Midsummer Night's Dream @ Kennedy Center

[Dale]

Did anybody see the opening night of NYCB's run of Midsummer Night's Dream at Kennedy Center? Kowroski, Millepied, Whelan....

[Natalia]

A Midsummer Night's Dream

by Balanchine/Mendelssohn

Thursday, March 1, 2007

After a week of 'Bolshoi Overload,' I wasn't planning to attend the NYCB 'Midsummer Night's Dream,' which I've seen seemingly a hundred times in the past. Luckily, a friend gave me a last-minute gift of a ticket to last night's second performance of the run, starring Sofiane Sylve (Titania), Joaquin De Luz (Oberon), Sean Suozzi (Puck), Alina Dronova (Butterfly) and Jenifer Ringer/Nilas Martins (Act II Divertissement leads). Ana Sophia Scheller replaced the originally-announced Sara Mearns as Hippolyta. It was a delightful performance, all around, with children of the DC area doing a fantastic job as fairies, bugs, etc.

Sylve's Titania fascinates. She is unique in the role - not at all the wispy, delicate angel of most interpretations but almost a hot-blooded mortal queen with plenty of 'oomph.' My, her initial miming passages of argument with Oberon were powerful; one does not mess with this Titania! Her dancing was lush, expansive, spot-on and displaying those amazing feet of hers. Charles Askegard, as her Cavalier in the Act I pdd, supplied the necessary muscle-power & finesse to make this queenly ballerina appear light as a feather. Sylve was particularly touching -- almost surprisingly so -- after the reconciliation, displaying gentle womanliness that was not apparent at the start of the ballet. As I said, a very unique interpretation of contrasts.

De Luz's Oberon was brilliant in his batterie during the Scherzo, although his acting was a bit tamer than Sylve's. Suozzi was a high-flying, hilarious Puck while Dronova was a dainty butterfly, displaying exquisite lightness in her leaps. Lovely brunette Scheller, as Hippolyta, emphasized the fire-power of her jetes and spiffy double-fouettes.

All of the above was fine enough but the piece-de-resistance of last night's performance was the Act II Wedding Divertissement, particularly the elegance and clarity of Jenifer Ringer's dancing, nobly partnered by Nilas Martins and framed by a very uniform ensemble of demi-solo couples. Ringer danced almost as if praying for the spirit of Balanchine to restore understated-elegance & order onto the Kennedy Center stage, following the delectable yet over-the-top displays by the Bolshoi just a few days ago. Prayers were most definitely answered. Ringer is, to me, the Very Essence of Elegance in Ballet.

The only negative note came from the pit, where orchestra and vocalists were unable to harmonize and keep time at crucial moments during Titania's Lullaby/Go to Sleep scene. Otherwise, this was a four-star evening at the ballet.

[drb]

Wow! What a happy review. Too bad this wasn't the opening night performance, that seems to have underwhelmed the DC critics. Still GLORIOUS news from that first performance, as I see in today's Links that MAURICE KAPLOW conducted. Many here were very concerned that he was unable to complete a recent performance in NYC and canceled all subsequent performances. Welcome back, Maestro!

[Mike Gunther]

Things were pretty lively this afternoon, Saturday; a fine performance. This was the same cast as opening night, so I can't imagine there was anything seriously wrong then either, in spite of the lackluster Washington Post opening-night review. Today, at least, the dancers put a lot of energy and character into their presentation; for example, Daniel Ulbricht's humor and verve as Puck, and Jennie Somogyi's emotive Hermia. There was also something about Teresa Reichlen's Hippolyta that caught people's attention; maybe those long, long legs and a certain quality of presence. I thought that just about everybody sparkled, although perhaps Benjamin Millepied as Oberon could have been more emotionally connected to his fine partner (Maria Kowroski, Titania).

The audience was warm and appreciative, giving two curtain calls at the end. drb, I noticed that Conductor Paul Mann substituted for Maurice Kaplow in this performance; unfortunately, I don't have any more information about that change.

Today's cast repeats on Sunday evening; Thursday's cast, that Natalia praised so highly, repeats on Sunday afternoon.

[stick1]

The audience was warm and appreciative, giving two curtain calls at the end. drb, I noticed that Conductor Paul Mann substituted for Maurice Kaplow in this performance; unfortunately, I don't have any more information about that change.

In order to cover for his absence - and I must say he is much missed by us all - I conducted his last few remaining performances in the NY winter season, and will conduct all seven performances of Midsummer this week. Two more to go!

Regards

Paul Mann

[drb]

In order to cover for his absence - and I must say he is much missed by us all - I conducted his last few remaining performances in the NY winter season, and will conduct all seven performances of Midsummer this week. Two more to go!

Regards

Paul Mann

Welcome, Mr. Mann, it is an honor to have you visit this forum. Like the name stick1 too!

[Helene]

Thank you, Mr. Mann.

You've been conducting a marathon of performances this week

[Michael]

What about the Divertissement? Act I was pretty well danced here last year, but Act II (classical demands) was very much worse for the wear -- What news from DC?

Watching the video of D'Amboise and Kent in the divertissement pas last week, and the incredibly light mood and tone with which the corps re-enters at the end of the pas; and the wedding march with Gloria Govrin, et al., I had to say that this part of the production has fallen away slowly but surely more than the other over the years. The divertissement as a whole in that filmed performance is one of Balanchine's greatest moments. In recent years the greatness was reduced to the pas de deux and last year that too started to go with the casting.

[Natalia]

What about the Divertissement? ...

The mid-1980s PBS telecast is my benchmark -- a glorious Merrill Ashley & (I think) Adam Luders. My multiple live viewings of this ballet since then (20 yrs ago) have never come close...until this past week's performance. Especially Divine Ringer! Then the excellent demi-colo corps. Then Martins, who held his own, despite his naturally less-than-classical 'look.' It was that good last Thursday. Too bad that it wasn't reviewed by the press.

