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.

New York City Ballet Matinee on Sunday, February 21st

SUNDAY MATINEE, FEBRUARY 21, 3:00 PM

'21st Century Choreographers'

ASH: *Laracey, *Catazaro [Conductor: Capps]
     pause
THIS BITTER EARTH: **Mearns, T. Angle
     pause
THE INFERNAL MACHINE: *Phelan, *Chamblee [Conductor: Capps]
     intermission
JEUX: Mearns, *Lovette, Danchig-Waring, *Hall [Conductor: Capps]
     intermission
PAZ DE LA JOLLA: Hyltin, Ramasar, T. Peck [Conductor: Sill]

  *  First time in role at Saturday Matinee, February 21st
**  New York City debut at Saturday Matinee, February 21st

New York City Ballet's '21st Century Choreographers' program was on our subscription series.  Since we had watched Justin Peck's creation of 'Paz de la Jolla' in the movie 'Ballet 422', we were anxious to see the result on stage.  The rest of the program was not new to us -- we had seen several of these works close to the dates when they were first introduced to the Company's repertory.

'Ash' is a busy, energetic work by Peter Martins to a score by Michael Torke.  It was created in 1991 when the original cast was Wendy Whelan and Nilas Martins backed by four couples: Yvonne Borree, Rebecca Metzger, Monique Meunier, Kathleen Tracey, Albert Evans, Arch Higgins, Russell Kaiser and Ethan Stiefel.  At Sunday's program it was danced by Ashley Laracey and Zachary Catazaro with Sara Adams, Laine Habony, Ashley Hod, Unity Phelan, Devin Alberda, Cameron Dieck, Spartak Hoxha and Sebastian Villarini-Velez.

Devon Alberda, Cameron Dieck and Spartak Hoxha in Peter Martins' 'Ash'.
Photo by Paul Kolnik for NYC Ballet

The general design of 'Ash' reminds me of Balanchine's 'Square Dance' -- the hierarchy of principals and corps, the use of call and response, the dancers' general glee with their performances.  Ms. Laracey was sunny, but a little generic; Mr. Catazaro seemed subdued and underpowered.  Among the corps, I was particularly impressed with Mr. Alberda's crisp delivery of his solo passages and also enjoyed the sparkle added by Ms. Phelan, Ms. Adams and Mr. Dieck.

Christopher Wheeldon created 'This Bitter Earth' for Wendy Whelan and Tyler Angle as part of a larger work, 'Five Movements, Three Repeats', first performed at the Vail International Dance Festival in August, 2012.  As a stand-alone pas de deux it entered the Company's repertory at the 2012 Fall Gala.

Wendy Whelan and Tyler Angle in Christopher Wheeldon's 'This Bitter Earth' in 2012.  Photo by Paul Kolnik for NYC Ballet 

The music by Max Richter and Dinah Washington comes from the soundtrack for the movie 'Shutter Island'.

Partnered by Tyler Angle, Sara Mearns made her debut in the work the previous day.  Sara's dramatic temperament and extraordinary amplitude fit nicely into Wheeldon's duet of convoluted shapes and tricky partnering.  Tyler provides strong, somewhat stoic support.  'This Bitter Earth' is not a favorite ballet of mine -- more a piece d'occasion than a repertory staple -- but cast with first rate dancers like Sara and Tyler it makes a positive impact.

Peter Martins created 'The Infernal Machine' for Diamond Project V in May, 2002, to music of the same name by Christopher Rouse.  The original cast was Janie Taylor and Jock Soto.

The score is filled with odd ticks and jolts and sputters.  Unity Phelan and Preston Chamblee -- two of the Company's emerging young talents -- made their debuts in this work at the previous day's matinee.  Chamblee is a steady, confident partner while Phelan provides a feline intensity.  Martins gives them complicated, manipulative partnering moves that can often look awkward, but here they seem appropriate for the astringent score.
    

