couples and four demi-soloist couples onto the stage for the grand polonaise followed by the long, hierarchical tribute to the principal couple.  Jon lifted Sara in a triumphant series of split jumps before they led the ensemble forward first in a slow, stately unison wave and then again in a swift, showy surge -- Jon dropped to one knee in a final tribute to Sara Mearns, his final ballerina.

Jonathan Stafford holding the mystery envelope during final ovation, photo by McClure
(behind Jon from left Ashley Laracey, Russell Janzen, Peter Martins, Sara Mearns)

The applause was thunderous, there were several traditional curtain calls including three in front of the curtain.  Then the curtain rose on the entire company; bouquets of roses were presented by each of the company's principals -- women then men -- then single roses from the female soloists; a bouquet and a mysterious envelope from Peter Martins; and finally a bouquet from Jon's fiancee, soloist Brittany Pollack (they'll be married in August); then streamers and confetti and bouquets tossed on stage from the audience.  Jon made two or three additional bows before the golden curtain -- a self-effacing, courteous cavalier acknowledging his many admirers -- before disappearing behind it to begin the next chapter of his dance life.

Quibbles & Bits:

The orchestra, conducted by yet another 'guest conductor', Koen Kessels, sounded best in the Faure music for 'Emeralds'.  The Stravinsky music for 'Rubies' was enlivened by the piano soloist, Cameron Grant, but was otherwise wan and predictable.  The Tschaikovsky music for 'Diamonds' was a disaster and certainly contributed to the enervating affect of the first section.  Orchestra balances were way off in both the Stravinsky and the Tschaikovsky -- often bass heavy and lacking vibrancy from inner voices.  Where's the new music director?  In my opinion, this was another failed audition.

I was offended that in the corps of 'Diamonds', two wonderful young multi-racial dancers, Silas Farley and Olivia Boisson, were paired.  Silas is the tallest man in the corps and should have been paired with the tallest woman, Emily Kitka (who he danced with as demi-soloists in 'Who Cares?' in SAB workshop performances).  Olivia -- neither short nor tall -- would look well with any number of partners (she's a gorgeous woman).  Enough of the 'separate, but equal' casting policy!  It's offensive and out of line -- let's go for color-blind casting from now on -- 2014 is the 50th anniversary of the Civil Rights Act.   

Italian Trip Diary -- Day #2, Rome

Thursday, June 14, 2001, Rome:

The following morning we left the hotel around noon (just as our friend, Carl K., was arriving at the hotel from NYC) and took the metro to the Basilica of St. Paul Outside the Walls, the second largest basilica in Rome after St. Peter's.  We remembered St. Paul's fondly from our previous trip, when we had walked all of the way from the Jolly stopping at several more churches and the Basilica of St. John Lateran.  The exterior of St. Paul’s is distinctive chiefly for the striking mosaic in the triangular pediment and upper story of the facade and for the huge colonnade in front which screens a lovely courtyard with a huge statue of St. Paul.  

Mosaic on the facade of the Basilica of St. Paul Outside the Walls, photo by Blomme-McClure

Entrance colonade and courtyard of the Basilica of St. Paul Outside the Walls with statue of Saint Paul,
photo by Blomme-McClure

Inside, there is a grand nave (the second longest in Rome – after St. Peter’s) ending in a massive arch in front of the altar with four side aisles separated by long colonnades.  They provide a rhythm which somehow mutes the overall sense of grandeur and creates a more human scale lacking from many Italian churches -- which often seem more intent on humbling worshippers rather than welcoming them. 

Nave of the Basilica of St. Paul Outside the Walls
with the Tabernacle above the Tomb of Saint Paul designed by Arnolfo di Cambio,
photo by Blomme-McClure

South Cloister of the Basilica of St. Paul Outside the Walls built by Vassallatto  in the 13th century,
photo by Blomme-McClure 

It was on our way to St. Paul's at the metro interchange at Termini (the main train station) that we had a pick-pocketing attempt.  Three men crowded onto an escalator – one in front of Doug, one between us and one behind George.  Their plan was for the first one to drop a package at the top of the escalator creating a diversion that would allow the two to each take one of our wallets.  Doug caught the one behind him with his fingers inside Doug’s pocket and gave him a stern look.  The guy behind George succeeded in getting George’s wallet out of his pocket, but George yelled “wallet, pick-pocket, thief” at the top of his lungs and the guy dropped the wallet just at the top of the escalator.  We grabbed the thief between us (the one who had had his hand in Doug’s pocket) just as a policeman arrived.  His two accomplices got away, but George’s wallet was there on the floor with everything in it.  The policeman, the thief we caught, and the two of us went upstairs to a police station.  We refused to press formal charges (too time consuming and complicated) so the policeman took us back to the metro while the thief was kept in the police station.

