Suzanne Farrell Ballet tour reviews
Posted 17 November 2003 - 09:40 AM
Posted 17 November 2003 - 10:42 AM
The Royal used to put principals onstage in what looked to me like ensemble parts. Not the top stars, but the regular principals. The parts were not second swan in the fifth row, but those ballets in which the ensemble was less stratified. It was a practice that always puzzled me, but I put it down to the few opportunities (compared with companies that do not share their home with an opera troupe) the dancers had to get onstage.
I think it's very rare, anywhere, for principals to dance soloist or corps parts.
Posted 17 November 2003 - 02:11 PM
There were several moments in Divert that made one uneasy for the dancers, but all performed honorably. I did not care for the costumes, which seemed a trifle loud and a trifle rustic, not qualities I associate with this music or this ballet. Joining the amen chorus in praise of April Ball. Her dancing was clear and pretty and in addition she had that something that catches the eye ("Who's that girl?" asked someone sitting nearby). I greatly preferred Ritter to Du or Mladenov he was the only one of the men who looked really comfortable in Divertimento.
Next up was the Waltz of the Flowers. There is something to be said for presenting this out of context as a study in Balanchinian composition, but I missed the context all the same (I'm going by the video of the film). And this choreography definitely needs tutus -- as hockeyfan228 mentions, the chiffon shifts make you think of "Serenade" and there's no reason to think of "Serenade." (It also made for a rather chiffon-intensive program.)
Gotta go, but echoing hockeyfan228 yet again, Chan Hon Goh's acting in Serenade was indeed somewhat alarming in the finale, just as she was about to be raised aloft, her expression seemed a bit I'm-ready-for-my-closeup-Mr. DeMille, if you catch my drift. More later, I hope.
Posted 17 November 2003 - 05:01 PM
Posted 18 November 2003 - 03:14 PM
The recorded music was also a bad choice. It was loud, badly balanced and came from high over the stage, rather than from below, from beneath the dancers' feet as it naturally should. It would have been better, perhaps, had the speakers been positioned in horizonal banks in the orchestra pit. An alternative for a company of Suzanne Farrell Ballet's means would be to use reductions for live piano and/or strings, at least on tours. The Divertimento #15 could be effectively played by a string trio, and both Stravinsky and Balanchine tossed off all sorts of piano reductions, often quite brilliant ones, that might be used. (Some of these are described in the recent Charles Joseph book that I'm just starting to read.)
As it was, the recorded music alienated me from the ballets, especially Divertimento, which was simply shouted out from a big black box. It seemed to hold the dancers prisioners to relentless and inelastic tempos. This only added to the difficulty of this very difficult ballet, which everyone struggled against, strugged bravely to fit all the steps into.
Serenade worked beautifully for me, and I thought of how many of the mysterious and ambiguous Balanchinian relationships are already in place in this early ballet: Strange pas de deuxs that smear into pas de trois; elevated ballerina sculptures; inside-out hook-ups of outstretched arms. I'm looking forward to seeing this ballet again this winter at the War Memorial Opera House.
Posted 18 November 2003 - 09:43 PM
Posted 19 November 2003 - 10:01 AM
Posted 22 November 2003 - 08:22 PM
After the Jackie Gleason Theatre had for years subjected us in the MCB audience to the sort of boom-and-screech amplification we wouldn't want to have in our living rooms - granted, a theatre is a much bigger room to fill with sound than a living room is - the company hired its own sound engineer, who bought along his own amps, speakers, and skill - or sensibilities - and the sound the past two seasons has been so good I'm sometimes fooled into thinking there's an orchestra in the pit. Only the additional acoustic on the record, and some indistinctness in the bass, give a clue. My point, FWIW, is, in this day and age, theatre sound systems don't have to sound like early-50s phonographs.
In the meantime, what can audience members do? Besides complain, that is. My way of coping is to use EAR "Grande" ear plugs (available in drug stores), which reduce sound - but do not eliminate it - pretty evenly across the spectrum from low to high, instead of muffling it like many kinds of earplugs do. For example, I used these to great advantage last year at the Joffrey Ballet's performances of "Les Noces" when they actually did have musicians in the pit of the acoustically-excellent Auditorium Theatre but amplified them anyway. (Some people sitting near me remarked that it hurt their ears.)
Posted 24 November 2003 - 01:27 PM
The first night was: Divertimento No. 15, Waltz of the Flowers, Tchaikovsky Pas de Deux, and Serenade.
The second night was: Div. again, Variations for Orchestra, Tzigane, and Apollo.
The first night the audience absolutely loved Waltz of the Flowers. I thought the chiffon skirts were gorgeous and especially effective at the end of the number when most of the corps are bouree-ing around and around in place. Wonderful effect.
I did not like the way the dancers used their arms in Div. the first night (arms flying without any connection to the back) but strangely, I didn't have that criticism the second night.
One thing about touring performances in Santa Fe -- most companies think that they'll be "ok" with the 7000 ft. altitude and don't come early enough to acclimate. I was glad to see that, with very few exceptions, the dancers looked full of energy. (I believe it was Fournier who danced the Pas de Deux on the first night and didn't quite make it off stage before slumping...)
Serenade was gorgeous. Unfortunately, the stage in Santa Fe is a bit small for the large sections of Serenade. The girls stayed in formation but on occasion had to dance in the wings.
I was mostly excited about seeing Apollo. I hadn't seen the version with the birth of Apollo in the beginning, and the climbing of the stairs at the end. I have to say, I do prefer the shortened version. I just adore the pose of Apollo and the three Muses legs at different levels at the end and I didn't get it with this version. But, it is always good to expand your horizons, right? The three Muses were absolutely fantastic, easily the best dancers in the company, again with the blond, redhead and brunette. Peter Boal as Apollo was great and I have videos of Peter Martins and Baryshikov doing the role.
A very exciting company to watch.
Posted 24 November 2003 - 05:18 PM
Posted 25 November 2003 - 03:20 PM
Piccolo, thanks for your review!
Posted 26 November 2003 - 07:28 PM
It could work if someone just gave a damn about art - not their own pocket book.
And...musicians in their mid twenties are not some HS youth orchestra...trust me...I was in Philly Youth 10 years ago...I know all about the difference between HS 13-22 youth group compared to a conservatory level grad program. I've played in both...and yes, both have their problems - mostly due to the lack of mismanagment by faculty (not the music director but some talentless bumpkin above him) Unfortunately it is this sort of injustice that has led to the abandonment of art by many of my peers.
I wish Suzanne Farrell luck...but in about 50 years...if the virus that is American Culture ala Britany Spears and other loosely clad "talent" continues to spread worldwide...all the beauty of true art will be nothing more than a relic.
Thats why I've quit music all together and will become a chemical engineer...its all about the money. At least now I could afford tickets to the BSO...if I gave a damn.
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