Preston Chamblee and Unity Phelan in 'The Infernal Machine' by Peter Martins.
Photo by Paul Kolnik for NYC Ballet

Here is a brief YouTube clip showing these two dancers in this work which has just shown up on the Company's website:

https://www.facebook.com/nycballet/videos/10156630720785529/

'Jeux', the ballet by Kim Brandstrup to the Debussy score, was new last fall.  You can read about my initial reaction here:

http://zylopho.blogspot.com/2015/10/nyc-ballet-performance-on-friday_23.html

I concluded those comments by questioning whether 'Jeux' (and several other new Fall Season works) would hold up on repeated viewings -- it does not.  Sara Mearns was again extraordinary as the blindfolded woman who is cast aside.  Adrian Danchig-Waring again offered strong if nonchalant partnering for her as the jock with the ball.
  

Sara Mearns and the ensemble in Kim Brandstrup's 'Jeux' to the music of Debussy.
Photo by Paul Kolnik for NYC Ballet

Craig Hall and Lauren Lovette were new in this performance -- Craig as the cad who casts Sara aside for Lauren's flirty seductress.  Mr. Hall certainly has the matinee idol looks and strong partnering technique for the part, but he lacks the intense focus Amar Ramasar brought to the role.  With her gorgeous looks and sparkling presence Ms. Lovette makes seduction look simple.

Nevertheless, 'Jeux' is a disappointing ballet that doesn't offer new rewards on repeat viewings.  The vaguely sinister atmosphere and the harsh lighting on the women's bare legs also distract from it's appeal for me.

Justin Peck's 'Paz de la Jolla' which was the subject of the movie 'Ballet 422' was both old and new to us -- old in that we had watched its creation in 'Ballet 422', but new in that we had never seen the complete ballet on stage.  The ballet is set to Bohuslav Martinu's 'Sinfonietta la Jolla for Piano and Chamber Orchestra'.  Here is a description of the work written by Dr. Richard E. Rodda from a Harrisburg Symphony program:   

The opening movement is based on traditional sonata form and utilizes two basic thematic types. The first is bustling and active, filled with rapid figurations passed among the instruments; the second derives from the songfulness of folk music in its lyricism and chordal texture. A pleasing balance is achieved between these two contrasting elements without ever losing the exuberance and spontaneity that enlivens Martinů’s music. The second movement, slow in tempo and soulful in expression, uses folk song models to such an extent that Brian Large, in his study of the composer, labeled it “a virtual fantasia on Czech folk songs.” The finale is a vivacious rondo indebted to the irresistible closing movements of Haydn, whose music Martinů was studying closely at the time he composed the Sinfonietta.  

Justin created a ballet set on the beaches of Southern California where he grew up -- sun drenched by day and moonlit by night.  The cast was led here by Sterling Hyltin, Amar Ramasar and Georgina Pazcoguin (replacing Tiler Peck).  The 15 other dancers were a mix of soloists and corps -- most from the original 2012 cast.  They are all individually costumed in what I would characterize as Eisenhower-era beach wear designed by Reid Bartelme and Harriet Jung.

Costume sketch for 'Paz de la Jolla'  by Reid Bartelme and Harriet Jung.

Following the structure of Martinu's music, Justin's choreography begins with lively beach games interspersed with the stirrings of summer romance between Amar and an outsider, Sterling.  The moonlit central section is a romantic duet for Sterling and Amar often engulfed by shimmering images of surf or coastal fog for the ensemble, their bright beach wear now shrouded in silvery translucent smocks. 
 

Ensemble in translucent smocks during the central movement of Justin Peck's 'Paz de la Jolla'.
Careful inspections shows Amar Ramasar and Sterling Hyltin partially visible behind the ensemble.
Photo by Paul Kolnik for NYC Ballet 

In the final rondo the full cast engages in more beach frolics with Sterling now integrated into the larger group.

By now, we are familiar with some of the signature movement motifs that run through Justin's choreography.  What is amazing is how well he adjusts them and integrates them with the music he has chosen so that they produce a unique result.  Here's a video from the Company which highlights Justin's creation of 'Paz de la Jolla':

https://www.youtube.com/watch?v=86qGrO9fJFY

Better yet, seek out the movie 'Ballet 422' which provides even deeper insight into Justin's creative process.

