Wrap-Up to the SAB 2015-16 Winter Term

Workshop Gala Dinner at David Geffen Hall following
the performance on Tuesday evening, June 7th. 

The last day of The School of American Ballet's 2015-16 Winter Term was Friday, June 17th.  Following the successful Workshop Performances on Saturday, June 4th, and the Workshop Performance Gala Benefit on Tuesday, June 7th, the students in the advanced division were back in the SAB studios again on Wednesday, June 8th, refining what had already seemed perfect at the performances.

2016 Mae L. Wien Award winners with Kay Mazzo, Co-Chairman of the SAB faculty
were (left to right): Jon Stafford (faculty award), Ms. Mazzo, Ethan Fuller,
Emma Von Enck, and Christopher D'Ariano
Photo by Paul Kolnik for SAB

Advanced students at the end of the last class on June 17th.  Jon Stafford is at left.

Of the Capstone students (those that aged out of the School's programs this June) 18 have accepted offers of apprenticeships, second company positions and traineeships.  Look for these students (now SAB alumni) on professional ballet stages during the years ahead:

New York City Ballet apprentices:

• Eliza Blutt
• Christina Clark
• Ethan Fuller
• Jennifer Hackbarth
• Kennard Henson
• Emma Von Enck

Pacific Northwest Ballet professional division trainees:

• Christopher D'Ariano
• Hailey Dupont
• Dallas Finlay
• Marie Millard

Other companies around the U.S. and the world:

• Lillian Casscells, apprentice at Dresden Semperoper Ballett
• Lucia Connelly, apprentice at Joffrey Ballet
• Rachel Costin and Wilson Livingston, apprentices at Sarasota Ballet
• Gabriela Schiefer, member of Boston Ballet II
• Marc LaPierre, apprentice at LA Ballet
• Taylor Ayotte, trainee at Carolina Ballet
• Lucy Nevin, trainee at Washinton Ballet

In addition, four students have elected to go on to universities and colleges:

• Ana Maria Del Mar, Harvard University plus London University of the Arts
• Trevor Dines, Columbia University
• Michael Garcia, The Julliard School
• Xhosa Scott, University of Virginia

Thirty students graduate(d) from high school this spring.  Twelve of them received a total of 37 acceptances from 31 different colleges and universities.

Capstone students with Suzy Pilarre (second from left), Suki Schorer (third from right) and Kay Mazzo (far right).

Obviously, Jonathan Stafford's efforts as Professional Placement Manager (one of the three positions Jon fills at SAB and NYC Ballet) and the Student Life staff directed by Kelly Novitski have done another wonderful job this year in assisting students as they move along their paths toward professional careers or other opportunities.

Most of the remaining advanced division students will be attending summer programs at ballet companies and schools around this country and the world, before returning to SAB in September for the 2016-17 Winter Term.  And SAB will be hosting 200 students from around the world during its own 5-week Summer Session and then several more students at its 2-week summer workshop for younger dancers in southern California.

We wish them all further successes as they move forward now and anticipate learning more about their future achievements both on ballet stages and in the wider world. 

On a Sadder Note:

The SAB 2015-16 Winter Term has had some sad moments as well.

Jock Soto with Luis Fuentes and their dog Bandit in near their home in Eagles Nest, NM this June.
Photo from Laura Ortman's Hair Today on Tumblr

Jock Soto, a highly regarded member of the SAB faculty, retired at the end of 2015 to pursue his interests in the culinary world.  Jock hopes to write more cookbooks (he co-authored 'Our Meals' in 1997 with Heather Watts -- his long time partner at NYC Ballet).  He and his spouse, Luis Fuentes, also hope to open a restaurant and catering business.  Jock had been a teacher at SAB since 1996.  His Adagio (Partnering) classes were widely admired in the ballet world and produced a long line of superb male partners for New York City Ballet -- including Jared Angle, Craig Hall, Amar Ramasar, Tyler Angle, Chase Finlay and Taylor Stanley.

