Suzanne Farrell in Princeton
Posted 05 October 2009 - 01:10 PM
Posted 05 October 2009 - 04:10 PM
I saw Suzanne briefly at intermission. I saw her dear poodle, Charlie, at somewhat greater length. The Holowchuks drove him home too.
Posted 05 October 2009 - 05:23 PM
I've never been in the McCarter Theatre; what was it and the crowd like?
Posted 05 October 2009 - 06:30 PM
Posted 05 October 2009 - 07:14 PM
Posted 05 October 2009 - 07:19 PM
Posted 05 October 2009 - 08:16 PM
Actually, Ms. Stout didn't dance. According to the announcement, her role (second variation) was taken by Lauren Stewart, a new apprentice, in an impressively Balanchinian performance. We saw only two of the ballet's four sections -- the introductory movement and the five pas de deux -- were somewhat sloppy and compromised by what appeared to be a slippery floor. Exiting his duet, Ian Grosh was unable to hold his ballerina in the overhead lift all the way into the wings. Still, the spirit of the piece was intact, and at a much brisker tempo than I've lately seen at NYCB.
The Divertimento was pristine; the five female soloists (Kendra Mitchell, Nicole Stout, Sara Ivan and Natalia Magnicaballi and Violetta Angelova were admirable, as were the three men.
Divertimento No. 15 has been in the company's rep since its first or second season, and it's natural that more attention would be paid to rehearsing newer pieces. The tradeoff (if that's what it was) was well worthwhile, and the performance kicked up several notches after the intermission. The Clarinade pdd was fun and interesting. As Acocella pointed out in the post-perf talk, it was a precursor to the Rubies pdd (and I also saw shadows of Symphony in 3 Movmts pdd). She also asked Farrell whether she was at all embarrassed performing those slinky, slithery, seductive moves. Farrell answered that when you learn a ballet you learn the movements and do them. She also said that in its original form, it was a kind of triple pdd, with the main couple flanked on each side by another couple. In restaging it for a single couple, she had to create new choreography to replace the parts where the main couple was still. She wondered if people would be able to distinguish her choreography from Balanchine's. Now, I'm especially eager to see it again. But with different costumes. I found these distracting. (You can see the yellow and black designs in the rotating slideshow on the homepage of the company's mini-site, here.)
The company gave its newest ballet, Agon, a masterful performance. Tight and energetic. Congratulations to all.
Sara Ivan and Momchil Mladenov were mesmerizing and passionate in the Scene d'Amour from Bejart's Romeo and Juliet.
The theater is fairly small, and even the back row is no further than the back of the First Ring at NYST/DHKT. With a neighbor wearing about half a bottle of cologne, I moved from rear balcony to rear orchestra during intermission. The orchestra has a pretty nice rake, so sightlines in both locations are pretty good.
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