Here's a short promotional video from the Company with snippets from 'Paz de la Jolla':

https://www.youtube.com/watch?v=RG5YxO89hO4

Final image of Justin Peck's 'Paz de la Jolla' with Tiler Peck, Sterling Hyltin and Amar Ramasar.
Photo by Paul Kolnik for NYC Ballet

Gina Pazcoguin, replacing Tiler Peck apparently on short notice, has been with 'Paz de la Jolla' from its earliest rehearsals.  She dances with sparkle and wit, but lacks Ms. Peck's indelible stage presence.  The costume (designed for Ms. Peck) did Ms. Pazcoguin no favors.  Sterling Hyltin and Amar Ramasar seemed to be an unlikely romantic couple on paper, but with Justin Peck's choreography the improbable becomes indelible.

*  *  *  *  *  *  *  *  *

For me, the best impressions in this program were made by Unity Phelan and Preston Chamblee -- together in Martins' 'Infernal Machine' and separately in the ensembles of Martins' 'Ash' (Ms. Phelan) and 'Jeux' (Mr. Chamblee).  They are young dancers to watch as they progress further up through the Company's rich and diverse repertory and (hopefully) find themselves inspiring choreographers in roles made for their unique abilities.

Program for the 2016 School of American Ballet Workshop Performances

The faculty of the School of American Ballet has announced the program for the 2016 Workshop Performances on Saturday, June 4th, and for the 2016 Workshop Gala on Tuesday, June 7th:

'The Four Temperaments', Hindemith, Balanchine
'Les Gentilhommes', Handel, Martins
'Danses Concertantes', Stravinsky, Balanchine

After a few years of an 'odds and ends' dance recital format, this year they're returning to a substantial Workshop program that honors the School's seriousness of purpose and offers rewards for the talented students it trains and the devoted audiences who attend the three Workshop Performances.

'The Four Temperaments'

'The Four Temperaments' was first staged by Ballet Society -- the immediate precursor of New York City Ballet -- in 1946 at the auditorium of the Central High School of Needle Trades.  Unlike the austere black-and-white leotard ballet that we will see this June, the original 1946 performances had bizarre costumes by the surrealist artist Kurt Seligmann.
  

Kurt Seligmann's sketch of costume designs for Balanchine's 'The Four Temperaments'.

According to many contemporary viewers Seligmann's costumes distracted from Balanchine's revolutionary choreography. 

Elise Reiman and Herbert Bliss in Kurt Seligmann's original costumes for Balanchine's 'The Four Temperaments'. 

Even before the first performance Balanchine pruned some of the greatest excesses of the costumes.
  

Maria Tallchief in Kurt Seligmann's costume for 'The Four Temperaments'.

When 'The Four Temperaments' re-entered the repertory of New York City Ballet in 1951, Seligmann's costumes had been completely scrapped -- replaced by black-and-white leotards that display Balanchine's choreography in pristine glory.

The commissioned score by Paul Hindemith was created in 1940.  Igor Stravinsky admired the music of Hindemith and probably urged his friend George Balanchine to work with him.  Hindemith initially suggested a work titled 'The Land of Milk and Honey' as a joint project in 1938, but he was unable to produce the score on Balanchine's time table.  In 1940 Hindemith offered to produce the first part of a score for a different ballet in one week.  This opening section of Hindemith's score for piano and string orchestra was first heard that year at one of Balanchine's informal musical evenings.  Among the musicians that evening were Nathan Milstein, Samuel Dushkin (for whom Stravinsky wrote the 'Violin Concerto') and Leon Barzin.  Barzin went on to conduct the first performance of 'The Four Temperaments' at Needle Trades and to become the first conductor for Ballet Society and then for New York City Ballet.