Violette Verdy teaching an Advanced Division class at SAB.
Photo from http://www.bigouden.tv/ obituary (probably by Rosalie O'Connor)

Violette Verdy, the School's first permanent guest teacher, died in early February 2016 after a short illness.  Her regular visits to the School were always highly anticipated by SAB's advanced students.  As one of George Balanchine's favorite ballerinas during her years with New York City Ballet (1958 thru 1977), Ms. Verdy had danced in a wide variety of the company's repertory and creating memorable roles in Mr. B's 'Liebeslieder Waltzer', 'Emeralds', 'Tschaikovsky Pas des Deux', 'La Source' and 'Sonatine' and in Jerome Robbins' 'Dances at a Gathering'.   Following her retirement from the stage, Ms. Verdy had a distinguished career as artistic director of the Paris Opera Ballet and Boston Ballet and as a dance educator at Indiana University.  During her brief residencies at SAB her students were privileged to have both a link to the great ballet creators of the 20th century and an inspiring and caring teacher.

New York City Ballet Matinee on Sunday, May 8th

SUNDAY MATINEE, MAY 8, 3:00 PM (Conductor: Sill)

ALL BALANCHINE:

BALLO DELLA REGINA: T. Peck, Garcia, Laracey, Pereira, Isaacs, King 

KAMMERMUSIK NO. 2: Krohn, Ramasar, A. Stafford, Danchig-Waring [Solo Piano: Grant] 

VIENNA WALTZES: Reichlen, T. Angle, M. Fairchild, Huxley, Pereira, Schumacher, Krohn, la Cour, Mearns, J. Angle

For this matinee performance we sat in the Orchestra, Row S, rather than in our normal seats on the right side of the Second Ring.  While the sight lines were fine, the sound from the orchestra was spotty and wan.  There were times in 'Vienna Waltzes' where all we heard were the double basses.  Although the Company sells some seats as 'partial view' at reduced prices, they should really designate these particular seats as 'partial sound'.

The three works on this program were all created by George Balanchine during a concentrated period from June 1977 through January 1978.

George Balanchine choreographed 'Ballo della Regina' in 1978 to ballet music intended for Giuseppe Verdi's opera 'Don Carlo'.  Verdi created a libretto for the ballet about a fisherman searching for the perfect pearl to present to the queen of Spain (who is a character in the opera).  Balanchine alludes to Verdi's story with an iridescent decor, a few 'swimming' movements for the ballerina and a 'searching' motif for her cavalier.

Balanchine's primary reason for creating the ballet was to showcase Merrill Ashley's extraordinary speed, clarity and sunniness.  Although Ashley had been with the Company since 1967 and had danced featured and principal roles in large swaths of the NYCB repertory, this was the first (of only two) ballets that Balanchine choreographed for her.
  

George Balanchine, Merrill Ashley and Robert Weiss working on 'Ballo della Regina'.
Photo by Martha Swope

It remains a daunting challenge for the most accomplished of ballerinas.

Merrill Ashley dancing in Balanchine's 'Ballo della Regina'.
Photo by Martha Swope

Here's a clip of Ms. Ashley discussing the creation of 'Ballo della Regina' (1:29):

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

And here's another made while she was staging the ballet for The Royal Ballet (3:01):

https://www.youtube.com/watch?v=CmYiiP9-JgY

At this performance Tyler Peck met the technical challenges with great glee. 
 

Tyler Peck in Balanchine's 'Ballo della Regina'.
Photo by Julieta Cervantes for NY Times

Gonzalo Garcia in the role Balanchine created for Robert Weiss offered Ms. Peck tremendous support in the pas de deux and displayed his own sparkle in the male solos.  Ms. Peck and Mr. Garcia are ideally suited to take on the ballet's technical demands while remaining bouyant and carefree.  Their jaunty presentation stopped just short of cockiness.  Ashley Isaacs and Lauren King seemed particularly delightful among the four demi-soloists.

Balanchine's created 'Kammermusik No. 2' to Paul Hindemith's music of the same name for piano and orchestra in 1978.  It is an astringent, spiky work for two principal couples and a corps of eight men.  At times the eight-man corps dancing primarily to the music of the orchestra is the star of this ballet.  They execute the complicated knots and clots that Balanchine usually created for the female corps -- providing both a frame and a counterpoint to the dancing of the four principals.