[Helene]

The mid-1980s PBS telecast is my benchmark -- a glorious Merrill Ashley & (I think) Adam Luders.

It was Adam Luders in that telecast from 1986, in the role in which he gave his final NYCB performance on 26 June 1994, with Kyra Nichols. (It was also Gen Horiuchi's farewell performance at NYCB, as Oberon.)

[Bill]

I've been remiss in posting but saw the Friday March 2 performance of Dream at the Kennedy Center. This was part of DC's "Shakespeare in Washington" year-long celebration. I re-read the play before the perfomance (it's been a long time since 10th grade). I was amazed at how well Act 1 and the very end of Act 2 capture the plot and mood of the play -- if anything, the choral parts (the only spoken words in the ballet) were a distraction from the plotting. Renewed evidence of Mr. B's genius as a dance showman.

Like the Bolshoi's Cinderella the previous week, I thought this was a male-dominated performance - Ulbricht as Puck stole the show in Act 1, with Carmena as Oberon not far behind. I thought that Kyra Nichols looked very tentative as Titiana -- a jarring contrast with the energy of Hippolyta (Scheller) and her hounds. I'm a Borree/Hubbe fan and they did not disappoint in the Act 2 divertissement. If it's possible to be romantic and authoritative at the same time, they managed to pull it off.

[kfw]

What about the Divertissement? Act I was pretty well danced here last year, but Act II (classical demands) was very much worse for the wear -- What news from DC?

I saw the Sunday afternoon performance with Ringer and Martins in the pas de deux. Any day with Jenifer Ringer in it is a good day, but she did not look comfortable or happy while they were alone onstage, and it was only when they came back on afterwards to join the ensemble that her dancing looked relaxed and free, that she glowed, that she looked like the Ringer we're used to. The pas de deux itself was relatively stiff. As for Martins, I didn't see any partnering bobbles, but in his brief solo moments he no more than sketched the steps, and barely got off the ground.

[amckean]

I also saw the Sunday afternoon performance, and while Ringer seemed a bit shakier than she has been other times I have seen her, I still thought she gave a lovely, technically assured performance. I thought the pas de deux was serene and extremely musical, and Ringer looked in top form. I agree with kfw with respect to Martins, as he was definitely out-danced by the other fantastic male talent that afternoon.

Sylve was a radiant Titania--so warm and spontaneous and showing off her wonderful lines and feet. This is the first time I have been as taken with her dancing, and I have begun to understand the buzz about her. Alina Dronova sparkled both as Butterfly and in the Divertissement--so much dancing for her that afternoon, and she had such a crisp attack throughout. I thought Sterling Hyltin gave a brilliant performance of Hermia. It is clear from the moment she steps on the stage that she is a star in the making. She is so fully engaged in every moment, technically assured and not afraid to take risks, with feet to die for and an innate musicality. I wasn't sure whether Scheller was entirely well-suited for Hippolyta, possibly because of her small size, but she delivered a strong performance complete with a dazzling set of fouettes with alternating doubles thrown in. De Luz seemed to be a perfect Oberon and to be completely on with his jumps and turns that afternoon.

I enjoyed getting to see so many of the new corps members and apprentices, including Erica Pereira, who is so tiny and delicate and makes everything look so easy. Rachel Piskin was a standout for me--fully engaged and connecting with the audience. Overall, I thought it was a stellar performance and especially commendable at the end of a long winter season.

[Klavier]

Ulbricht as Puck stole the show in Act 1.

No surprise.

As for Martins, I didn't see any partnering bobbles, but in his brief solo moments he no more than sketched the steps, and barely got off the ground.

No surprise.

[Phaedra392]

I saw the March 3 performance, and although I was happy with the audience reaction, which was enthusiastic, I was not thrilled with the quality of the performance as a whole. I went with the particular desire of seeing the Scherzo and the Act II pas de deux, both of which are favorites. When a live performance is eclipsed by the memory of a taped one, that is a sad comment. Borree was a shadow of the great Merrill Ashley in the 1986 video. The famous swooning fall at the end of the PDD -- a transporting moment if there ever was one -- made no impact whatsoever. I had prepared my companion for something unforgettable, and I myself was forgetting Borree's performance as it was happening. No blame on Hubbe -- he was sublime. But Borree was phoning it in. How in the world a dancer could treat this masterpiece as a mere series of steps to be gotten through is a mystery and a shame.

The Scherzo was better. The music itself is so exciting. Carmena was impressive, as were the D.C. kids. Nichols was lovely, but as someone said here, somewhat tentative. (How does she manage to land without a sound from her shoes? Others reliably clopped.)

[usetodance]

Did anybody see the opening night of NYCB's run of Midsummer Night's Dream at Kennedy Center? Kowroski, Millepied, Whelan....

I am an absolute lover of the ballet. I am an ex-dancer who still enjoys weekly classes. I love attending all the ballets with my yearly season tickets to the Kennedy Center.

I saw the Sunday afternoon performance of Midsummer by the NY City Ballet and I was incredibly disappointed. I could not believe they call themselves a world class company and give us the lackluster and soulless performance I saw that day.

I have never looked on a website for opinions by fellow ballet lovers but this performance felt so bad I had to find a way. I would love to hear from anyone who may have seen this recent performance at the Kennedy Center in March.

[kfw]

usetodance, I saw that performance and have nothing negative to say beyond what I've already posted. Overall I had a wonderful afternoon. But you can find reviews, not of that pereformance, but of that cast and others during the same DC run in the online edition of danceviewtimes here and here.