The conceit of 'The Four Temperaments' is the medieval theory that each individual is composed of varying amounts of four temperaments or 'humors' -- melancholic, phlegmatic, sanguinic, and choleric -- which collectively form each personality.  The structure of the ballet is first a series of three pas des deux which establish movement motifs that will recur; then sections for each of the four temperaments; followed by a finale.  There are a total of 25 dancers -- 19 women and 6 men.

Here's a short video clip of the New York City Ballet principal Adrian Danchig-Waring discussing, rehearsing and performing 'The Four Temperaments': 

https://www.youtube.com/watch?v=QRgViWiqqr8 

Balanchine's choreography is mostly a response to Hindemith's music.  The sections for the four temperaments have a tenuous relationship to those humors at best.   Balanchine uses the classical ballet vocabulary, but makes subtle alterations.  Often the relationship of the dancers to the audience shifts to profile or diagonal; knees are often bent; feet are flexed; hands, arms and wrists stray from classical positions.  

Justin Peck and Rebecca Krohn of NYC Ballet show the bent knees and profile poses characteristic of Balanchine's 'The Four Temperaments'.  Photo by Paul Kolnik for NYC Ballet

The finale is like a fireworks display as four men lift their ballerinas in explosive grand jetes above the rest of the cast.  Here's a link to a video from San Francisco Ballet performing snippets from the Phlegmatic section and the finale:

https://www.youtube.com/watch?v=dBqOG3mJyl0

Suki Schorer is enlisting the help of several men from New York City Ballet -- Ask la Cour, Cameron Dieck, and Peter Walker -- in staging this modern masterpiece.

'Les Gentilhommes'

This year the SAB Workshop Gala on Tuesday, June 7th, will celebrate the School's Boys Program, which provides tuition free ballet training to male students.  The Boys Program is celebrating its 25th anniversary this year.  Here's a video describing the program:

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

Listen for Jock Soto's comments about retirement -- Jock retired from the School's faculty at the end of 2015.

Peter Martins created 'Les Gentilhommes' in 1987 as a tribute to Stanley Williams who taught at the School of American Ballet from 1964 until 1997.  Peter Martins himself had studied with Williams at the Royal Danish Ballet before Williams left Copenhagen for SAB.  Williams' men's classes were legendary for producing some of the finest dancers in American ballet -- and for attracting ballet stars, including Rudolf Nureyev and Mikhail Baryshnikov, whenever they were in town.  Nine of Williams' students danced in the original cast -- Gen Horiuchi, Peter Boal, Carlo Merlo, Jeffrey Edwards, Michael Byers, Damien Woetzel, Richard Marsden, Cornell Crabtree and Runsheng Ying.

The cast of the 2011 School of American Ballet Workshop production of Peter Martins' 'Les Gentilhommes'.

Set to Georg Friedrich Handel's 'Concerto in F, Opus 6, #9' and the Largo from 'Concerto in F, Opus 6, #2', Martins choreography displays the refinement and elegance that Williams demanded of his students.  Through the costumes, lighting and movement, we are brought into the courtly world of the 18th century with allusions to fencing and dancing and formal rules of conduct.

Peter Martins and Arch Higgins are already working with the Advanced Men on 'Les Gentilhommes'.

'Danses Concertantes'  

Balanchine's 'Danses Concertantes' was created in 1944 for the Ballet Russe de Monte-Carlo.  Igor Stravinsky composed the score in 1941 as an orchestral work --  in effect, 'concert dances'.  The score is decidedly dancey and Balanchine found it inspiring -- twice.  The original 1944 production was lead by Alexandra Danilova (another legendary teacher at SAB) and Frederic Franklin.  Although the pick-up orchestras the Ballet Russe used on their perpetual tours struggled with the complexities of the score, it remained in their repertory until 1948.

Balanchine created new choreography for a second version for New York City Ballet's 1972 Stravinsky Festival -- he claimed that he couldn't remember the original steps.  Linda Yourth and John Clifford led the 1972 cast.  The same colorful sets and costumes designed by Eugene Berman were used for both the 1944 and 1972 versions -- they were particular favorites of Stravinsky.

