Balanchine Program -- January 12

[Michael]

Quite and extraordinary program from City Ballet tonight. Just a wonderful evening. I will take it in reverse order, including Suite # 3 in its own elements.

Suite 3 – Taken somewhat Backwards

Last night’s Theme and Variations had more energy and excitement, had a sharper focus than any I’ve seen in at least four years, either here or at ABT, certainly the best performance at NYCB since Miranda Weese’s some years ago before her hip injury. This is true not only of the principals but the soloists and corps de ballet as well, or perhaps especially – It was an extremely crisp and focused performance by everyone.

Bringing Melissa Barak into the group of four soloists brought this Ballet into the sharpest focus with a single twist of the lense (and the soloists do a lot of dancing in Theme -- not only do they have two of their own variations but at other points they take center stage, notably even at the commencement of the final polonaise, when the four soloists borree forward for a mini polonaise of their own before the entire cast makes its grand defilee). With Barak, stage right, was paired Dana Hanson, while Pauline Golbin and Dena Abergel danced mostly on the opposite side. Everyone seemed well matched. They danced their hearts out all performance long. They were simply superb, all four of them.

As for the principals, the strong response to Sofiane Sylve and her great theatricality threaten to turn the ambiance here into something resembling ABT’s, so widespread and demonstrative was the ovation to what indeed was a finished, commanding yet lyrical performance in the Ballerina role. I have not heard such applause for a Ballerina in this theater for a long time.

Sylve had, first of all, complete command of herself. She is a big girl, isn’t she? Her shoulders make Jenny Somogyi’s seem undeveloped. But also a very musical dancer. She nailed all the variations. The pas de deux was beautifully fluid and was played at a very adagio non troppo pace, or even something more, by the orchestra which, with Andrea Quinn conducting, played beautifully throughout the entire Suite 3. Sylve’s variation with the girls in a line and her in arabesque against them was feminine, mysterious and quiet. Her series of developpees, supported by Askegaard, at the conclusion of the pas de deux were nearly sublime. The Chassee between them, pushing in opposite directions, was perfect.

Charles Askegaard not only partnered Sylve beautifully -- He also danced his own variations with sweep, nobility and aplomb, managing not to be eclipsed by La Sylve’s particular Casta Diva this evening, which was no mean feat.

Indeed, mostly all of Suite 3 was just superb last night, about as good as you can see it performed. This was a relief after how out of focus Suite #3 seemed last spring with Weese and Corella in Theme and Korbes in the Elegile. It was wise, I think, for the company to program it so early in the winter season this year, with the company still fresh and everyone’s heads completely into it a mere two weeks into the Winter repertory. And, now that Weese seems to have aged out of Theme (and that’s no criticism, it’s inevitable that it happen for anyone – She grew into Donizetti Variations and Ballet Imperial precisely as she outgrew Theme), and now that we’ve also seen Abi Stafford and Jenny Ringer attempt this role, we can say that in Sylve the company again has someone who can dance this role at peak quality at the peak moment in their career and development. La Sylve comes to this from her dramatic background of Swan Lake and Sleeping Beauty. It is a natural for her.

Ellen Bar made a most beautiful debut in the Elegie, in which Stephen Hanna was also compelling tonight and her casting here I believe restored essential balance to this first portion of the Suite. In recent years, we’ve seen the female lead here dominate the Poet too much, so that her pleading, her demonstratively emotional predicament seemed more the drama than the Poet’s love, longing and loss. The latter has to be the story, though, or at least half the story, along with what we may call the Sylphide figure’s (Ellen Bar’s) doomed affection for him. Tonight, the way Bar and Hanna danced this, it truly seemed a kind of “La Sylphide in a ballroom.” The couple discovered each other – She amongst the long haired maidens, otherworldly creatures all of them. They were transported with a kind of mutual ecstasy at this, colored with the inevitability of their parting, something she particularly seemed to sense from the beginning. And they were doomed, not by some kind of interpersonal problem, or the histrionics which Korbes’ interpretation last spring seemed to import into the piecer, but by sheer fatality, by the very nature of things and by their own natures. Which was as it should be dramatically. Great praise to both of them.

Rachel Rutherford and James Fayette were strong in the Waltz, although I must say that about half of the choreography in the Waltz is a stretch for Rachel physically. Ashley Bouder and Tom Gold are by now unequalled in the Sherzo.

It must be said that the corps de balled performed beautifully in the Elegie, Waltz and Scherzo. Both the long haired girls with Ellen Bar, the small corps who perform the scherzo proper, and then the larger corps when the entire casts of the Waltz and the Elegie reenter and join in the conclusion. This was about as good ensemble dancing as I can remember seeing from this company, and with so many young dancers involved here too.

Now for the rest of the evening, briefly:

Square Dance

Had Theme not been so compelling, I would have been raving about Square Dance, which got a most accomplished performance from Megan Fairchild and Peter Boal.

