Don Quixote, Kennedy Center, June 22-26th
Posted 25 June 2005 - 01:15 PM
Posted 25 June 2005 - 05:32 PM
Jack Reed, on Jun 25 2005, 03:34 AM, said:
Sladkin was *magical* in the Saturday matinee. What a difference a day makes! She's a corps member now, but there should be very good things in her future, if what I saw is any indication.
Posted 25 June 2005 - 07:46 PM
Yes, I think the production as a whole is jelling, notwithstanding a few mishaps this evening (Saturday), especially around the transition in Act III from the Garden (Scene 1) to La Mancha. And also tonight, Mladenov showed many strengthened and clarified moments, the procession at the end didn't bunch up, and so on - people have been at work on this, apparently. But, Alexandra, could you be a little more specific about the references you saw? Allegro Brillante? I recently saw a few performances of that, and I would like to know where that and the other examples are. (Not that I doubt what you say or anything like that.)
I also think Heather Ogden has the edge on Sonia Rodriguez as Dulcinea - they're both a little too "vertical" and correct in a role originated by someone famously abandoned, but I wouldn't expect many dancers to leave behind hard-earned technique quickly - but Ogden has more dramatic imagination, I'd say.
One little improvement I'd like to see someday, if it's not impractical, is to have more of the cast take final bows. If I remember correctly, there are eight at the end - the three principals, the two solo couples from the dream ballet in the Garden scene, and the conductor. There are droves of people in this. Still, maybe it's a lot to expect to have people wait around while Act III finishes up. Speaking of the conductor, the orchestra plays more vividly for Ron Matson than for Ormsby Wilkins.
Posted 25 June 2005 - 08:50 PM
Jack Reed, on Jun 25 2005, 11:46 PM, said:
Jack, the "Allegro Brillante" link was pointed out to me by a dancer friend, who found it in "the groupings in the Courante Sicilienne." He also caught a whiff of "Brahms Schoenberg" in the dream sequence. I think most of the second act is a close cousin of "Sonnambula" -- the decadence and cruelty (which they could emphasize more ); the visionary guest -- here a knight, there a poet, but both are Outsiders; the actual divertissements. They're structurally similar -- little dances with a character favor, not virtuoso set pieces. "Serenade" -- the idea of a woman leading a man who cannot see, guiding him to his destiny. As for Davidsbundlertanze -- the ballets are thematically related, I think. The huge black, accusatory Quills in Davidsbundler are the secular version of the stern, disapproving clerics in Don Q, and Farrell's last solo in Davidsbundler has some steps and ports de bra that also appear in the last solo for Dulcinea. There are others, but those are a few.
Posted 25 June 2005 - 10:15 PM
I had a great time, and had my usual DC host not been away this week, I might have stayed a bit longer and seen it again.
The evening was not as heavy as I remember it from NYCB. And the set pieces from Acts II and III were absolutely gorgeous. While I would be hard pressed to point them out now, there were echoes of and precursors to other Balanchine ballets. One thing about Mr. B, he sure stole from the best!
Thanks, Jack, for posting my biggest disappointment about Rodriguez. It's not that Farrell herself knew how to inhabit and charge the space around her. City Ballet has danced that way since I've been watching them seriously (albeit to a lesser degree during their late-'90s nadir). Rodriguez failed to enlarge herself by making the space around her part of the dance. Nor did she go off her center. That's not a choice but intrinsic to the choreography.
Memory plays tricks. The scene at Court seemed less populated and shorter than my recollection Maybe it was. The Inquisitors in the final scene lacked the menace. Perhaps it's just the more recent Davidsbunder viewings overwriting the old ones of DQ. And I didn't remember the children having been so prominent in Act I.
One of the big highlights was Alexander Ritter proudly partnering Cheryl Sladkin in a fabulous pdd Mauresque, then as a Cavalier in the dream scene. The company as a whole would have benefited if more had his command and clarity. Of course, he's alone among the performers in that he actually spent time as an NYCB dancer.
I'd seen the dream scene presented once by NYCB as an excerpt. I wonder if they would do it again (assuming the owner of the rights would let them). While it loses much of its impact whenpulled from its context, well, same holds for Aurora's wedding, doesn't it?, and we see that all the time.
I would jump at a chance to see this production again. If it meant going to Toronto -- hmmm , possibly. If it meant going to New Jersey or Brooklyn? Absolutely! For this, I made the round-trip in one day -- a total of nine hours in the bus plus just under two more waiting around bus terminals. Definitely worth it.