Darci Kistler and Robert LaFosse led New York City Ballet's 1988 revival of the 1972 version.  Hopefully, Ms. Kistler will be involved in staging 'Danses Concertantes' for the SAB workshops.  

New York City Ballet dancers in a recent revival of Balanchine's 'Danses Concertante' led by Megan Fairchild and Andrew Veyette.  Photo by Paul Kolnik for NYC Ballet

The cast consists of a principal couple and four color-coded trios of two women and one man.  They are introduced in a prologue -- a parade in front of Berman's colorful front curtain.  When that curtain rises there is a sequence of four pas des trois followed by a pas de deux for the lead couple and then a final parade for the entire cast.  

Balanchine's choreography is bubbly and effervescent -- like champagne -- but then quickly evaporates.  The whole ballet is colorful, clever and energetic.  It will provide a frisky, insouciant high note for the students at the end their program.

NYC Ballet Performance, Friday Evening, October 2nd

FRIDAY EVENING, OCTOBER 2, 8:00 PM (Conductor: Sill)

ASH: *Isaacs, *Stanley
     pause
SONATAS AND INTERLUDES: T. Peck, *Huxley [Solo Piano: Grant]
     pause
TARANTELLA: M. Fairchild, De Luz [Solo Piano: McDill]
     intermission
‘RŌDĒ,Ō: FOUR DANCE EPISODES: T. Peck, Ramasar, Ulbricht, Garcia, Veyette
     intermission
SLAUGHTER ON TENTH AVENUE: Mearns, T. Angle, *Chamblee, Dieck, Scordato, *Coll, Prottas, *Sanz
     *role debuts      

This program, subtitled 'Americana x Five', was immensely satisfying.  Everything was not first rate choreography -- but each work was danced with style and conviction by its talented cast.

'Ash' was choreographed by Peter Martins in 1991 to Michael Torque's commissioned score of the same name.  The original cast featured Wendy Whelan and Nilas Martins as the lead couple -- with four supporting couples that included such starry names as Yvonne Borree, Monique Meunier, Kathleen Tracey, Albert Evans and Ethan Stiefel.

With its neo-Baroque score, high energy and sections of 'call-and-response' choreography, 'Ash' is reminiscent of Balanchine's infinitely superior 'Square Dance'.  Martins' largely symmetrical step-for-note choreography seems frantic and airless, providing his dancers with a test of stamina, but little opportunity for genuine artistry.

Taylor Stanley and Ashly Isaacs in Peter Martins' 'Ash'.  Photo by Hiroyuki Ito for The NY Times

Still, the cast was superb.  Ashly Isaacs and Taylor Stanley in role debuts made strong impressions as the lead couple -- Ashly all speed and sharp angles and Taylor expansive with tensile strength in the convoluted partnering.  Devin Alberda stood out in one brief, dynamic solo.

Richard Tanner's 'Sonatas and Interludes' is danced to a series of pieces for prepared piano by John Cage which were played on stage by Cameron Grant.  Sometimes the music sounds like the humming of insects and at others like a child let loose in a hardware store, but Tanner hears it well and responds with interesting choreography.  It was created in 1982 for the Eglevsky Ballet with Heather Watts and David Moore and then was brought into NYC Ballet's repertory in 1988 for the company's American Music Festival when it was danced by Watts and Jock Soto.  

Tiler Peck and Anthony Huxley (in a debut) were beautifully connected in duets requiring split-second timing.  They seem less austere and more human than what I recall of their estimable predecessors.  I need to retract my previous reservations about Anthony's partnering skills which were strong and confident here.  Still, it's remarkable how his dancing expands when he holds the stage alone.  Tiler tackles the challenges of this role with her own combination of grit and sensuality.

Balanchine's 'Tarantella' to the music of Louis Moreau Gottschalk orchestrated by Hershey Kay is a crowd pleasing gem from 1964 choreographed for Patricia McBride and Edward Villella.  We've probably seen it 25-30 times over the years.