The eight-man corps in Balanchine's 'Kammermusik No. 2'.
Photo by Paul Kolnik for NYC Ballet

Of the principals, Rebecca Krohn and Amar Ramasar definitely understand the hard-edged, austere choreography that Balanchine devised to the complicated piano part.  Abi Stafford and Adrian Danchig-Waring seemed both less comfortable and less assured.  It's difficult music and requires razor-sharp reflexes and clarity of execution.  Blurring of movements makes the whole thing look sloppy.  There are several passages in canon for the two women that tend to look uncoordinated unless they both dance with conviction. 

Abi Stafford and Rebecca Krohn with the all-male corps in Balanchine's 'Kammermusik No. 2'.
Photo by Paul Kolnik for NYC Ballet

'Vienna Waltzes' which Balanchine created in 1977 is a five-part survey and celebration of 19th century social dancing.  The transforming scenery by Rouben Ter-Artunian sets the stage for each of the five sections and acts as an important adjunct of the choreography.  The sumptuous costumes are the last created by Mme. Barbara Karinska for the Company.

Balanchine seeded the original principal cast with European dancers -- Karin von Aroldingen (with Sean Lavery) in the first part, Helgi Tomasson (with Patricia McBride) in the second, Peter Martins (with Kay Mazzo) in the fourth, and Jorge Donn (with Suzanne Farrell) in the fifth -- because he believed they had grown up amidst the Viennese waltz tradition and were therefore more naturally attuned to its refined execution.  The third part is a polka which he created for Sara Leland and Bart Cook.

Here's a video of Ms. von Aroldingen and Mr. Martins dancing together in the fourth section (Lehar's 'Gold and Silver Waltz') which clearly demonstrates their waltzing dexterity (8:45):

 https://www.youtube.com/watch?v=WjY9v9p5dlA

The first 'movement' is set to Johann Strauss II's 'G'Schichten Aus Dem Wienerwald (Tales of the Vienna Woods)' from 1868.  The setting is a magical silvery forest with five trees scattered across center stage.

The ten corps couples waltzing amid the trees in 'Tales of the Vienna Woods' from Balanchine's 'Vienna Waltzes'.
Photo by Paul Kolnik for NYC Ballet

They form a kind of obstacle course to be negotiated by the dancers  -- Teresa Reichlen and Tyler Angle with ten corps couples -- and contributing to the complexity of Balanchine's choreography.  The women are in pale pink ball gowns and the men are in military uniforms -- perhaps cadets and their dates taking a woodland break from a military ball.  Ms. Reichlen and Mr. Angle projected the right combination of flirtatious innocence and romantic ardor -- while proving that American dancers of the current generation can indeed waltz.

Teresa Reichlen and Tyler Angle in the 'Tales from the Vienna Woods' section of Balanchine's 'Vienna Waltzes'.
Photo by Paul Kolnik for NYC Ballet

The second 'movement' is set to Johann Strauss II's 'Fruhlingstimmen (Voices of Spring)' from 1848.  It is the only section done on pointe.  The music begins with a kind of prelude while three of Ter-Artuniun's five trees rise into the overarching forest canopy.  Megan Fairchild and Anthony Huxley and the corps of eight corps women gamboled through this section with the abandon of forest nymphs.

Megan Fairchild and Joaquin De Luz leading an earlier performance of 'Voices of Spring'.
Photo by Paul Kolnik for NYC Ballet

As the last two Ter-Artuniun's trees disappeared into the flies we are greeted by the rather grotesquely attired dancers in the 'Explosions-Polka' -- set to a polka by Johann Strauss II from 1848.  Erica Pereira and Troy Schumacher executed the rapid heel-and-toe steps with great glee backed-up by three corps couples.  However, since 1977 the humor in this section has palled and as usual in recent years I couldn't wait until it was over.