That evening, with Carl K., we walked down the Via Veneto to Piazza Barberini, thence to the Trevi Fountain, on to the Pantheon, and then via an unexpected route into the church of Sant'Andrea della Valle and on to the Piazza Navonna -- which was crowded with tourists and locals enjoying the early summer evening in one of Rome's greatest public squares. 

Interior of the Pantheon built by the Emperor Hadrian in 126 A.D.,
photo by Blomme-McClure

Fontana del Pantheon from the portico of the Pantheon,
photo by Blomme-McClure

Facade of Sant'Andrea della Valle by Carlo Maderno, photo by Blomme-McClure

Interior of dome of Sant'Andrea della Valle by Lanfranco and Domenichino, photo by Blomme-McClure

Fountain of the Four Rivers by Bernini in front of Sant'Agnese in Agone by Borromini
Piazza Navona, photo by Blomme-McClure

Much of central Rome has been reserved for pedestrians, which means that all of these sights are less harrowing to get to, although they are all crowded with tourists.  After Piazza Navonna we crossed the Tiber on the Ponte Umberto with the Dome of St. Peter’s and Castel Sant’Angelo rising above the river on our left.  

Dome of St. Peter's from Ponte Umberto, photo by Blomme-McClure

Castel Sant'Angelo (Hadrian's Tomb) from end of Ponte Umberto, photo by Blomme-McClure

After a lovely dinner in the sidewalk café of Ristorant Antico Cavour (Piazza Cavour, Rome, 06 687 5065) on the lovely Piazza Cavour across from the monumental and ornate Ministry of Justice, we took a taxi back to the hotel.

SAB Students on Today Show and in Teen Vogue

Last week, four students from the School of American Ballet appeared on a segment of the Today Show with Hoda Kotb and Kathy Lee Gifford to promote a new on-line feature, 'Strictly Ballet' that had been filmed for TeenVogue.com.

The four students -- Jasmine, Victor, Mimi and Alec -- were poised and articulate, engaging in repartee with their gushing hosts.  Mimi and Alec performed a snippet of the adagio from Balanchine's 'Symphony in C' staged by Kay Mazzo.  You can see the video from the  Today Show here:

http://www.today.com/video/today/55193811#55193811

But you have to put up with a 30-second advertising spot first.

'Strictly Ballet' on TeenVogue.com can be viewed here:

http://video.teenvogue.com/watch/strictly-ballet-strictly-ballet-episode-1-what-it-takes-to-be-a-star

You'll have to endure 30-second spots between each episode.  There are currently five  6-to-7 minute episodes available, although I believe there will be six in total.  They take you into the SAB studios where the students receive training from teachers like Jock Soto, Suki Schorer, Susan Pillare and Peter Martins; and into the student's dorm suites where they study and relax and dream of becoming professional dancers.

It's a fascinating, if superficial, peak behind the curtain at the finest ballet academy in the U.S.  You'll be amazed by the discipline and determination these teenagers display in pursuing that dream. 

Stained Glass from Canterbury Cathedral at The Cloisters

On Sunday, May 18th, we went to The Cloisters for the exhibition: 'Radiant Light: Stained Glass from Canterbury Cathedral'.  It had been on our calendar all winter and spring, but there we were on the final day of the exhibition crowded in with tourists from all over the world.

This is the first time that windows from Canterbury's 'Ancestors of Christ' cycle have been out of the cathedral close since they were created between 1178 and 1180.  The 86 windows in the cycle representing Old Testament figures in the lineage from Adam to Christ were originally installed in the clerestory of the cathedral's Norman (or Romanseque) choir, about 60 feet above the floor of the cathedral.  Each ancestor has his name on a white band running behind his head so that they could be identified from below.

Canterbury Cathedral's Norman choir.
The clerestory windows are at the very top.  Photo by Blomme/McClure

Only 43 of the original windows in the cycle survive today.  Around 1790 several of the windows from the cycle were moved from the choir clerestory to become part of the great south window of the main south transcept.  For a reconstruction project on that window, the ancestor windows have been removed and restored.  So The Cloisters took the opportunity to bring them to New York. 