Megan Fairchild airborne in Balanchine's 'Tarantella'.  Photo by Paul Kolnik for NYC Ballet

It was danced on this program by Megan Fairchild and Joaquin de Luz.  Megan, newly returned to the company after her stint on Broadway in 'On the Town', seems to have brought back a welcome verve and confidence which matches nicely with Joaquin's natural showmanship.

We were seeing Justin Peck's 'Rodeo: Four Dance Episodes' which opened during the Company's last Winter Season for the second time.  My post about the 2/8/2015 performance is here:

http://zylopho.blogspot.com/2015/02/nycb-2815-matinee-performance.html

and there are brief comments about a NYCB seminar with Justin on 2/9/2015 in a 'quibbles and bits' post here: 

http://zylopho.blogspot.com/2015/03/still-more-ballet-quibbles-and-bits.html

Justin uses Aaron Copeland's "Four Dance Episodes from 'Rodeo'" which Copeland created from his original ballet score for Agnes de Mille's 1942 ballet 'Rodeo'.

The lead cast on Friday evening featured Tiler Peck in the role created by Sara Mearns, Anthony Huxley in the role created for Gonzalo Garcia, and Andrew Veyette in the role Justin created for him that Andy was able to dance last February.

This work for 15 men and a single woman holds up very well under repeat scrutiny.  Of course, the second episode for five men -- Daniel Applebaum, Craig Hall, Allen Peiffer, Andrew Scordato and Taylor Stanley -- continues to be the extraordinary core of the work.  While Taylor Stanley seems to have the 'featured' role in this quintet, my eye continues to stray to Craig Hall as the calm anchor of the group.  Craig does less showy stuff than the other four -- but has far greater impact for me.  In their slate blue and beige 'rugby' outfits these men create shifting formations that remind me of rock outcroppings in the badlands.

Craig Hall, Daniel Applebaum, Allen Peiffer and Andrew Scordato support Russell Janzen in Justin Peck's 'Rodeo: Four Dance Episodes'.
Photo by Paul Kolnik for NYC Ballet

Here's a clip from NYC Ballet of Justin Peck and Taylor Stanley discussing the work:

http://www.nycballet.com/Videos/Repertory-Trailers-No-Dates/Rodeo-rep-trailer-NO-DATES.aspx#.Vg6kZAiyeeI.email

Tiler Peck is boldly all-American in the third episode's pas de deux with Amar Ramasar.  In addition to partnering Tiler, Amar adds some goofball moments elsewhere in the ballet which play well now -- but will they continue to get laughs as the ballet ages?

Tiler Peck and Amar Ramasar in the Third Episode of Justin Peck's 'Rodeo: Four Dance Episodes'.Photo by Hiroyuki Ito for The NY Times 

George Balanchine's 'Slaughter on Tenth Avenue' was created in 1936 for the Richard Rodgers and Lorenz Hart musical 'On Your Toes' starring Ray Bolger and Tamara Geva.  Balanchine originally created 'Slaughter' for a movie starring Fred Astaire, but Astaire turned down the role.  Balanchine mounted it for New York City Ballet in 1968 with Suzanne Farrell as the Striptease Girl and Arthur Mitchell as the Hoofer.  We were there for its opening night that year.

George Balanchine with Suzanne Farrell and Arthur Mitchell working on 'Slaughter on Tenth Avenue' in 1968.
Photo by Martha Swope from the collection of the New York Public Library for the Performing Arts

It has returned to the repertory frequently since 1968 and with its familiar music and slapstick sensibility it's always a crowd-pleaser.  On Friday evening Sara Mearns was a classy, sexy stripper and Tyler Angle was a suave, dapper hoofer.  Tyler had a 'wardrobe malfunction' -- a rip in the seat of his pants that started near the beginning of the big tap finale and seemed to get bigger with each pirouette -- but he tapped right through to the end with no obvious embarrassment and the cool of a real trooper.

