Balanchine's 'Walpurgisnacht Ballet'

SATURDAY EVENING, March 1, 8 PM

WALPURGISNACHT BALLET: Mearns, Danchig-Waring, Lovette, Villwock, Isaacs [Guest Conductor: Christensen]

This program 'a la Francaise' was put together as an evening of all French music.  With the announcement that Janie Taylor and Sebastien Marcovici were retiring, it was subsumed into their farewell performance.  However, the most exciting dancing of the evening came in Balanchine's 'Walpurgisnacht Ballet' to the ballet music from Gounod's opera, 'Faust'.

Balanchine had originally choreographed to this music for productions of the opera at the Opera de Monte-Carlo in 1925; at the Metropolitan Opera in 1935; and at the Opera Nacional in Mexico City in 1945.  Balanchine created this particular choreography in 1975 for a production of 'Faust' by the Paris Opera where it was danced by the Paris Opera Ballet.

It was first performed as a stand alone ballet by the NYC Ballet in May, 1980, with Suzanne Farrell, Adam Luders and Heather Watts leading the first cast.  One of my ballet friends recalls that Balanchine created a scandal by using the bombastic music obviously intended for a showy male variation for one of Farrell's variations.  Farrell recalls that Balanchine came in at the last minute to 'rearrange and rechoreograph' the work after it had been staged for NYC Ballet by Brigette Thom of the Paris Opera Ballet.  

The entire ballet is a celebration of femininity.  Luders was an excellent partner, but not the epitome of virility on stage (we referred to him as the 'white rabbit' because on stage he was so pale and always appeared to be scared of his own shadow).  As the only man in the cast, Adam's primary functions were to partner Farrell, perform one innocuous variation, and catch her when she made a spectacular leap onto his shoulder at the finale.

Balanchine used a typical ballet hierarchy for this work -- a corps of 16 women, four demi-soloists, two soloists, a secondary ballerina, and the principle couple.

The cast on Saturday evening was splendid.  Adrian Danchig-Waring (who had debuted in the role the previous Wednesday) looked virile, partnered Mearns with gracious ease and danced his scant variation with panache.  Lauren Lovette (who had also debuted on Wednesday) danced with great musicality in the secondary ballerina role.  She's a gorgeous young woman whose dancing projects warmth and confidence.

Sara Mearns and Ask La Cour in 'Walpurgisnacht Ballet', photo by Paul Kolnik for NYC Ballet

Sara Mearns has made 'Walpurgisnacht' one of her signature roles, completely displacing memories of Farrell and Kyra Nichols, the two other great exponents of the role.  The lovely Gounod music seems to emanate from Sara's pliant lower back, radiate through her arms and legs, and linger in her fingertips and toes.  She doesn't dance to the music so much as she becomes it.

Sara Mearns in 'Walpurgisnacht Ballet' by Balanchine, photo by Paul Kolnik for NYC Ballet

 
This is no mean feat when the orchestra, under guest conductor Henrik Vagn Christensen, threatened to disintegrate at Sara's feet.  Her diagonal of alternating chaine turns and pirouettes literally replaced the disjointed jumble of notes coming from the pit.

Corps women in finale of 'Walpurgisnacht Ballet' by Balanchine, photo by Paul Kolnik for NYC Ballet

The finale of the ballet is always a bit of a mess with all of the women loosening their hair and dancing in barely controlled abandon (it is after all 'the witches sabbath') -- leading to Sara's final triumphant leap onto Adrian's sturdy shoulder.

'Walpurgisnacht' is far from top drawer Balanchine, but when it is performed by such outstanding dancers it becomes irresistible.

   

Janie Taylor & Sebastien Marcovici Farewell Performance

SATURDAY EVENING, March 1, 8 PM
JANIE TAYLOR AND SÉBASTIEN MARCOVICI FAREWELL PERFORMANCE
AFTERNOON OF A FAUN: Taylor, Marcovici [Guest Conductor: Christensen]
pause
LA VALSE: Taylor, Marcovici, J. Angle, Kayali, Segin, Schumacher, Pollack, Applebaum, Arthurs, Scordato, Smith, Muller, Anderson [Guest Conductor: Christensen]

The Taylor/Marcovici farewell performance featured them in two works -- Robbins' 'Afternoon of a Faun' and Balanchine's 'La Valse' -- created by the two great choreographers for their shared muse, Tanaquil LeClercq. 