The great south window of the southwest transcept of Canterbury Cathedral.
Photo by Blomme/McClure

The six windows in the exhibition are arranged on a tall square column in the center of the Romanesque Hall of The Cloisters.  Several of them have been reunited with the original borders from their clerestory positions for the first time since the 1790's.

'Abraham' and 'Thera' with original border panels as displayed at The Cloisters.
Photo by McClure

The panels for 'Abraham' and 'Thera' were originally mounted in the choir transcept, double hung as shown here with their original borders.  Thera is the father of Abraham according to the Old Testament.  In the middle ages Thera was considered unsavory because he came from Ur which was supposedly a place where pagan beliefs flourished.  The twisted posture, indecisive hand gesture, shifty eyes and yellow cloak indicate this view of 'Thera'. 

'Thera' , the father of Abraham, from 'The Ancestors of Christ' window cycle of 
Canterbury Cathedral, photo by McClure 

His son Abraham is the start of the generations leading to King David.  As such, 'Abraham' is depicted as stable and dependable with a steady gaze and a hand raised in benediction.

'Abraham' from 'The Ancestors of Christ' window cycle of
Canterbury Cathedral, photo by McClure

Lamech is the son of Methusalah and the father of Noah.  In the middle ages Lamech represented a time of increasing sinfulness that eventually led to the Great Flood.  In the window, he is shown in a restless posture with legs and torso in apposition and with a yellow robe that indicated lust and avarice.  The 'Lamech' window was reunited with its original clerestory borders for the first time in over 200 years for this exhibition.  

'Lamech' with original Romanseque foliate border from
 'The Ancestors of Christ' window cycle of Canterbury Cathedral, photo by McClure

In the exhibition there was a section of the border from the clerestory windows of the choir that had not been restored.  Looking at it you realized the importance of cleaning and restoration to these windows.  Almost no light penetrated the layers and layers of dirt and grime and atmospheric damage.

'Jared' and 'Phalec' from 'The Ancestors of Christ' window cycle of Canterbury Cathedral,
photo by McClure

The 'Jared' and 'Phalec' windows were shown together on one side of the installation.  Jared was the fifth generation after Adam.  He is depicted as straightforward and confident.
Phalec was either the fourth or fifth generation after Noah.  He gazes directly out of the picture and holds a scroll which indicates authority.

'Noah' with original border from
 'The Ancestors of Christ' window cycle of Canterbury Cathedral, photo by McClure

My favorite window in the series was 'Noah'.  He is looking up and raising his right hand as if he's having a discussion with God about the logistics of building an Ark.  With his right leg raised and his left hand on his hip, he is more animated and three dimensional than the other five figures in the exhibition.

These newly cleaned windows are indeed radiant.  The bright colors, interesting patterns and arresting shapes catch the modern viewer by surprise.  The artists who created them understood how to convey the unique qualities of these Old Testament figures to a largely illiterate population. 

NYCB Tuesday Evening, May 13th

TUESDAY EVENING, MAY 13, 7:30 PM

ALL BALANCHINE

RAYMONDA VARIATIONS: *Lovette, *Huxley, Pollack, Segin, Laracey, Mann, Lowery [Guest Conductor: Alexandros Myrat]

THE STEADFAST TIN SOLDIER: Pereira, Ulbricht [Guest Conductor: Alexandros Myrat]
pause
LE TOMBEAU DE COUPERIN [Conductor: Capps]

SYMPHONY IN C: [Guest Conductor: Alexandros Myrat]
First Movement: T. Peck, Finlay Catazaro;
Second Movement: Reichlen, T. Angle;
Third Movement: Isaacs, Garcia; 
Fourth Movement: *Laracey, Stanley 

When the curtain goes up on 'Raymonda Variations', I'm always reminded of the Fragonard Room at the Frick Collection --  with the hazy pastel forest backdrop and the 12 corps women in pink with flowered wreaths on their heads posed in groups of three like shepherdesses at play in the gardens of the Petite Trianon.   

'The Progress of Love: The Lover Crowned'
by Jean-Honore Fragonard
from the Frick Collection

Balanchine found the plot of 'Raymonda' convoluted and ridiculous, but loved the gorgeous score by Glazounov and used it for several ballets, including 'Cortege Hongrois', 'Pas de Dix', and this one.