 Ana Sophia Scheller and Sean Suozzi lead a different cast in the 'Explosion Polka' from George Balanchine's 'Vienna Waltzes'.
Photo by Paul Kolnik for NYC Ballet

Now Ter-Aruniun's forest completely disappears and the stage is transformed into a belle epoque society cafe with art nouveau overlays.  There Chase Finlay's prince met Rebecca Krohn's merry widow to the strains of Franz Lehar's 'Gold und Silver Walzer (Gold and Silver Waltz)' from 1905.  Their waltzes amidst ten couples are among Balanchine's most complex and beautiful waltz variations.  It is worth returning to the video of von Aroldingen and Martins to enjoy the set transformation and these wonderful waltzes -- which were beautifully executed here by Mr. Finlay and especially Ms. Krohn. 

Ask la Cour and Rebecca Krohn in the 'Gold and Silver Waltz' movement of
George Balanchine's 'Vienna Waltzes'.  Chase Finlay replaced Mr. la Cour at this performance.
Photo by Paul Kolnik for NYC Ballet

After the final embrace of the prince and the merry widow -- an ending that Balanchine added after the initial performances to mollify critics who found their separation too harsh -- Ter-Artuniun's set transforms into a fin de siecle mirrored ballroom during the pensive opening phrases of the first sequence of waltzes from 'Der Rosenkavalier' by Richard Strauss which were arranged by the composer in 1944.  Several couples in formal dress -- the women in white ball gowns with trains and long white gloves and the men in white tie and black tail coats -- criss-cross the stage. 

Sara Mearns in the 'Der Rosenkavalier' movement of 'Vienna Waltzes'.
Photo by Paul Kolnik for NYC Ballet

As the final couple leaves the stage, Sara Mearns appears alone in reverie.  She dances a private waltz, frequently joined by a seemingly phantom partner, Jared Angle.  Several couples whirl around them but Sara evenutally leaves the stage alone.  It is a breath-taking sequence and Ms. Mearns executed it with gorgeous drama.

With her exit the chandeliers blaze on and the casts of each prior movement swirl on and off stage -- lead by Ms. Reichlen and Tyler Angle.

Tyler Angle and Teresa Reichlen in the final movement of 'Vienna Waltzes'.
Photo by Paul Kolnik for NYC Ballet

Gradually the stage fills with 50 dancers magnified by the mirrors covering the entire back wall in a triumphant whirlwind of complex choreography.  All 25 women suddenly drop into a reverence curtsey and the curtain falls.

Here's a link to a video of the final 'Der Rosenkavalier' movement of  'Viennna Waltzes' featuring Suzanne Farrell partnered by Adam Luders (13:45):

https://www.youtube.com/watch?v=6PMAc0MRto0

Dance lovers will also spot Kyra Nichols with Sean Lavery, Heather Watts, Judith Fugate, Karin von Aroldingen and Peter Martins, the Sackett brothers and many others.

If you'd like to see a more recent cast in only the swirling final minutes of 'Vienna Waltzes' here's a link to a NYC Ballet video (0:46):

http://www.nycballet.com/Videos/Ballet-Detail-clips/Vienna-Waltzes-excerpt.aspx#.V12qKTubovU.email

The entire cast in the finale of George Balanchine's 'Vienna Waltzes'.
Photo by Paul Kolnik for NYC Ballet

2016 School of American Ballet Workshop Performances

On June 4th we attended the matinee and evening performances of the 2016 School of American Ballet Workshop at the Peter J. Sharp Theater at the Julliard School.  I had also attended the final dress rehearsal the previous day.

You can learn more about the three works on the program -- 'Danses Concertante' (Balanchine/Stravinsky); 'Les Gentilhommes' (Martins/Handel); and 'The Four Temperaments' (Balanchine/Hindemith) -- in my earlier post about the program here:

http://zylopho.blogspot.com/2016/03/program-for-2016-school-of-american.html

Kay Mazzo, Co-Chairman of the Faculty at SAB, told me this was a "very ambitious" program.  She was not kidding! 

Emma Von Enck (center) and Thomas Davidoff (right) rehearsing Balanchine's 'Danses Concertante' for the 2016 SAB Workshop .  Marie Millard, Gilbert Bolden III, Christina Clark (mostly hidden), Taylor Ayotte and Nathan Compiano behind them.
Photo by Rosalie O'Connor for The School of American Ballet

Much of the dress rehearsal was devoted to improving the coordination between the stage and the pit -- the stagers conferring with the conductor, David LaMarche, about tempo or adjusting the students response to the music.

