New York City Ballet Sunday Matinee, May 1st

SUNDAY MATINEE, MAY 1st, 'Jewels', 3:00 PM (Conductor: Otranto)

EMERALDS: *Scheller, *Finlay, *Laracey, *Scordato, *Woodward, *Ball, *Segin 

RUBIES: *Lovette, *Huxley, *Kikta [Solo Piano: Grant] 

DIAMONDS: Mearns, T. Angle 

* First Time in Role 


The May 1st performance of George Balanchine's 'Jewels' by New York City Ballet offered a mixture of new faces and familiar veterans in a ballet that we have watched from its opening night in April, 1967.  No matter the casting, it is always wonderful to encounter this beloved ballet (or is it three ballets?) anew.  Here's a video of three of the Company's current principals -- Sara Mearns, Tiler Peck and Teresa Reichlen -- discussing the ballet (4:39):

https://www.youtube.com/watch?v=Mj5gbyZw1q0

Even though Balanchine's works were always closely tied to his musical choices -- Faure, Stravinsky, and Tschaikovsky here -- these three works have always been most closely associated in my mind with the ballerinas who created these roles for him -- Violette Verdy and Mimi Paul in 'Emeralds'; Patricia McBride and Patricia Neary in 'Rubies'; and Suzanne Farrell in 'Diamonds'.  

George Balanchine surrounded by 'Jewels' ballerinas (clockwise from lower left):
Suzanne Farrell, Mimi Paul, Violette Verdy, and Patricia McBride.
Photo by Martha Swope

While the men were important, except for Edward Villella in 'Rubies', they were primarily there to support and display Balanchine's chosen ballerinas.

In 'Emeralds', it is virtually impossible to erase Violette Verdy's performance as the first ballerina from my mind.

Violette Verdy in George Balanchine's 'Emeralds'.
Photo by Martha Swope

Her death this past winter ended her continuity with this role -- which she continued to coach for several companies around the world after she had stopped dancing in 1977.  Here's a link to an interview with Ms. Verdy and Mimi Paul (the other principal ballerina in 'Emeralds') published at the time they were coaching 'Emeralds' at Pacific Northwest Ballet in 2009:

http://ballet-dance.com/200904/articles/interview_verdypaul_20080300_speer.html

And here is a videotaped interview with Ms. Verdy and Conrad Ludlow discussing their roles in 'Emeralds' with Jennifer Dunning for the Balanchine Foundation's Memory Project (17:19):

https://www.youtube.com/watch?v=ShON2Rcd6uI

Many others have tried, but few have approached the heady perfume Ms. Verdy delivered in her 'Emeralds' role during those first ten years.  Ana Sophia Scheller was woefully miscast in this role.  Scheller is a hard-edged dancer much better suited to unsubtle bravura roles.  Here her pointes clattered and stabbed when they should have whispered and caressed the stage in quietly impressionistic bourrees.  Chase Finlay as her cavalier harked back to the strong, stolid original of Conrad Ludlow -- with perhaps a greater gloss of elegance.

Ashley Laracey and Andrew Scordato as the couple in the 'walking' pas de deux were appropriately aloof.  Ms. Laracey offered a windswept quality to the role and Mr. Scordato provided terrific support in the tricky partnering.  Let's hope that they both receive more opportunities like this to display their artistry.

In this pas de deux there should be a pulse that emanates from within the dancers almost like a heart beat.  It's tricky to achieve the balance between being inspired by the musical pulse clearly heard in Faure's music and seeming too mechanical.  In Mimi Paul's videotaped discussion with Nancy Goldner for the Balanchine Foundation Memory Project she describes how she worked to soften the 'notches' and achieve the mesmerizing quality of this role which should leave the audience rapt (19:36):

https://www.youtube.com/watch?v=WGDeCrWFrRY

The briskly effervescent pas des trois featured Kristen Segin, Indiana Woodward and Harrison Ball in their debuts.  While all three were very good, I was especially taken with the twinkle of Ms. Woodward in her too brief solo.

The 'Emeralds' 10-woman corps was filled with apprentices (Rachel Hutsell, Sasonah Huttenbach, Alston Macgill and Clara Ruf-Maldonado) and newly minted corps members (Miriam Miller and Mimi Staker stood out).  They provided a gorgeous framework for all of the featured debutants.

