Apollo, January 30th

[Michael]

Of the 3 Apollos I have seen this season, last night was the most satisfying, because it was the most dramatically coherant. The denouement by Apotheosis -- the moment when Apollo seems to realize his full Godhood, upon the reentry of the first (and final) musical theme, with the muses cowering progressively (three times, lower each time) in the shadow of his light, as Apollo raises his arms and slowly begins to pace the stage, the muses following, formerly his tutors but now somehow blinded by his radiance -- was beautifully rendered and perfect in dramatic tone. The drama, at this point at least, was intelligently conveyed, something I have not seen before this season.

This dramatic success was due, as much as to Nikolai Hubbe's (otherwise somewhat uneven) performance as Apollo, to the intelligibility of the group of Muses -- Kistler, Bouder and Van Kipnis.

The three, to begin with, are beautifully matched in size and coloring. Van Kipnis and Bouder in particular are beautiful together, of similar size, proportion and visual weight. Pascale Van Kipnis has been dancing Calliope for years (having debuted in the role, if my memory serves, opposite Somogyi's Polyhymnia in the years when she and Somogyi were joined at the hip) and her rendering of it has grown more and more assured.

Bouder's presence as Polyhymnia was galvanizing. At one point, a series of double en dedans pirouettes from which Polyhymnia extends after each double into a deeply inclined arabesque on a flat supporting foot, keeping the finger to her mouth at all times, I remember thinking, with the deepest satisfaction, that no one else I know could do this so beautifully and make it looks so effortless. Bouder is, suprisingly perhaps, perfect for ths role. The proportions of her neck and face, indeed her expression, were very good with her hair in the extreme bun, the costume was flattering, her upper body at rest was soft, feminine and nicely placed.

Kistler had major problems with Terpsichore (more about that below) -- but the strength of her performance was her ensemble work with the other two muses and in that respect her performance was wonderful and was a dramatic success.

The problems with last night's Apollo? First, Darci Kistler cannot really manage Terpsichore any longer. Her range of movement is now painfully constricted at times. And she appears far too old. Her Terpsichore seemed old enough to be Nikolai Hubbe's mother, and danced as if she were his grandmother. Then there was Hubbe, who opened the performance, and closed (as described above) in a brilliantly Danseur Noble fashion; but who became progressively punchier and more demi character in his approach to the role at all moments in between.

The other Ballets on the program were Donizetti Variations and Serenade.

Donizetti got quite a somewhat mediocre performance. The company as a whole seems to lack the "Bounce" and the lightness of style required by this Ballet. Jennifer Ringer's petite allegro was astonishingly beautiful. Her grand allegro, however, seemed somewhat heavy and her adagio appeared stiff and often a little off balance. Philip Neal made a herioic effort, danced relatively "clean", and with bravura, and almost made it around on some of his double turns -- but he is not really a light and airy dancer, lands heavily (little pliee) and is miscast in this role. The small corps de ballet looked good in this, particularly Amanda Hankes, who is remarkably centered, fast and musical for so tall a dancer, and Carrie Riggins, whose clear batterie during her demi solo was a delight.

In Serenade, Kyra Nichols gave another of her astonishing "Days of the Future Past" performances, extremely passionate in tone. Her eyes, in the final passage, after her abandonment, as she turned to the corps de ballet (Gwyneth Muller, blocking her path -- There is no exit for the Waltz girl at this point except for that poised upon the shoulders of the four men) burned right through you. Here again, the girls' corps de ballet looked, as it has all season, just brilliant.

Interesting to see Serenade and Apollo on the same bill. For the conclusion of each have contrasting but echoing Apotheoses. Where Apollo ought to ascend the stair, Nichols ascends the shoulders.