Lauren Lovette and Anthony Huxley made their debuts in the principal roles on Tuesday evening.  They are both wonderfully vivid soloists and their work in solo passages was sparkling.  Ms. Lovette's pointe work is delicate and precise; she uses her upper body effectively to complete and counterpoint musical phrases.  Mr. Huxley's dancing is elegant and poised; he executes the very difficult beats and tours and pirouettes of his solo variations with such subtle grace and musicality that they appear simple and effortless.

Lauren Lovette and Anthony Huxley in Balanchine's 'Raymonda Variations',
photo by Andrea Mohin for the New York Times

Even though they are wonderful dancers and look great together, their partnered passages are more problematic.  They both appear tense in the two intricate pas de deux.  Mr. Huxley needs to inspire greater trust from his ballerina in these duets and Ms. Lovette needs to cede control to him.  They are too polite and sunny to let these passages degenerate into an open battle of wills, but the overall impression is one of insecurity and unsteadiness.  I have occasionally seen NYCB dancers in Jock Soto's Adagio classes at SAB and I would urge Ms. Lovette and Mr. Huxley to attend when they can.  It would be a shame for them not to work to improve their partnership to match their abilities as individuals.

I still remember first seeing this ballet in the early 1960's from about the third row of the orchestra at City Center.  Melissa Hayden danced the lead (probably with Andre Prokovsky).  Ms. Hayden tested her partner throughout the performance, sabotaging his authority and making herself look wobbly and insecure.  I hadn't watched enough ballet at that point to realize there was a better way.

All five women who emerged from the corps to perform solo variations (Brittany Pollack, Kristen Segin, Ashley Laracey, Meagan Mann and Savannah Lowery) danced so beautifully it seems best to give them all praise.  And the entire corps danced the delicate opening section and the bravura coda with precision, vivacity and heart.  

'The Steadfast Tin Soldier' is one of Balanchine's least interesting works, but one that the company regularly programs as a 'filler' pas de deux.  Set to a sweet, twinkly selection of pieces from Bizet's 'Jeux d'Enfants' and with a homey Christmas set it is too saccharine for my taste.  Daniel Ulbricht dances the title role with elan.  Erica Periera plays the paper doll with glee, but (spoiler alert) still goes up in flames at the end.

Erica Pereira & Daniel Ulbricht in Balanchine's 'The Steadfast Tin Soldier',
photo by Paul Kolnik for New York City Ballet 

Created for NYCB's 1975 Ravel Festival, 'Le Tombeau de Couperin' uses Ravel's score of the same name, which he composed in the style of Francois Couperin, a French baroque composer.  The original 1919 piano suite consisted of 6 movements.  In 1920, Ravel orchestrated 4 of those movements, which are used by Balanchine for this ballet.

'Tombeau' is Balanchine's homage to his fully matured corps de ballet.  The 8 corps couples are initially divided into left and right 'quadrilles'.  For much of the ballet each quadrille performs the same steps -- not as mirror images, but as near carbon copies -- each on it's own half of the stage.  They remind me of those dusty, old stereopticon images that we of-a-certain-age used to view in the school library.  

Stereopticon image -- notice how the images are slightly different.

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When viewed through a special contraption the images seemed to be in 3D.

The special contraption for viewing the stereopticon as a 3D image

I've often wondered if 'Tombeau' is also Mr. B's sly tribute to the steropticon.

Initially, Balanchine seems to give the audience a choice of focusing on one quadrille or bouncing between them.  It is a hallmark of New York City Ballet at this particular point in time that the company dances with great unity and cohesion without ever sublimating the personalities of the dancers.  When I'm familiar with the choreography, I often find myself following one or two favorites -- Olivia Boisson, Lydia Wellington, Troy Schumacher and Devin Alberda all caught my eye in this case.  As the ballet moves on the two quadrille's gradually begin to first encroach on the other's half of the stage and then to interact, eventually intertwining to form one larger pattern using the entire stage. 

Both 'quadrilles' in Balanchine's 'Le Tombeau de Couperin', photo by Paul Kolnik for New York City Ballet

 When I purchased the tickets for the Tuesday evening performance of the 'All Balanchine' program I didn't realize that it was going to be NYC Ballet's 'Celebration of the 80th Anniversary of the School of American Ballet'.  Even when I found out about the celebration from the SAB staff I didn't know that our seats would be right in the middle of their seats.  So we celebrated SAB together!