An earlier cast nearing the 'false' ending of Balanchine's 'Emeralds'.
Photo by Paul Kolnik for NYC Ballet 

As usual the 'false' ending of 'Emeralds' catches many in the audience off guard.  The resulting ovation, while deserved, detracts from the eloquence and poignancy of the epilogue that Balanchine added in 1976.  The transition from this 'finale' to the epilogue is somewhat jarring and possibly needed further thought from Balanchine.  The addition also makes the ballet seem overlong for many observers (although not for me).  Nonetheless, the solemn pas de sept for the seven leads is a wondrous thing -- filled with characteristic Balanchine motifs and flourishes that he uses to deal with the odd number of dancers involved.  It ends on a note of melancholy as the four women depart leaving the three men alone.

An earlier NYC Ballet cast in the final 'Pas de Sept' from Balanchine's 'Emeralds'.  
Photo by Paul Kolnik for NYC Ballet

 
'Rubies' was led by Lauren Lovette and Anthony Huxley.  It was interesting to see them take on the iconic roles associated with Patricia McBride and Edward Villella.  Of course, we had seen Ms. Lovette dance the pas de deux with Jeffery Cirio (then of Boston Ballet and now of American Ballet Theatre) at the Kennedy Center Honors in December, 2014 (honoring Ms. McBride).  Here's a video clip (2:17): 

https://www.youtube.com/watch?v=dTEmzNxb530

Both Ms. Lovette and Mr. Huxley had danced the pas de deux at the NYCB Fall Gala. 

Lauren Lovette and Anthony Huxley in Balanchine's 'Rubies'.
Photo by Paul Kolnik for NYC Ballet

 This, however, was their first performance of the complete 'Rubies' and they were vibrant.  Ms. Lovette has a wonderfully vivacious persona that fits this role nicely.  There are details -- like the arm and hand gestures alluding to the Far East and some balances that were held too briefly for full impact -- that she can still improve.  Mr. Huxley produced a playfully athletic, out-going performance, while retaining his customary technical brilliance.

Emily Kikta as the tall girl was sexy, secure and Amazonian, offering an expansive, take-no-prisoners interpretation of the role and providing an effective contrast to Ms. Lovette's coquettish ballerina.
  

Emily Kikta in Balanchine's 'Rubies'.  
Photo by Kolnik for NYC Ballet

(For my money, Teresa Reichlin still 'owns' this role for the current generation -- a role originated by Patricia Neary and danced memorably over the years by Gloria Govrin, Colleen Neary, Maria Kowroski, and several others.)

Teresa Reichlin as the 'tall girl' in Balanchine's 'Rubies'.  
Photo by Paul Kolnik for NYC Ballet

At the 1967 premier of 'Jewels', 'Diamonds' was lead by Suzanne Farrell and Jacques d'Amboise.

Jacques d'Amboise and Suzanne Farrell in Balanchine's 'Diamonds'.
Photo from Pinterest.

When Peter Martins joined the company from Denmark in 1970 he took over the role as Suzanne's cavalier from d'Amboise and it changed from a 'father proudly presenting his beautiful and gifted daughter' as one observer noted into a more romantic relationship of imperial equals. 

Peter Martins and Suzanne Farrell in Balanchine's 'Diamonds'.
Photo by Paul Kolnik for NYC Ballet

Farrell and Martins were one of the legendary partnerships of ballet and 'Diamonds' was one of their primary vehicles.  With Martins, Farrell was able to indulge her famously idiosyncratic tendencies, presenting different facets of the role at each performance.  Martins responded with ever more assured partnering that reflected and refracted the moods of his mercurial ballerina.  When Farrell abruptly left the company in 1969, Kay Mazzo took over the role, offering a more self-contained dynamic to her dancing in the pas de deux.  Farrell's shifting approaches to the role validated the choices of Miss Mazzo and future interpreters of the role .  It is an iconic role made malleable by its originator. 

During a NYCB seminar on the Monday after the May 1st performance, Jon Stafford called this performance of the 'Diamonds' pas de deux by Sara Mearns and Tyler Angle the 'most nearly perfect' he had ever seen.  Jon was Sara's cavalier when she made her debut in the role and I would judge their performance then more exciting, if somewhat tense.