Highlights off the stage included seeing Farrell -- from a distance -- walking towards Virginia Ave., another was greeting Ritter as he entered the theater. Making the acquaintance of Jack Reed was a treat, as was stumbling over three of the usual suspects from home.
Posted 26 June 2005 - 03:40 PM
A highlight for me was Heather Ogden on Saturday night---her third act variations were thrilling--well done!!!! I don't find the role particularly affecting, although I did her performance.....all heart, emotion, and exciting, expansive dancing in the vision scene....
Posted 26 June 2005 - 07:17 PM
Alexandra, I think there's a lot more Tarantella than Allegro Brillante in the Courante Sicilienne (among the Act II Divertissements), especially in the ensembles the dance (for six, for those who didn't go) opens and closes with. Some of the duets have material that reminds me of A. B., though. Thanks for posting those ideas; I like anything that gets me to see more deeply into something I'm watching. I think the T. stuff is what makes it Sicilienne.
Posted 26 June 2005 - 08:01 PM
Posted 27 June 2005 - 08:01 AM
* there was no 25-minute Capezio Award ceremony at the start [Boy, did Capezio do a huge disservice to the Farrell Company at the opening, in retrospect!]
* Farrell has tightened the mime portions (e.g., the initial episode of Don Q saving the little girl from the dragon is about half the length as opening night...it no longer resembles the 'Nutcracker' battle scene with the Mouse King & lots of kiddies on horseback)
* the soloists were stronger...esp. Lise-Marie Jourdain in the second, brisk solo of the Dream Scene
I'm still not convinced that this is a great work or a 'major Balanchine' oeuvre but at least it does not resemble the 'bomb' of last Wednesday night.
Posted 27 June 2005 - 09:01 AM
Jack Reed, on Jun 23 2005, said:
If it's any solace to the ballerinas alternating the role of Dulcinea I would like to tell them that Suzanne Farrell wasn't all that affecting in the role at the first performance---and she had Balanchine.
Posted 27 June 2005 - 10:31 AM
That being said, I also feel that the amount of work Suzanne had put into this was particularly apparent in the ensemble sections and in some of the soloist parts. The opening village scene was lively and well staged, I thought... for the most part everybody seemed to be engaged by the actions centerstage. The dancing in the village scene by the corps was full of spirit- not the most technically adept spirit, but energetic, nonetheless. Later on, in the Palace scene, Bonnie Pickard's intensely detailed parformance in the fourth variation also seemed to display what I thought might be a bit of what Suzanne tries to pull from some of her dancers. Also- the characters in the Palace scene carried themselves in a manner that was completely appropriate- their regal smugness providing more evidence of the attention to detail. The dream scene at the beginning of act 3 seemed to be more typical of Balanchine- with solo couples weaving in and out of the corps. Here, Shannon Parsley's quick, musical and energetic footwork impressed me the most, despite some awkward choreography. Also, the images created by Erin Mahoney's entrance- dressed entirely in black- stick in my mind. She brought something more powerful onstage here than she had in her earlier variation.
It was the performance of the Principals, though, that seemed to be the most lacking, I am afraid. From the very first entrance of Dulcinea, where she bends over to dry the Don's feet with her hair- I wished for something more imaginative- more sensuous. I found myself trying to imagine what Suzanne's own performance might have been like in this role. I can imagine the particular way she may have pricked the floor with her toes in the village scene variation as Marcela, and I can imagine the abandon with which she would have thrown herself into the later variations. The quote in the program talked about how Dulcinea was an off-balance character, and that there was nothing about her that was straight up and down. For me, Sonia Rodriguez's beautifully centered, balanced dancing didn't add anything to the character- perhaps actually subtracting from whatever power might lie in the choreography. As Don Quixote, Momchil Mladenov improved as the evening went by, but there seemed to be very little chemistry between the two of them, and there were too few moments when he seemed to exist right there, in that moment.
I suppose this could have been the effects of opening night- I unfortunately did not have the chance to see another performance or other casts. In terms of the ballet itself.... well, knowing that Suzanne was the only Dulcinea to appear during it's time in the NYCB rep says alot. I am not sure that the ballet can exist on its own merits without a dancer such as Suzanne in the leading role. Maybe her current Dulcinea's will find their own way over time- who knows.
Posted 27 June 2005 - 10:53 AM
Posted 27 June 2005 - 10:58 AM
And good to read you, leibling!
Posted 27 June 2005 - 11:02 AM
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