Pennsylvania Ballet at City Center
Posted 16 November 2007 - 01:53 AM
Concerto Barocco is a ballet I find almost foolproof. Almost. Played as well as it was, it was still enjoyable but the women have stylistic quirks I do not enjoy: shoulders held rather high; heads held a bit forward; torsos unstretched. Arantxa Ochoa, whom I remember from her SAB days, danced the lead. Her turnout is less than ideal. which matters a lot in this piece. The company did all the steps, correctly and in the right order, phrasing and musicality evident. But that was all. A performance such as this would have been disappointing at an SAB graduation performance.
Then came As It's Going, to Shostakovich. The composer's ballets are eminently danceable but his orchestral works would seem as choreographable as Beethoven's symphonies. This was no exception.
There was a uniform blandness about these dancers, with the exception of Jermel Johnson, who has a unique movement quality that makes one watch him. And some brio - a quality pretty much lacking in the company as a whole.
We left before the last piece, Lambarena. I leave it to others to tell me what we missed.
If anyone would like a gift of two excellent seats to Saturday night's performance, PM me. I can highly recomment the soprano, Sarah Coburn, in the Carmina Burana.
And the orchestra.
It makes me sad to write this, especially considering the financial outlay on the part of the company. What with the orchestra transport, accomodations, per diems, etc., this has to be very costly. The money could have been put to better use on teaching/coaching salaries.
Posted 16 November 2007 - 05:39 AM
You missed nothing - it was interminable. A mixture of ballet & Africanish dance to a mixture of Bach & African music. For me, the best of PA Ballet can be summed up in two words - Julie Diana. Wow, what a gorgeous dancer. I also would like to have seen Riolama Lorenzo, but it appears that she didn't make the trip.
I was a little more kindly disposed toward Concerto Barrocco - I enjoyed the allegro movements, thought the ensemble parts were very tight but the pas de deux seemed very deliberate - I was so aware of the mechanics of all the partnering. Not good, and yes, it was a very bland performance overall.
As it's Going was ok, but barely. I don't think I'd like to see it twice. I think I'm going to buy a ticket for the Sat matinee to see Julie Diana in CB, but if so I'll leave at the first intermission.
Posted 16 November 2007 - 08:31 AM
I thought Serenade was for the most part stiff, held back, dancers making sure not to slip or stand out, or jump too big, or dance too big, or be emotional. A totally bland performance, with the exception of a couple of dancers in the corps.
One female, in the corps -- I couldn't take my eyes off the entire night. She must have come from SAB, her training was cleaner and bolder than the others. Wish I knew her name.... A beautiful mover with a lush, lush upper body. Wow! Why oh why isn't she dancing at NYCB?!!
After a brief intermission, full of ballet regulars, PA Ballet gave it their best, selling their Carmina Burana. I too loved the soprano, Sarah Coburn, and my hat's off to the company for having a live chorus (however too small) and live orchestra. But Carmina's choreography and staging, with too many costumes, didn't really come to life until the last two or three minutes when the dancers were wearing nothing except flesh-colored unitards. Finally the power of the music was realized with a large group of strong dancers.
I wish PA Ballet had given its all to Serenade instead.
Posted 16 November 2007 - 11:58 AM
Can you describe her, sz? Maybe we could figure out who it was.
Posted 16 November 2007 - 02:15 PM
I have seen Concerto Barocco peformned by other companies in the past and I have to say that the corps work in last nights performance was one of the best I have seen. As technically and physically demading as this ballet is on the dancers, it was exceptional to see that most, if not all of, these dancers also had to perform other ballets that same evening.
I think it is of note and an indication of PABallet raising stature within the ballet community that last nights attendance was a veritable "Who's Who" of the dance industry. I was also happy to see that the audience appeared to agree with me on my assesement of the dancers peformances as noted by the audiences loud applause and mulitple "Bravo's" during and after each ballet.
I enjoyed these performances so much I will also be in attendance again this evening so I can see the other rep.
Posted 16 November 2007 - 02:45 PM
She wasn't one of the Russian girls... that might have helped.... I would have
four names to pick from.
Ok, she's a bit like Somogyi when Somogyi was younger. But this girl is much prettier.
She's perhaps a bit taller too, but not much. Pale, light brown- blonde-ish hair. Nothing spikey about her dancing. She has a juicy, lovely muscularity to her dancing. Strong but not tough.
Seems several dancers at NYCB know of her...
Posted 16 November 2007 - 02:53 PM
Posted 16 November 2007 - 03:03 PM
Lambarena sucks. Fortunately, San Francisco Ballet will also schedule it as the last ballet on the program, so I can get out before the crowd.
I loved Diana when she was with SFB.
Posted 16 November 2007 - 03:18 PM
The dresses are really something, too. I get caught up in their sway.
I like Caniparoli's The Bridge much, much more.
Posted 16 November 2007 - 09:26 PM
Unfortunately, I was sleep deprived, so I was nodding off during Carmina- despite being a singer and also loving the soprano... it just went on forever! When I could keep my eyes open, I was definitely compelled by what I was watching. I too thought the end section was very effective.
What most struck me though was that almost the entire company danced BOTH ballets- what a workout!!! My dancer friend and I were saying to to each other that we hoped they went straight to the bath and the bio freeze and to bed.
Very glad I attended.
Posted 16 November 2007 - 11:36 PM
I'd love to have someone use them who would enjoy the program. I feel guilty having them empty.
Posted 17 November 2007 - 07:22 AM
As for Carmena Burana all I have to say is WOW. If you want to see something powerful, with a variety of exciting and exhilarating dance move and novel costumes, this is a MUST SEE. Contrary to some of the previous comments, I felt that the costumes were amazing and their creative designs gave added visual acuity to the entire piece. Based on the strength of the dancers performance and the innovative and entertaining choreography, I think this piece could be hugely successful if toured internationally.
Once again I feel that recognition needs to be given to the dancers in this company and my hat goes off to the dancers that performed in both pieces. Not only were these pieces polar opposites showing the exceptional versatility and overall talent of the dancers but the stamina needed to perform in both of the ballets is praiseworthy.
Posted 17 November 2007 - 09:20 AM
I thought Serenade fared much better but still - it didnít have the sweep or mysterious dreamscape that I find so magical about this this ballet. Aside from a slight ďcarefulnessĒ about the dancing I couldnít really put my finger on what it was that I missed - but my friend said that they were dancing just a little behind the beat, while weíre used to seeing it danced on or just a little ahead of the beat. Maybe. Also even though I liked all the performances this time, they all seemed a little small in scale. Another part may have been due to artistic/staging decisions. I thought the lighting was way too bright - where was the blue haze of that moonlit glade? I saw high noon. And I didnít like the costumes either. Who would think that you could mess up a romantic tutu but I found the womenís costumes very unattractive - they couldnít have been less ethereal.
I may be the only person in the ballet going world who hasnít seen a hundred versions of Carmina Burana. I liked a lot of the choreography but there was just too much of it. My attention kept wandering but I liked what I saw every time I directed it back to the stage.
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