Jon Stafford and Sara Mearns in Balanchine's 'Diamonds'.

Photo by Paul Kolnik for NYC Ballet

Here, Sara and Tyler seemed perfectly attuned to each other -- dancing expansively and confidently and with exceptional rapport.
  

Tyler Angle and SaraMearns in Balanchine's 'Diamonds'.
Photo by Andrea Mohin for NY Times

Both Sara and Tyler have danced their roles with others -- Tyler notably with Maria Kowroski, and Sara most recently with Ask la Cour and Zachary Catazaro.  By all standards this was an exceptional performance by two artists at the peak of their artistry. 

The four demi-soloist couples and the twelve corps couples seemed to grasp the impact of occasion -- dancing the concluding polonaise with precision, grandeur and joy.

Demi-soloist and corps couples entrance for the finale of Balanchine's 'Diamonds'.
Photo by Paul Kolnik for NYC Ballet

The capacity audience responded with a huge, and hugely justified, ovation.

Miami City Ballet Matinee Performance on April 17th

Miami City Ballet, Saturday, April 17th, Gary Sheldon, Conductor

Heatscape (Bohuslav Martinu/Justin Peck):
First Movement:  Emily Bromberg, Renan Cerdeiro
Second Movement:  Tricia Albertson, Kleber Rebello
Third Movement:  Andrei Chagas, Jennifer Lauren, Shimon Ito

Viscera (Lowell Liebermann/Liam Scarlett):
Jeanette Delgado, Renato Penteado, Kleber Rebello, Jennifer Lauren, Callie Manning, Zoe Zien
Francisco Renno, Piano

Bourree Fantasque (Emmanuel Chabrier/George Balanchine):
First Movement:  Jordan-Elizabeth Long, Shimon Ito
Second Movement:  Simone Messmer, Rainer Krenstetter, Emily Bromberg, Samantha Hope Galler
Third Movement:  Nathalia Arja, Renato Penteado, Ashley Know, Neil Marshall, Zoe Zien, Chase Swatosh
Fourth Movement: Entire cast


Miami City Ballet was founded in 1985 and is just finishing its 30th Anniversary season.  It's week-long appearance at the Koch Theater was the capstone of the anniversary celebrations -- the first time the Company had performed at Lincoln Center and their first appearance in New York City since 2009.  They brought eight ballets spread over three programs on this visit.  Their music director, Gary Sheldon, conducted the New York City Ballet orchestra for all seven performances.

Lourdes Lopez, the artistic director of Miami City Ballet since 2012, commissioned 'Heatscape' from Justin Peck in 2015.  Justin used the Piano Concerto #1 by Bohuslav Martinu -- a composer whose 'Sinfonietta la Jolla' he had also used for his 'Paz de la Jolla' in 2013.  The well-known street artist and graphic designer Shepard Fairey-- who created the 'Hope' poster of Barack Obama for the 2008 presidential campaign -- created the backdrop and Reid Bartelme and Harriet Jung designed the costumes.

Company members in Justin Peck's 'Heatscape'.  Backdrop by Shepard Fairey and costumes by Reid Bartelme and Harriet Jung.  
Photo from Miami City Ballet website.

This video by Ezra Hurwitz and Justin Peck shows Justin imagining the choreography amidst Miami's Wynwood Walls -- a site where vivid street art is encouraged and celebrated:

https://www.youtube.com/watch?v=L_w11RwHYuw 

'Heatscape' itself is a brilliant introduction to this company -- as sunny and open-hearted as its home city.  The choreography is athletic and complex, but most of all it is immensely fun to watch -- and hopefully to dance.

The curtain opens with the entire 17-member cast lined up across the back of the stage facing Fairey's backdrop -- a huge red and orange sunburst with a wide border in a dark blue and gold border across the bottom, both inspired by Indian mandala patterns.  They're wearing Bartelme & Jung's pale costumes -- short white dresses for the women and beige shorts with white tops for the men.  They turn and race to the front of the stage before beginning to dance to the jaunty opening of the first movement (Allegro moderato).  As the music shifts into a more contemplative mood a central couple (Emily Bromberg and Renan Cerdiero) emerges. 

