Alastair Macaulay reviews Suzanne Farrell Ballet:
It’s impressive to find one muse paying tribute to another. The choreographer George Balanchine’s muses were his ballerinas. Many of his ballets were designed as vehicles for them. When new, they seemed principally to celebrate what was most splendidly singular about them. Paradoxically, though, these same works in due course became vehicles for many dissimilar ballerinas that followed.
A review of the company by George Jackson for danceviewtimes.
The dancers under Farrell’s direction demonstrate steps to bring out flavors, they phrase astutely to show savory movement textures. Personality is barely suggested in the dancing, relationships remain understated - even in “Duo Concertant”, in which a boy and a girl bond playfully at first. Then a change occurs. Gone is the casual mood, the companionable feeling. He becomes her worshipper and she is transfigured into the beloved one. However, In Friday’s performance an ultimate question remained. Up to the end, Michael Cook and Natalia Magnicaballi had related directly, spurred on by violinist Corey Cerovsek and pianist Glenn Sales. The two musicians, positioned near the dancers, grew ever more fully and passionately committed to their Stravinsky score. Did, though, the two dancers finally transcend themselves? Cook, in particular, seemed to be holding back.