Tanaquil LeClercq with Francisco Moncion, the original cast of 'Afternoon of a Faun', photo by Melton

Janie has been a dancer of fragile, almost tenuous grace, most comfortable in the repertory's romantic roles -- the Sleepwalker in 'La Sonambula', the 'waltz girl' in 'Serenade', the ballerina in 'Scotch Symphony' come to mind.  Illness and injuries have sapped her technique, but never her uniquely ethereal stage beauty.

Sebastien has been known primarily for his roles in Balanchine's 'leotard' ballets like 'Four Temperaments', 'Stravinsky Violin Concerto', and 'Agon'.  His stage persona is astringent, angular and muscular -- and though he has been a dependable partner he has never had great on-stage rapport with his ballerinas.

Paired in performance, they are yin and yang -- vulnerability and strength; delicacy and power.  Their most successful pairing was probably in Balanchine's 'Liebeslieder Walzer'.  A performance of 'Liebeslieder' became the occasion for Sebastien's marriage proposal.
 

Sebastien Marcovici and Janie Taylor at their August, 2012 wedding, photo by Wendy Whelan

Unfortunately, their 'Faun' on Saturday evening didn't emit much of the heat and sensuality that can make this work so appealing.  You'd think as a married couple Janie and Sebastien would exude the romantic chemistry that should develop here between Robbins' two ballet students alone in a ballet studio.  Instead they seemed more comfortable emphasizing the work's balletic narcissism and downplaying it's sexual tension.  The work sagged as a result.

Janie Taylor & Sebastien Marcovici in 'La Valse', photo by Yana Paskova for NYTimes

In the weirdly sinister world of 'La Valse' Janie and Sebastien dance together in a fairly brief section in the middle of the ballet, but just as they are beginning to build an intense relationship it is cut short by 'fate'. 
  

Janie Taylor & Sebastien Marcovici in Balanchine's 'La Valse',
photo from NYC Ballet website probably by Paul Kolnik

Jared Angle, as the death figure, lures Janie with foreboding gifts (black necklace, black gloves, black frock) and then sweeps her into a dance of death. It's rather odd that the couple who first came to our attention as the leads in the 1998 SAB workshop performances of Balanchine's 'Gounod Symphony' -- Janie and Jared -- should be the couple that danced the last waltz of Janie's ballet career.  Jared made his debut in the role this week.  He is chilling and implacable. Janie is covetous and vulnerable.  Janie dies, Jared disappears, Sebastien despairs.

Sebastien Marcovici (left), Janie Taylor and the company in final moments of 'La Valse',
photo from NYC Ballet website, probably by Paul Kolnik

The white-gloved arms and hands of the soloists and corps are so important in setting the creepy mood for this work. The entire company provided a wonderful framework for the two principals' farewell.  I single out Kristin Segin & Troy Schumacher, Faye Arthurs & Andrew Scordato, and Gwyneth Muller for special praise for their work in establishing the ominous atmosphere in the early sections of this ballet.   


Between the two farewell ballets we had the new work, 'Acheron', by the British choreographer Liam Scarlett to Poulenc's 'Organ Concerto'  and Balanchine's 'Walpurgisnacht Ballet' to Gounod's ballet score from the opera 'Faust' (which I'll discuss in separate posts).


The guest conductor for these two works was Henrik Vagn Christensen.  Here he kept the players together, but offered no special insights on these iconic, well-known scores.  I would characterize his approach as generic rather than inspired.

Janie and Sebastien are off to Los Angeles where Sebastien will become the ballet master of L.A. Dance Project, Benjamin Millipied's West Coast company.  I wish them well in their new endeavors.  Their special gifts will be missed at NYC Ballet.

'The Monuments Men'

We went to see George Clooney's 'The Monuments Men' yesterday afternoon.  It takes the very serious and seriously interesting story of the Allies search for art and architecture looted, stolen and destroyed by the Nazis during World War II and turns it into a kind of 'Ocean's 13.5' caper movie.  It's entertaining, but Clooney has trouble deciding if it's a comedy or an action movie or a serious look at a very difficult and disturbing aspect of that war.