Sara Mearns as the Striptease Girl in Balanchine's 'Slaughter on Tenth Avenue'.
Photo by Paul Kolnik for NYC Ballet

This brief clip of Sara dancing 'Slaughter' with Robert Fairchild shows how she transforms herself into a real Broadway babe:

http://www.nycballet.com/Videos/Ballet-Detail-clips/Slaughter-on-10th-Avenue-excerpt.aspx#.Vg60M9Mr4NU.email

'Slaughter on Tenth Avenue' was the perfect climax to a satisfying evening of American ballet inspired by American music.

NYC Ballet 'Swan Lake' Dress Rehearsal

On Tuesday afternoon, September 22nd, I attended the 'dress' rehearsal for Peter Martins' 'Swan Lake' which was opening later that evening.  The idea that it was a 'dress' rehearsal seemed pretty casual -- most of the corps dancers were in practice clothes, except the men wore their garish orange boots.  Even the principals weren't in pristine costume -- Prince Siegfried wore grey sweatpants over his costume through much of the first scene and Odette wore footless tights.

The 'orchestra' consisted of a piano in the pit 'conducted' by Stuart Capps and a violinist who showed up in time for the solo violin passage in the lakeside scene.

Still, it was an opportunity to see a brand new Siegfried, Russell Janzen, perfectly paired with a lovely Odette, Teresa Reichlen.  They are both tall, slender dancers with long arms and legs.  The pas de deux in the first lakeside scene was notable for their long, beautifully coordinated lines and for Russell's partnering of Tess with steady calm.  Surrounded by a corps of swans in drab and raggedy practice clothes Tess and Russell indeed stood out.   

Teresa Reichlen and Russell Janzen in the pas de deux from George Balanchine's 'Diamonds' from 'Jewels'.
Photo by Paul Kolnik for NYC Ballet

At this rehearsal, Taylor Stanley in the role of Benno danced the pas de trois with Indiana Woodward and Sarah Villwock.  Ms. Woodward and Ms. Villwock are new to their roles and there were still a few kinks in the pas de trois to be ironed out later in a rehearsal studio.  Harrison Ball danced the Jester -- a role I dislike and find hard to judge objectively.  It's showy and requires a bravura dancer.  Harrison seemed to be having an off day.  Gwyneth Muller was regal as the Queen, although she or a page or lady-in-waiting need to mind her train which was doubled back on itself here.  The children from the School of American Ballet were well-drilled and adorable -- although they were still getting used to the Theater's stage and the adult dancers surrounding them.

In the lakeside scene, the four cygnets -- including Claire Von Eyck at one end of the chain -- were brilliant.  Silas Farley waved Von Rotbart's flaming orange cape with panache.  Although the role of Rotbart was created by Albert Evans, I see no reason to continue casting minorities -- Silas and Preston Chamblee in the current run -- in this role.  It's way past time for New York City Ballet to introduce color blind casting in all of its works and move beyond this type of tokenism -- it's racist and appalling.

This cast will  be dancing Thursday evening, September 24th -- when Russell will make his debut as Siegried -- and again at the Sunday, September 27th, matinee.

Following the rehearsal of the first half -- I'm never sure if it is two scenes and one act or two acts with no intermission -- of 'Swan Lake' there was a rehearsal of the pas de quatre from the ballroom scene with Megan Fairchild, Ana Sophia Scheller, Tiler Peck and Joaquin De Luz.  This stellar cast did a partially danced walk-thru of this so-so piece of Martins' choreography.  I assume that they've danced this enough times that they were saving themselves for the performance that evening.  It was a rather lackluster finish to a spotty afternoon.

On a different note, Jared Angle was listed in the handout as one of the 'rehearsal masters' and was on stage offering pointers to Reichlen and Janzen about their performance.  Does this portend a transition from principal dancer to artistic staff in Jared's future?  If so, the NYCB website hasn't caught up with the news.  We'd hate to see Jared stop performing, but he's a great addition to the artistic staff with a wealth of experience dancing a wide range of roles.