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):
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 |
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 |
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):
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):
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):
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 |
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 |
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. |
Peter Martins and Suzanne Farrell in Balanchine's 'Diamonds'. Photo by Paul Kolnik for NYC Ballet |
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
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Tyler Angle and SaraMearns in Balanchine's 'Diamonds'. Photo by Andrea Mohin for NY Times |
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 |
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