The cast includes serious actors (Cate Blanchett, Hugh Bonneville), major stars (Clooney, Matt Damon), character actors (Bob Balaban, Jean Dujardin, Dimitri Leonidas) and comedians (Bill Murray, John Goodman) which adds to the confused tone.  The result is lots of loose ends and unexplored subplots.

Tying the plot to two masterpieces of western art -- the Ghent Altarpiece by Van Eyck and the Bruges Madonna by Michelangelo (more below) -- looted by the Nazis greatly simplifies the potential sprawl of the subject matter. Focusing on these works, lends some narrative structure to the film, but what about the art stolen from Jews? art looted from French museums? art seized by the Russians? architectural treasures destroyed by both the Axis powers and the Allies during the war?  All of these questions are raised during the movie, but none are adequately addressed.

It is a most unsatisfying gloss on questions that remain unresolved to this day.  George Clooney is to be commended for raising the subject, but not for providing much more than that in this disappointing movie.

We've seen both works more than once and they are indeed significant works of art.

Michelangelo's 'Bruge Madonna'

'Madonna with the Infant Jesus' by Michelangelo, marble, 1501-1504,
Church of Our Lady, Bruges, Belgium,
photo by Blomme/McClure, 1971 

This photo was taken in 1971 before an anarchist attacked Michelangelo's 'Pieta' at the Vatican.  Both sculptures are now protected by bullet-proof glass.  There is a distinct resemblance between the Madonnas in Bruges and Rome. Both are stoic and a bit sad.  In Bruges, the Madonna regards her child taking his first steps into the world with both resignation and apprehension.  In Rome, of course, she knows that her apprehension was well-founded as she cradles her dead son following his crucifixion.

Van Eyck's Ghent Altarpiece 
The Ghent altarpiece is an enormous amalgamation of 12 panels painted on wood by Jan Van Eyck for an altarpiece which was designed and possibly assembled by his brother, Hubert Van Eyck, for St. Bavo's Cathedral in Ghent.  The outer panels are painted on both sides and mounted on hinged doors which can be closed.  The upper register of four paintings on the obverse side compose a glowing 'Annunciation to the Virgin Mary':

'Archangel Gabriel Making the Annunciation' obverse panel from the 'Ghent Altarpiece' 
by Van Eyck, 1432, oil on wood panel, Saint Bavo Cathedral, Ghent, Belgium,
photo by Blomme/McClure, 1986

'The Virgin Mary Receiving Annunciation' obverse panel from the 'Ghent Altarpiece' 
by Van Eyck, 1432, oil on wood panel, Saint Bavo Cathedral, Ghent, Belgium,
photo by Blomme/McClure, 1986

The central panel in the lower register on the inside shows the adoration of the sacred lamb representing Christ surrounded by angels and worshiped by male martyrs (upper left), female martyrs (upper right), Old Testament prophets and pagan writers (left foreground) and male saints (right foreground).  To modern sensibilities these seem like strange dichotomies, but they probably made sense to viewers in 1432.

'Adoration of the Mystic Lamb' panel from the 'Ghent Altarpiece' by Van Eyck, 
oil on wood panel, 1432, Saint Bavo Cathedral, Ghent, Belgium,
photo by Blomme/McClure, 1986

The picture is filled with religious symbolism as well as a skyline of recognizable Belgian landmarks including the tower of Utrecht Cathedral just to the left of the sun.

'The Dying Gaul' at the National Gallery of Art

On my January visit to the National Gallery of Art, I became reacquainted with 'The Dying Gaul', displayed in the rotunda of the East Building in a special one-work exhibition.

'The Dying Gaul' installed in Rotunda of National Gallery of Art East Building,
photo from National Gallery of Art website

We had originally seen this world famous sculpture at the Capitoline Museums in Rome, where it sits in the center of a gallery surrounded by other statues from Roman antiquity.