Let me say at the outset that I have enjoyed watching all of the advanced students in the studios and hallways of the School during the 2015-16 Winter Term.  They have impressed me with their discipline and devotion to their art and they have thrilled me in performances in the student choreography workshops and other performance opportunities.  During the last three months they worked diligently to perfect the three works that they performed at the Workshop.

I regret that a few of them -- including four of my particular favorites -- were unable to dance in these performances due to illnesses and injuries.  Others were not cast in these works, often to give older students a chance to perform.  There are only so many places in these works and many of the younger students will return for SAB's next Winter Term and will probably be cast in next year's Workshop Performances.

*  *  *  *  *  *  *

Although 'Danses Concertante' is not often performed in recent years, these performances clearly demonstrated that it is an ancestor of later -- and better -- works in the Balanchine canon -- particularly 'Rubies'.  It was interesting to see Mr. B's similar choreographic impulses set to different Stravinsky music.  Susan Pilarre -- who specializes in staging lighthearted romps for the Workshops -- staged this piece and brought out the carefree exuberance in both casts.

Emma Von Enck and Thomas Davidoff as the lead couple in 'Danses Concertante'.
Photo by Paul Kolnik for The School of American Ballet

The lead couple in 'Danses Concertante' at all performances was Emma Von Enck (18 years old from Breckville, OH) and Thomas Davidoff (17; Marietta, GA).  Emma is one of this year's Mae L. Wien Award winners.  Both Emma and Thomas danced these lighthearted roles with effervescence, precision and tongue-in-cheek wit.  Emma's quicksilver clarity make her ideal for this soubrette role.  Thomas was sleek and fleet and his entrechats were awesome.  The off-kilter partnering was executed with good-humored confidence by both.

Emma Von Enck  and Thomas Davidoff (in yellow) in Balanchine's 'Danses Concertante' at the 2016 SAB Workshop .  Marie Millard, Gilbert Bolden III, Christina Clark, and Taylor Ayotte behind them.
Photo by Paul Kolnik for The School of American Ballet

Among the four trios -- two women and one man each -- I was particularly taken in the afternoon with the trio in purple -- Christina Clark (18: New York City), Marie Millard (17; Alanson, MI) and Gilbert Bolden III (17; Lincoln, CA) -- who brought out whimsical aspects of their choreography despite its difficulty. 

Christina Clark, Marie Millard and Gilbert Bolden III rehearsing the 'purple' pas de trois.
Photo by Rosalie O'Connor for the School of American Ballet

Also in the afternoon the red trio -- Hailey Dupont (18; Lafayette, LA), Jennifer Pauker (20, Brooklyn, NY) and Wilson Livingston (19; Grosse Pointe, MI) -- took great delight in executing its punchy athleticism.  The blue trio at the matinee -- Eliza Blutt (18; New York City), Larisa Nugent (17; Ellicott City, MD) and Nathan Compiano (17; Cary, NC) -- overcame their natural seriousness to deliver bubbly performances.  Ms. Clark and Mr. Bolden returned in the purple trio at the evening performance (Ms. Clark replacing the indisposed Gabriela Schiefer).

*  *  *  *  *  *  *

'Les Gentilhommes' was staged for these Workshop performances by Arch Higgins.  Peter Martins' choreography is supposed to evoke 18th century court life -- incorporating the steps and gestures of fencing and court dancing from which ballet arose.  In general, many of the men needed to employ greater stretch in their legs and feet.  Also, the spacing between the dancers occasionally looked haphazard and the choreographic formations for the entire cast of nine men sometimes seemed tentative.  

Ethan Fuller (center) rehearsing 'Les Gentilhommes' by Peter Martins with (left to right) Christopher D'Ariano, Thomas Davidoff, Nathan Compiano, Ethan Fuller, Michael Garcia, Darius Black, Andres Zuniga and Kennard Henson.
Photo by Rosalie O'Connor for The School of American Ballet

The matinee performance of 'Les Gentilhommes' was lead by another 2016 Wien Award winner, Ethan Fuller (18; Indialantic, FL) -- a student of undoubted talent.  His dancing here was crisp and precise.  Among the other eight men Christopher D'Ariano (18; New York City and the third 2016 Wien Award winner), Kennard Henson (18; Baltimore, MD) and Thomas Davidoff danced with particular elegance and clarity.

