Reviews of the Suzanne Farrell Ballet.
The New York Times:
Then there is the issue of whether any of the dancers in the company are quite up to the high standards of their roles. I’m often irked by the innumerable and largely mystical meanings that ballet aficionados love to project onto the word “ballerina.” Nonetheless Ms. Farrell herself onstage came to exemplify, hauntingly, all those loftier and sublime implications, whereas the company she has brought to the New York lacks them.
Its two leading ladies, Elisabeth Holowchuk and Violeta Angelova, best as soloists, are stretched to the limit by their present roles: on Wednesday Ms. Holowchuk danced three leads, Ms. Angelova two. In the “Diamonds” pas de deux Ms. Angelova had three minor mishaps: a tiara insecurely fastened, an off-balance pirouette that misfired, and a slight error of footwork, but these registered all the more sharply because of the stage’s proximity.
The Faster Times:
Unlike Miami City Ballet’s excellent début in New York a couple of years ago, on opening night (Oct. 19), Farrell’s dancers just didn’t seem quite ready for the big time. It’s no small thing to dance Balanchine on the turf of New York City Ballet, with its wonderful wide stage, exceptional dancers, and full orchestra. One day, New Yorkers see Sara Mearns or Wendy Whelan dancing “Diamonds” as if technique were simply not an issue; the next day we see Violeta Angelova struggling with balances, behind the beat of a too-fast recording, and losing her nerve. It’s not really a fair comparison. And yet, even in this, the most problematic performance of the evening, there were little revelations which will stay with me.