'The Dying Gaul' at the Capitoline Museum, Rome, photo by Blomme/McClure 2001

'The Dying Gaul' from the rear in the Capitoline Museum, Rome, photo by Blomme/McClure, 2001

In both settings it is a splendid work of art from the first or second century A.D.  It was dug up around 1621-23 in the gardens of the Villa Ludovisi in Rome.  Experts believe that it is a copy of even earlier Greek bronze thought to be created to honor the victory of the king of Pergamon over the Gauls in the third century B.C.  The Gauls were known for fighting nude with only their weapons, so the depiction of the wounded warrior naked except for a sword, a trumpet and a necklace has been deemed an accurate portrayal of a Gaul dying on the battlefield.

Following its discovery, it became such a famous sculpture that Napoleon's armies took it to Paris for display in the Louvre from 1797 to 1816.  Upon its return to Rome, the Capitoline museum became a featured stop on the 'grand tour' during the 18th and 19th centuries, wherein European gentlemen furthered their appreciation of the antiquities.

Isolated in the National Gallery's rotunda with better lighting, I was more keenly aware of both the extraordinary realism and incredible beauty of this wonderful, justly famed work.

'The Dying Gaul' on loan from the Capitoline Museum, Rome, marble, 2nd or 3rd century A.D.
 on display in the Rotunda of the National Gallery of Art, photo by McClure, 2014

JR's Art Project for NYC Ballet Reconsidered

I was hasty in criticizing JR's photo-mural on the floor of the promenade at New York State (Koch) Theater for encroaching on Philip Johnson's gorgeous space.  I still do believe that the space is better left unadorned.  But on second and third viewing during subsequent visits, the JR work itself does have resonance.  It resembles one of those wonderful ceilings in baroque churches and palaces except that it's underfoot and the glorious gods and goddesses are beloved members of New York City Ballet.  The entire piece is in the shape of a giant eye which can best be appreciated from one of the upper rings.

JR's eye from the west end of the fourth tier, photo by McClure

It's interesting to see the audience interact with the piece -- something missing from my first view of the installation at a dress rehearsal.  With audience members walking over the floor, casting moving shadows and interacting with the images makes it more interesting.  Also, it's surprising to watch them searching for a favorite dancer.  And almost shocking to see them lie down next to them. 

Two people lying in the 'pupil' of JR's eye installation at State Theater as others walk by, photo McClure

The group of dancers forming the 'iris' are like carytids gracefully holding up some far off temple on the Acropolis -- particularly the gorgeous Faye Arthurs in a blush pink leotard.

Anthony Huxley and Faye Arthurs in JR's 'iris', photo by McClure

Here are a few other favorite dancers spotted around the installation in no particular order.

Harrison Coll and Rob Fairchild with admirers, photo by McClure

Silas Farley as part of the 'iris', photo by McClure

Ashley Bouder with an observer, photo by McClure

Olivia Boisson in anti-gravity mode, photo by McClure

Craig Hall dreaming among shadows and scuffs, photo by McClure

What's with 'Her'?

We went to see the movie 'Her' this afternoon and I must admit that I am completely puzzled by it's inclusion on the list of nine movies nominated for a best picture and four other Oscars.  It makes 'Nebraska' and 'Inside Llewyn Davis' look like masterpieces (which they're not).  Joaquin Phoenix gives a very low key (nearly somnolent) performance as a recently divorced ghostwriter of other peoples' personal correspondence who falls in love with an operating system (voiced by Scarlett Johansson).  Every time he went to bed (very often) I wanted to close my eyes and go to sleep. The entire film flat-lined in the first 15 minutes and then went on for another 2 hours.

'Coppelia' at NYC Ballet

After a five year absence 'Coppelia' returned to the New York City Ballet repertory on Valentine's Day.  We have seen this ballet many times since the company first staged it -- including at it's premier in Saratoga Springs in 1974.  The choreography by George Balanchine and Alexandra Danilova is based on their recollection of the version by Petipa that they had seen at the Mariinsky in St. Petersburg as youngsters.  Balanchine and Danilova both left the Soviet Union for Europe in 1924 and each soon joined Diaghilev's Ballet Russes.

Mme. Danilova went on to a distinguished career as a prima ballerina in the various companies that arose out of the Ballet Russes after the death of Diaghilev in 1929.  Among her most illustrious roles was Swanilda in several productions of  'Coppelia' that were derived from the Petipa production at the Mariinsky.  