The actual celebration occurred after the second intermission.  There was a delightful video featuring well-known SAB alumni including Chita Rivera, Jacques d'Amboise, Edward Villela, Allegra Kent, Peter Boal, Kyra Nichols, and many current NYCB principals.   (Unfortunately, they were talking over a tinkling piano soundtrack that made several of them hard to understand).  Then Peter Martins made a short speech, including (as always)  'something Balanchine told me'.  Peter then introduced the current SAB faculty -- all former NYCB dancers and most SAB alumni -- except for Andrei Kramerevsky, the last of the old Russian faculty.

Andrei Kramerevsky in Bolshoi Ballet's
'Fountains of Bakchisarai' in 1960's

Andrei Kramervsky teaching at SAB in 2008

Finally, little girls in pink brought each of the women on the faculty fresh bouquets and Peter rushed to the wings to get a laurel wreath to crown Mr. Kramerevsky. 

Balanchine initially choreographed Bizet's Symphony in C as 'Le Palais de Cristal' for the Paris Opera Ballet in 1947.  The cast for each movement was costumed in a different jewel tone (a pre-cursor to 'Jewels'?).  As 'Symphony in C' and costumed in white and black, it was on the first program of New York City Ballet in October, 1948.  It has been at the heart of the NYCB repertory ever since.

This is our first chance to see the new costumes by Marc Happel that were created for the spring 2012 revival which use (too many) Swarovsky crystals.  I was very fond of the older costumes by Karinska with the simple white satin bows on the tutus.  By comparison, these new costumes seem overly glittery.

Finale of Balanchine's 'Symphony in C' from backstage, photo by Kyle Froman

They are wearing the old Karinska costumes

Nonetheless, the dancers in them are wondrous to behold, dancing in one of company's great treasures.  Tiler Peck seems impervious to the variety of cavaliers that squire her.  The original casting had Chase Finlay leading her through the first movement.  When Chase bowed out due to slower-than-anticipated recovery from his recent injury, Zachary Catazaro stepped in as his replacement.  Ms. Peck and Mr. Catazaro danced the first movement (Allegro Vivo) with high style and no obvious nerves.

Teresa Reichlen and Tyler Angle led the Adagio with a mix of grandeur and radiance.  Tyler has become the company's strongest, most secure partner and his calm support displays his ballerina's long line and extreme extension.  Tess deploys her slender arms and legs to articulate the serene musical  phrases, including the de rigueur forehead-to-knee supported arabesque.

It was a joy to see Ashly Isaacs dancing the third movement (Allegro Vivace) with Gonzalo Garcia.  In spring of 2009 Ashly hobbled on stage on crutches to receive her Wien award at SAB after sustaining an injury during rehearsals for workshop.  Now, here she was dancing one of Balanchine's trickiest roles, seemingly without a care in the world.  Gonzalo came to the company from San Francisco Ballet in 2007.  He is one of three dancers in the company who is not an alumnus of SAB.  Although he is a virtuoso soloist, he is an unexceptional partner.  His cautious partnering of Ashly in this movement resulted in the few tenuous moments of an otherwise glorious performance.

Ashley Laracey and Taylor Stanley led the first section of the fourth movement (also Allegro Vivace) and, yes, I am one of those audience members who leads the applause when they leave the stage to be replaced by the first movement cast.  Ms. Laracey and her corps introduce the repeating dance phrase that becomes the motif of this movement -- rapid multiple fouettes followed by fast, stabbing bourees -- all coordinated to the fast music.  As succeeding casts from each previous movement appear they perform this phrase along with variations on themes from their own movement.  When the principals and demi-soloists from each movement leave the stage, the corps women stay behind, forming an increasingly complex frame for the four ballerinas when they return to center stage.  They are gradually joined by their cavaliers and all 8 demi-soloist couples.  The architectural complexity of the final moments with the entire 52-member cast on stage is astonishing and exhilarating.  

Staged photo of the finale of Balanchine's 'Symphony in C', photo by Paul Kolnik for NYC Ballet

'Raymonda Variations', 'The Steadfast Tin Soldier', and 'Symphony in C' were conducted by Alexandros Myrat, the company's most recent guest conductor.  His conducting in 'Raymonda' was nuanced and quite lovely, although the house's 'sound enhancement system' was producing a decided tinkling on our side of the orchestra.  Maestro Myrat led 'Symphony in C' at a brisk, virtually airless pace -- even the Second Movement (Adagio) seemed too regimented and the lilting Third Movement (Allegro vivace) too efficient and humorless.  This was yet another reminder that the company needs to appoint a first-class permanent Music Director now to bring some musical substance back to the pit and stop the orchestra's current drift into mediocrity.