Tricia Albertson and Kleber Rebello in the second movement of 'Heatscape'.
Photo by Paul Kolnik

In the second movement (Andante) a different couple (Tricia Albertson and Kleber Rebello) dances a sensual pas de deux.  There is a beautifully executed movement repeated several times, where Ms. Albertson rises through a hoop of Mr. Rebello's encircling arms.  Mr. Rebello must be incredibly strong to sustain Ms. Albertson in the air supported on his extended arms.

Miami City Ballet dancers in Justin Peck's 'Heatscape'.  Photo from Vanity Fair

The romping third movement (Allegro) is led by Andrei Chagas, Jennifer Lauren and Shimon Ito.  Peck often devises choreographic patterns which intrigue and sometimes deceive the observer -- here two concentric circles of five and then seven dancers each.  You initially think that you see a circle of men and a circle of women, but then you realize they are probably organized by height with a single tall woman mixed with four tall men and a shorter man with four short women.  By the time you've figured that out, the circles have grown to seven members each -- again seemingly organized by taller and shorter without regard to sex.  It reminded me of the moments in Balanchine's 'Agon' where the three quartets -- initially four men and two groups of four women -- suddenly become mixed and then resolve again by sex.  It is all enormous fun for the observer and obviously for the company.

Miami City Ballet dancers in Justin Peck's 'Heatscape'.  Photo from Vanity Fair

 At the end the cast gathers at the back of the stage and then race to the front as the curtain descends.

Liam Scarlett's 'Viscera' to Lowell Liebermann's 'Piano Concerto #1' was created for MCB in 2012 and has since also been danced by the Royal Ballet -- where Scarlett is resident choreographer.  The dark, partially translucent costumes are also by Scarlett. 

Jennifer Kronenberg and Miguel Guerra in Liam Scarlett's 'Viscera'.  Photo by Andrea Mohin for NYTimes

The murky lighting design is by John Hall.  I found what of Scarlett's choreography we could see through the gloom arduous with often clumsy partnering.  The 16-member-cast was led by Jennifer Carlynn Kronenberg, Jeanette Delgado and Miguel Guerra, but the entire group floated on and off stage seemingly at random. 

The program closed with Balanchine's 'Bourree Fantasque' to music of Emmanuel Chabrier.  The work was staged for the Miami company by Susan Pillare -- who had also staged it for the School of American Ballet's 2010 Workshop Performances.  It was one of the first ballets that Balanchine created -- in 1949 -- for New York City Ballet.

The first movement -- created for Tanaquil Le Clercq and Jerome Robbins -- is one of Balanchine's pairings of a tall, long-legged ballerina with a shorter partner.  Both Le Clercq and Robbins were well-known for their wit.
  

Tanaquil Le Clercq and Jerome Robbins in the first movement of Balanchine's 'Bouree Fantasque'.
Photo by George Platt Lynes

Here the Miamians Jordan-Elizabeth Long and Shimon Ito had great fun with the taller woman/shorter man paradigm.  In this movement the women all expertly manipulated fans while the men gave their best toreador impressions.

Balanchine created the second movement for Maria Tallchief and Nicholas Magallanes.  The ballerina -- a relative of the Waltz Girl in Balanchine's 'Serenade'and the Elegie ballerina from his 'Tschaivkosky Suite #3" --  fades in and out of the ensemble as she is pursued by her ardent suitor.  MCB's Simone Messmer and Rainer Krenstetter danced with poignance and longing as the thwarted lovers.

Simone Messmer and Rainer Krenstetter in the second movement of Balanchine's 'Bourree Fantasque'.
Photo by Andrea Mohin for NYTimes

Balanchine set the third movement on Janet Reed and Herbert Bliss.  The Miamians Nathalia Arja and Renato Penteado were dazzling in this performance.

The fourth movement brings the entire cast of 42 dancers on stage for a rousing finale featuring cadres of ballerinas from the three previous movements crisscrossing the stage in space devouring grand jetes.

Mass grand jetes by the women of the second movement  in the final movement of
Balanchine's 'Bourree Fantasque'.
Photo by Gene Schiavone

 The complexity of the patterns -- including more concentric circles -- that constantly change and resolve is extraordinary and offered a final example of the exuberance and joie de vivre that this company brought to the Koch Theater. 

Miami City Ballet dancers in the finale of Balanchine's 'Bourree Fantasque'.
Photo by Renato Penteado for Miami City Ballet