Fairchild has such a supple and strong high demi point. Her relevees are so very clear. She is suited to this Ballet. Her adagios with Boal were creamy, dreamy, stretched, feminine and poetic. Seen from up close, she seemed to be making an effort to project and to focus upwards towards the rings, a la Ashley Bouder, and I would bet that the performance was also very strong up there.

Peter Boal’s partnering of her -- the way he framed her with his arms in his supports and promenades -- was also nearly perfect. It’s one of the things he does so well which will be missed and which I fear may be temporarily irreplaceable.

Remembering Megan Fairchild’s Harlequinade and Coppelia last year, and in light of her size, I have been tempted to think of her as essentially a demi character dancer. And

it’s true she can dance that repertory and those roles extraordinarily well. But Fairchild has a much bigger range than the demi character (we saw that at School in her workshops where she danced the lead in Div #15 and in Ballo) and casting her in Square Dance was a little stroke of creativity in revealing that side of her. As Square Dance is not a demi character role, despite all the fast point work. So that seeing her in this made on realize that, in both her physical capabilities and in her temperament (and she stretched herself emotionally and interpretatively in that direction in this) she is, or can be even predominantly a semi character Classique or neo classical type who just happens to be delicate and small. With Boal partnering her she appeared stretched, taller, most lyrical.

Peter Boal performance was just so eloquent. One suffered pangs of separation from him. The deep quiet solo towards the end was deeply affecting, but for me, it was watching the passages where he led the male corps de ballet in call and response, demonstrating steps which they would then perform, which was most haunting. Most of these dancers had to have been students of his one time or another, so that the passages had this extraordinary resonance of the image, as he demonstrated what was to be done one last time and the group unerringly responded. Both the men’s and the women’s corps de ballet danced very strongly in Square Dance.

Stravinsky Violin Concerto

Also got a very good performance. Or perhaps even more than that – Many a night we’d have been raving about this alone. The principals were Whelan – Evans, Ansanelli – Martins, a cast we first saw last spring.

Nilas Martins appears to be in the best shape he’s been in in years, perhaps ever. And gave one of his most committed performances. His beaten steps have always been very clear and this is a Ballet which gives great scope to that. Albert Evans danced even more magnificently, large in scope, classical in carriage. What with 4T’s last week, he’s having an amazing season and I hope we will finally see much more of him after Peter Boal’s and Jock Soto’s departures this Spring.

This ballet also suits Wendy Whelan to a T. No one shows the change in line from Pointed to Flexed foot and what that does the line and presentation of the dancer’s inner calf and thigh; or shows the fundamental change in line from turn-in to turn-out in the way Wendy does, it’s one of her gifts, and this role in this ballet is built around those elements. This is also one of Alexandra Ansanelli’s best roles, giving ample scope to her dramatic talent and emotional and physical rawness.

Seeing Violin Concerto next to Square Dance was also most interesting programming. There is or appeared last night to be an affinity between these pieces. It is even true musically, in that Stravinsky’s handles what one might call “neo baroque” very well., So that seeing Balanchine choreograph first to Corelli/Vivaldi and then to Stravinsky was to see a parallel between a sort of baroque classicism and a neo classicism which runs along with that in the music.

[bobbi]

Michael, thanks so much for your great review. I too was there and will just add a few comments after a great night at NYCB. At the top of the list are Sofiane Sylve and Peter Boal.

Sofiane was just extraordinary. She brought to mind Gelsey's ability to bring both crispness and lyricism to this role. There is one particular moment in T&V which I always look forward to: those little leg beats that the ballerina does during her variation. (I believe they were added for Gelsey). In any event, they were back and done incredibly cleanly.

I hope all the male corps were watching Peter Boal last night. He was just superb. It was male dancing at its most elegant.

I too liked Megan in Square Dance, although she is a cautious dancer. I think it may take an Ashley B. to bring back the heart-stopping style of Merrill in that role. But Megan gave a very satisfying performance for a debut.

[lampwick]

I also thought Sofiane Sylve was extraordinary last night. I can't add onto what's already been said, but I just wanted to write about how excited I am to see her perform this season. A GREAT dancer. I thought how cute it was when she tripped over her feet when she came out for the bow. Askegard grabbed onto her and made sure she didn't fall over. Such a klutzy ballerina moment, and some (additional) good partnering by Chuck Askegard. He's quite a warm dancer on stage too. I always get the sense that he really enjoys what he's doing. Looked a bit pooped by the end of the ballet...the feet weren't quite articulating, but all told, very solid, warm performance.

I thought Boal's solo was quite powerful artistically, but honestly, I thought that he looked a bit out of shape and was straining just a bit in the shoulders. His performance really does draw you into some world though. I enjoyed seeing him.

Megan Fairchild was lovely and solid, but I thought her shoes looked too hard.

