The New York Post
Happily, the rest of the evening went as planned. The premiere, “Les Carillons” to the suites from Bizet’s “L’Arlésienne,” has a large cast — five principal and five corps couples — and a collage of moods from martial to soulful, yet it felt like a painting, with colors blocked out but no shading.
Wheeldon’s longtime muse, Wendy Whelan, filled that in. After an emotional pas de deux with Robert Fairchild, she wandered through a crowd of celebrants pensive and alone. Wheeldon repaid Peck’s MVP teamwork in “Polyphonia” here, giving her a solo with intricate footwork and curling arms. It showed her in a new, delicate light.
The Financial Times
The pas de deux’s breathtaking variety and nuance distinguished Danse à grande vitesse as well. To composer Michael Nyman’s relentless, bombastic celebration of France’s high-speed rail, the ballet embodied the wayward, human equivalent of locomotion and its interlocking parts: more Gehry wave than bullet train. The gluey partnering emphasised tendon, muscle and flesh, nicely resisting the music’s throbbing heroics.
We had already had enough heroism for one night: smack in the middle of Polyphonia, beautiful, sinuous Jennie Somogyi ripped her Achilles tendon (not her first devastating ankle injury). The audience let out a collective gasp. You could see that her instinct was to keep dancing – that it took all her courage to hobble offstage and let the piano thunder in her wake.