Leigh Witchel Posted February 9, 2002 Share Posted February 9, 2002 Brief notes on Allegro Brillante: What an absolute joy to have two utterly different interpretations of Allegro Brillante - Ansanelli's and Somogyi's - and be completely unable to choose between them. Would you prefer a serving of joy or would you like a helping of triumph? I'll just happily buy tickets for both. Ansanelli turned in a committed, joyous performance in the role. There is something very beautiful in her soul, and it's there for everyone to see. Her physicality is more vulnerable than Somogyi's so it shades the interpretation. The role is a turner's role, so both of them are very well equipped for it, in that respect. One of the loveliest moments for Ansanelli was when she stands with her partner (Damian Woetzel) in attitude and one by one the men in the corps join her and promenade her as their partners go under. As she greeted each of the four men, she did it with a simple joy that gave the ballet a parallel to the Rose Adagio I had not noticed before. I hope for many more lovely performances from the both of them, and I think Ansanelli has proven her mettle many times this season. I've said it before, but my money is on a promotion to principal very soon. Link to comment
Michael Posted February 9, 2002 Share Posted February 9, 2002 Leigh, I could not agree more. Ansanelli last night was the performance of the season for me. I never expect to see this better performed. It was pretty nearly perfect, something on another level entirely from what I've been watching. Link to comment
britomart Posted February 9, 2002 Share Posted February 9, 2002 I too, could not agree more. Ansanelii's performance was a truimph indeed. To see her come back from her horrific injury and patiently work her way back to the strength and physical control she exhibited last night has been truly joyous, and it shines through in her dancing. There is something gracious in her demeanor--Leigh I remember that same moment you mentioned--and when she was called out for a third curtain call, she dropped to one knee, bowed her head and put her hand to her heart. Rather than seeming a ballerina contrivance, it read as a genuine gesture that clearly communicated what that moment must have been for her. Dumb as it sounds, I felt proud of her and shared her joy. What is amazing to me at this point in her dancing is that she has developed such a lovely maturity in her dancing while still so young. Initially I think people saw her simply as the next Martins wunderkind, but she has become something far different. Her presence conveys a certain sweetness but one that has a great deal of texture and range. I would love to see her Aurora. Link to comment
Farrell Fan Posted February 9, 2002 Share Posted February 9, 2002 Amen to all that's been said about the wonderful Ansanelli. It was a great moment when the audience prompted that third curtain call. Such moments are rare at NYCB. But in my opinion, the entire evening was rare -- perhaps the best overall night of dancing I've experienced this winter at NYCB. Peter Martins' "Morgen" is one of his better ballets, to those sublime Richard Strauss songs, and Darci, Ringer, and the fearless Janie Taylor, together with James Fayette, Nilas, and Jock, did splendidly by it. "Serenade" was also given an inspired performance, with Borree, Kowroski, Gitte Lindstrom, Askegard, and Fayette. What was interesting to me all night was the audience reaction. There was an audible gasp followed by applause when the curtain went up on "Serenade." I hadn't heard that in a long time. Apparently, many in attendance were new to the work and maybe to ballet generally. If so NYCB must have made a few converts last night. And Andrea Quinn's conducting was masterly in "Morgen" and "Serenade." It occurred to me that with "Morgen" likely to stay in the repertory for a while, NYCB can now offer a variety of programs covering Morgen, Afternoon, and Nacht. [ February 09, 2002: Message edited by: Farrell Fan ] Link to comment
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