Wendy Whelan and Alexandra Ansanelli are two of my favorite dancers, and I always think they're out of this world, but last night I was even extra impressed. Micheal's post expressed exactly what I feel about them in this ballet, but much better than I could. It helps that I really love the leotard ballets...leotard ballet and Stravinsky, even better. With Wendy and Alexandra...best combination I can think of. I thought Albert Evans was dancing very broadly and seemed more commited to the kinetic aspect of Balanchine...the explosiveness, than I had ever seen him dance before. He'd always seemed quiet and "pure" to me(similar to Boal, actually). He really let loose last night though. It was fantastic.

[Michael]

I've heard others also make a similar criticism of Fairchild's pointwork -- that her attack can sometimes appear too sharp, too stabbing at the floor. I find her quite smooth in the sense that there is never any lurching motion to her relevees, and also in the "spring" to her feet in general -- the way she walks with almost a slight "pliee" in her step. But I'd be very interested to know in particular what teachers and other dancers think here -- whether her motion in pointwork is too sharp or is really what one is looking for or not.

[oberon]

I always feel a bit nervous watching Fairchild on pointe...there is something about her arch and also about the contact of her pointe to the floor that just makes me feel like she is going to fall. As I have seen her fall a couple of times (not a big deal - dancers do fall, even the greatest ones); I feel she dances cautiously. The other night in DIVERT, I stopped using my binoculars on her because I got an uneasy feeling. Perhaps some of our resident ballerinas here could comment on her pointe work...

She was an adorable Pierette and Marzipan but I am not sure what other roles are really suited for her. I see glimpses of Mazzo & Borree in her physically, does anyone else?

[Ari]

The following posts were made to the old board and didn't get carried over here during the move, so here they are:

by lampwick, Friday Jan. 14, 7:19 PM:

I just noticed that her feet didn't articulate fully in the metatarsal area. In layman's terms, they didn't point enough. The line was kind of broken at the balls of the foot. It was subtle, but enough that I noticed it and mentioned, I guess. Since other people have noticed this, it's probably some little weakness in the metatarsals (who knows?), and not simply shoes that are too hard. I didn't notice any "stabbing" quality at the floor (I kind of like that idea, actually

Her feet aren't bad, there's just a little lack of strength in the metatarsals (I'm totally guessing here) That would affect the power you get in your small jumps and how you would tend to "come down" off pointe (abruptly). It's tough to know without seeing the dancer up close.

It's a nitpick though. Wasn't so bad that it really ruins the dancing. She still looked pretty amazing to me (I wish my feet were that "weak") LOL

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by carbro, Friday Jan. 14, 8:04 PM:

Megan has very long feet, and she appears to have very long toes, too, which would accentuate the appearance of any break in the line of a fully pointed foot. I don't know know if it's a question of strength -- it may well be -- but her anatomical proportions certainly work against her.

I agree, lampwick, that her overall level of dancing overrides this flaw, whatever it is.

Yes, Oberon, she looks very much like Mazzo and a bit like Borree. As I see her develop from role to role (I regret I missed her Square Dance), I begin to see a fascinating and complex personality behind her pixie-ish appearance. PM appears to be casting her beyond "type," and I hope he continues. I think she has a lot to offer her audiences.

--Carley

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by Michael, Friday Jan. 14, 8:28 PM:

PM appears to be casting her beyond "type," and I hope he continues.  I think she has a lot to offer her audiences.

<{POST_SNAPBACK}>

I'd argue (and have above but want to clarify) that he's not casting her "beyond" her type -- But rather that her type is actually as much neo classical as soubrette or demi character. I find her very good in these roles and her body, though small, is actually rather longer in the leg, to the waist, than it is above it. She's small and acts the soubrette well, but she goes very much beyond that type.

Weakness in her feet is also the last thing I would have attributed to her -- If there has been a criticism I've heard it's completely in the opposite direction, i.e., that she could go a little softer. What I wish I'd said about this in my last post, though, is that this very crisp attack gives her at least the virtue of being very very clear in her point work. Some may find her attack too pronounced, but for that it allows her to show each step with more clarity.

In what you say about her expression, though, Oberon, you are very much in tune with something I've noticed and which a few others have also mentioned: that her facial expressions can sometimes seem a bit frozen. She doesn't do this in her dramatic roles such as Swanhilda, for example, where she knows who she's supposed to be and where she uses her eyes quite well too. But when dancing more "abstract" Balanchine, she will sometimes freeze up in the face instead of just reacting naturally as the flow goes. She did not do this (much) Wednesday in Square Dance. But she's 19 years old and working on it. The example of Ashley Bouder, who habitually somewhat exagerates her expressions and lifts her face very much towards the top of the house (and who as a result projects up there very well) may not be an entirely happy one for Fairchild, however. For Ashley it seems to be natural. (Strange but Innate -- She does everything BIG). For Megan it doesn't seem to sit quite naturally at this time.

[Dale]

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[dewdrop]

She was an adorable Pierette and Marzipan but I am not sure what other roles are really suited for her. I see glimpses of Mazzo & Borree in her physically, does anyone else? -- Oberon

She was spectactular as Natalie in the Land of Nod, even from way in the back up high...

The bassoonist was terrific too.