My usual appologies for being delayed...School, always school...but here it goes.
“Pas de Dix” and “Bouree Fantasque” coming next…
When i was reviewing all the discussions on the"Bourree Fantasque" revival by MCB, I thought that all the amply discussed formula of this ballet about inverting conventional ballet style would appeared too "Unconventional", specially within Miami's audience. (I always think that newyorkers have the bennefit of Balanchine's tradition on these matters, they've seen all this works before, so they can relate, compare and understand better). But against the odds, i think Eddie's troupe succeeded because, with no pretentions, they basically succeded in capturing the humor of the first movement, with its tall girl-short boy duet and more important, the right neo-romantic perfume on the second, even the dancers not being too experienced in the Romantic Ballets . As some said earlier, however, a ballet created in 1949 for the New York City Ballet cannot be danced in the same way by Miami City Ballet in 2008 , but still, such a ballet created by such a genius, like water, found its own level. Thus, the miamian ''Bourree,'' did work. The present casts add their own touches but , as some reviewers has confirmed, still remain faithful to the original choreography.
The opening duet played off the now well known and amply discussed discrepancy between a tall girl and a short boy. The short boy on Saturday 1 night performance was Corps de Ballet member Alexandre Dufaur, and he was charming: cleverly athletic and full of self-deprecating good humor. His partner that night was Soloist Andrea Spiridonakus, who handled the flashing footwork admirably. However, on Sunday2, Corps de Ballet member Allyne Noelle and Soloist Alex Wong (everyone's but me new favorite, as i observed) played down the tall-girl, short-boy comedy aspect more convincing , bringing out a new playful quality.Noelle equaled Spiridonakus technically and turned out to have a real gift for comedy, (i still remember her well done portray of the "pin up girl" from Rubies whe they did Jewels). She just beamed with personality , being a delightful surprise as a delicious coquette with her twirling fan and flexed feet. Wong, who is way more appropiate on this role and who often gets misscast, overdid a bit in the mock-stumbles but turned into a convincing lovesick suitor.
This was my favorite movement. It was sooo romantic. Much of Balanchine's movement themes keep the dancers in ballet's second position, feet apart and oftenflexed for comic effect. In this romantic section, eight women stand bowed in second position, feet apart, and then rotate their torsos and arms upward. Like Degas's ballet girls come to life, and like hands on a clock, they signal the duration of a questing episode.Principal Patricia Delgado,poised and virtuosic, seemed to
be longing for destiny and found it briefly in the person of Soloist Yang Zou . She danced mysteriously andwith power..Zou was her secure partner, althought i would loved to have seen Principal Carlos Guerra on the part. On Sunday they repeated the cast, perfectly fine .They danced prettily and precisely ; it would be very interesting to see Delgado in a wider range of roles.
This last section was led just as correctly with merry bravura.The final couple on Saturday was all fire, with super energetic Principal Tricia Albertson, (my favorite Rubies leading lady) and Soloist Daniel Sarabia, (the promising Sarabita's brother) ,who handily held their own . On Sunday it was Corps de Ballet Daniel Baker who was visibly enjoying himself despite all the difficult one-arm lifts,(for a moment i sensed an almost dropping during a fish dive, which didn't happened thank God) and Principal Soloist Jeanette Delgado (my praised Princess Florine during the past AW), who came out of her customary well-behaved shell and filled the space around her with bold breathtaking projection.
Dancing under glowing John Hall's lights, Eddie's troupe joyfully danced to the threepieces, all united by beautiful Chaubrier score offered by great La Manna's Opus OneOrchestra. This 1949 work was presented with its humor and dynamism, dignifyied without being overdone. Laughs were heard here and there, and the difficult choreography with rapid footwork en pointe was donewith brio and joy. MCB's dancers totally met the challenge. For a moment i really didn't know where to look at, specially by the finale, with all the complicated choreographic patterns being delivered at the same time by everyone. Now i really have to mention the rest of the names for BF:
1st Movement: Elice Mckinley, Rebecca King, Amir Yogev, Jennifer Lauren, Cindy Huang, Ezra Hurwithz, Ashley Knox, Leigh ann Esty, Michael Breeden, Ruiz, Sara Esty and Daniel Baker
2nd Movement-D'Addario and Tiffany Hedman, Talcot and Maira Barriga, Dlizabeth Smedley, Christie Sciturro, Katie Gibson, Lisa Reneau
3rd Movement-Kyra Homeres, Zherlin Ndudi, Zoe Zien, Marc Spielberger, Elizabeth Keller, LA Esty, H.Riascos,Chaz Meszaros, King,Esty, Stephen Satterfield, Bradley Dunlap, Amanda Weingarten, Ashley Knox, Marshal and Toshiro Abbley.
Bravo to Barbara's designs after Barbara (Matera/Karinska )
Again, Well done, Eddie!!