"All Balanchine" Program
Posted 06 April 2003 - 08:00 AM
We attended the second Saturday matinee.
I don't have the expertise to provide any kind of technical critique, but can share a few impressions:
Ballo della Regina -
I had read a great deal about the speed and technical ability required to dance this ballet, made originally on Merrill Ashley. I had not realized, however, that the corps plays a lovely part in this piece.
I was especially struck by the use of the arms.
Monumentum Pro Gesualdo and Movements for Piano and Orchestra -
Watching theses pieces made me feel almost as if I were viewing those original tapes of early Balanchine, in black and white. The dancers were in rehearsal clothes, and had blank expressions on their faces.
I would have very much liked to have had the chance to see more than once, because there was so much to absorb.
Prodigal Son -
This was actually my least favorite. Melanie Atkins danced the Siren, and I did not find her as alluring as I would have expected. (Was this the dancer, or the role? -- it's hard to act sexy throwing a heavy mantle around). Also, the crawling of the repentant Son struck me as theatrical, and I didn't agree with the interpretation of the son returning to his father -- his father forcing him to crawl on his hands and knees up to him, whereas both the text and the natural instinct of a parent would show the father moving forward to embrace the son.
All in all, a great program, and, I might add, extremely well attended.
P.S. For the Alexander Ritter fan -- he was not listed as dancing in any performance this weekend.
Posted 06 April 2003 - 11:42 AM
Posted 06 April 2003 - 11:52 AM
. . .Auden complained that the Father should not have remained rigid, but with Christian compassion, might have advanced at least a step, in some sign of pardon. . .
The choreographer disagreed. He made his own point, altering Scripture for his own didactic purposes. Christ, first of all, was a Jew, raised on the Pentateuch, which included Deuteronomy and Leviticus. The parable embodied an older Testament's tribal ethic. . .And Balanchine slyly justified his tampering with the text. Was not the generous gesture [as recounted by Luke] an early patristic interpretation, sweetening the rabbinical rigor in favor of propaganda for the new faith?
. . .An Anglican poet spoke by a new, but a Russian Orthodox by an older, wisdom.
Posted 06 April 2003 - 12:47 PM
Posted 06 April 2003 - 01:03 PM
The first Sat night we saw Sarah Lamb in Ballo, and last night it was Pollyana Ribiero. Much as I like Sarah, Pollyana was much more comfortable in the role and did a really good job. The corps was also excellent. This is one of my husband's three favorite ballets, and he thought last night's performance was the best since seeing Merrill Ashley (his very favorite dancer) dance it. Better even than recent NYCB performances.
Both times we saw Movements Melanie Atkins and Jered Redick were dancing the leads, and I really enjoyed Melanie. This may be a better role for her than Siren. We were sitting close to the front and I had the feeling even her eyelids were choreographed! (Are they?)
I'm not really fond of Prodigal Son. The first night we saw Simon Ball and Karla Kovatch, and last night Yury Yanowsky and April Ball. Kovatch is a member of the corps; I was glad to see her have this opportunity and thought she did well in the role. The biggest surprise to me was an ovation for April Ball after her performance, with many flowers thrown on the stage, many bouquets delivered - one by her brother, and dancers in their street clothes coming out on stage to applaud. She had danced well but this was obviously more than congrats on a good performance. I hadn't heard that she is leaving but all this leads to that conclusion. Too bad.
With regard to Prodigal, I also found the ending cold, so I'm interested in the alternative interpretations. I'll have to keep that in mind if I see it again.
Meanwhile I'm glad to be seeing more and different Balanchine next year, and also look forward to Romeo and Juliet next month.
Posted 07 April 2003 - 06:03 PM
Not to speculate too much, but I am wondering where some dancers are--particularly some principals and soloists. Anybody know?
Posted 08 April 2003 - 06:59 AM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):