Alexandra Danilova & Frederic Franklin in the Sadlers Wells production of 'Coppelia'

In 1964, sometime after the end of her performing career, Balanchine invited Mme. Danilova to join the faculty of the School of American Balle.  At SAB she became a beloved teacher and in 1965 she staged the first of the annual student workshop performances.  One of my regrets as a dance lover is that I was never able to observe one of her classes at the School.

Alexandra Danilova in 1979, photo by Tom Buck

Balanchine supposedly convinced Lincoln Kirstein (who had always been in favor of presenting only new work at NYC Ballet) to stage 'Coppelia' by pointing out how many family members and friends of each of the 24 little girls in the Act III divertissements would fill the seats at each performance.

Balanchine created and reworked the choreography for the ensembles in Acts I & III, while Mme. Danilova recreated the entire Act II and the pas de deux for the central couple in the opening and closing acts from her memory of the productions she had danced in.  The stellar original cast included Patricia McBride as Swanilda, Helgi Tomasson as Frantz and Shaun O'Brien as Dr. Coppelius.  

Mme. Alexandra Danilova working with Helgi Tomasson & Patricia McBride in 1974,
photo by Martha Swope for NYC Ballet

The production was designed by Rouben Ter-Arutunian.  The sets are in a faux-naif style that was fresh and charming in 1974, but has become rather shabby and dated now.  In researching for this post, I noted that San Francisco Ballet and Pacific Northwest Ballet have mounted a joint production of the Balanchine/Danilova version of 'Coppelia' "beautifully designed by Roberta Guidi di Bagno in shimmering pastels and whimsical patterns" according to Moira Macdonald in the Seattle Times.

Roberta Guidi di Bagno's designs for Pacific Northwest Ballet's 'Coppelia', photo by Angela Sterling for PNB

The cast we saw last weekend should have sparkled in these roles:
  
COPPÉLIA: SWANILDA: T. Peck; FRANTZ: Veyette; DR. COPPÉLIUS: La Fosse+;
WALTZ: *Lovette; DAWN: *Isaacs; PRAYER: *Smith; SPINNER: *Pazcoguin; WAR and DISCORD: *Kikta, *Ball
(Guest Conductor: Litton)
* First Time in Role

Andrew Veyette's punkish athleticism should be ideal for the loutish, two-timing Frantz and Tiler Peck's solid technique and ingenue sparkle seem ideal for the irrepressible Swanilda.  Robert LaFosse's experience as both Drosselmeier in 'Nutcracker' and as Dr. Coppelius should allow him to work magic.  Instead, we saw confused, almost incoherent story-telling from all three principals.  Andrew didn't convey Frantz's ardor for both Swanilda and the doll, Coppelia.  Tiler couldn't decide if Swanilda was curious or downright malicious in her treatment of Dr. Coppelius.  LaFosse seemed to be torn between creating a daft old codger or a much darker character of Coppelius.  Finally, in the pas de deux of Act I and Act III there wasn't enough chemistry between Tiler and Andrew.  Certainly all of the steps were brilliantly in place, but there was not really much reason for them.

Tiler Peck as Swanilda in the Act III Wedding Pas de Deux from 'Coppelia'
 photo by Andrea Mohin for the NYTimes

Fortunately, the rest of the company looked wonderful -- well rehearsed and enthusiastic.  In the Act III divertissements, Lauren Lovette was musical and enchanting in the 'Waltz of the Golden Hours' -- even though she had to compete with 24 adorable little girls from SAB for attention (didn't W.C.Fields say something about never performing with children or animals?). Gretchen Smith was lovely and solemn in 'Prayer'. Emily Kitka and Harrison Ball even salvaged the kitschy 'War and Discord' from total disaster (it's got to be one of Balanchine's least inspired pieces of choreography).  

And the orchestra under the direction of the guest conductor, Andrew Litton, provided nuanced and lilting musical support.  The Delibes music is among the loveliest in the classical ballet canon and it was brought to robust life in this performance.  Maestro Litton is one of the better 'guest' conductors who have been in the pit since the departure of Fayçal Karoui nearly two years ago.   When will Peter Martins and the NYCB board hire a new music director for the company and bring this conductor 'audition' process to a close?