Ethan Fuller (center) leading 'Les Gentilhommes' by Peter Martins with (left to right) Thomas Davidoff, 

Andres Zuniga, Christopher D'Ariano, Adrian Pasten, Michael Garcia, Mark Cuddihee, Davide Riccardo

 and Kennard Henson.

Photo by Paul Kolnik for The School of American Ballet

In the evening performance of 'Les Gentilhommes' Andres Zuniga (17, San Jose del Cabo, Mexico) gave a strong, secure performance in the leading role.  Among the eight others Darius Black (17; Voorhees, NJ), Dallas Finley (18; Parrish, FL), Joan Ivars Ribes (15; Benisa, Spain), Wilson Livingston and Nathan Compiano stood out for their assurance and style.  

*  *  *  *  *  *  *

Balanchine's 'The Four Temperaments' is a neoclassical masterpiece and posed a daunting challenge for the students.  Staged by Suki Schorer (with some input from Allen Peiffer and Jared Angle on the partnering and men's roles) it was a triumphant conclusion to each performance.

At both performances I was impressed by the boldly astringent dancing of Courtney Nitting (19; Lafayette, NJ) and Gilbert Bolden III in the 'Sanguinic' variation.  Kennard Henson was appropriately unruffled dancing the 'Phlegmatic' variation at the matinee; while Christopher D'Ariano danced with cool elegance and almost architectural clarity in that role in the evening.  Ethan Fuller handled the 'Melancholic' variation in the afternoon with restrained aplomb; in the evening Nathan Compiano offered a thoughtful, pensive performance.  Christina Clark was particularly fierce and emphatic in the 'Choleric' variation at the evening performance. 

Ethan Fuller flanked by Jennifer Pauker and Gianna Reisen in the First Variation: Melancholic of
Balanchine's 'The Four Temperaments'.
Photo by Paul Kolnik for The School of American Ballet

Kennard Henson (center) with Lillian Casscells, Taylor Ayotte, Isabella Carroll and Christina Clark
 in the Third Variation: Phlegmatic from Balanchine's 'The Four Temperaments'.
Photo by Paul Kolnik for The School of American Ballet

Among the couples in the three opening 'Theme' sections, I was particularly impressed by Marie Millard (Theme 1 at the matinee and Theme 3 in the evening); Nathan Compiano (Theme 2 in the afternoon); Eliza Blutt and Wilson Livingston (Theme 3 in the afternoon); and Darius Black (Theme 3 in the evening with Ms. Millard).  They were all terrific in the angular, off-center partnering of the 'Theme' sections and along with Ms. Nitting and Mr. Bolden they provided the spectacular 'fireworks' jetes for the finale.

Darius Black and Marie Millard in the evening performance of Balanchine's 'The Four Temperaments'.
Photo by Paul Kolnik for The School of American Ballet

All of the 14 corps women danced beautifully (hardly the right word for this spiky choreography) and are collectively deserving of praise.  All-in-all these were both splendid performances of a very significant Balanchine work.

Nataliya Pinelis -- a staff pianist at The School -- was the excellent piano soloist for 'The Four Temperaments' and the workshop orchestra conducted by Maestro LaMarche provided solid musical support to the students throughout both performances.

*  *  *  *  *  *  *

For many of these SAB students these Workshop performances are a stepping stone to professional careers on stages in the U.S. and around the world.  For others they are the culmination of years of ballet training which have prepared them for entirely different opportunities.  For still other younger students they will lead to summer sessions at ballet schools around the nation and then back to SAB in September.  Good luck to all of them, no matter their 'next step'.

Ethan Fuller, Justine Flores and Christopher D'Ariano (center) rehearse the finale of 
George Balanchine's 'The Four Temperaments' with the women's corps.
Photo by Rosalie O'Connor for The School of American Ballet