Raymonda Variations, Etc., June 15th

[Michael]

Weese in Raymonda

Miranda Weese is in the best shape (and the best dancing form) she has been in for three years. Since returning from injury two seasons ago she has not looked this good and, in fact, I don’t know that she is not in the best shape of her career. What a superb performance of Raymonda Variations last night.

The difference between Miranda now and at the beginning of the Winter Season is the much greater amplitude, self-abandon and physicality of her dancing. At the beginning of Winter she was still dancing a little small at times, seeming at times a bit tentative or introspective even (as Leigh has said, seeming to have become a Contralto, as much as a Coloratura Soprano) – Not last night. It is as if she can fully trust her body now and just dance out her instincts for the first time in years, and what dance instincts they are. This was as physically ample and big a performance as you can imagine from any Ballerina, covering large amounts of ground when she needs to in a single step, boldly attacking and at the same time fluid and sensitive in her musical phrasing, and with her usual sublimely perfect lines. Her developee takes your breath away. In attitude, in fact at all times, the sculptural mass and displaced space of her body is perfectly centered and placed – so that, for example, in her attitude rear you see a beautifully cambered and arched back, from the hips to the shoulders, as the crucial center of the pose.

The opening of pas de bourees in her Raymonda was liquid and beautifully inflected between short runs of two to three pas, then stepping big into space for a similar count, then back to the short staccato – all with instantaneous quickness. In adagio you can see, you can almost feel her breathe, it is unavoidable, surely this is the signature of a great Ballerina or of any great dancer. It is also difficult to remember that she was once considered a dry dancer, or a dancer dead in the upper body (remember the debate at the time of her televised P.Martins Swan Lake?) -- So full have her interpretive powers become.

Weese danced wonderful Tschai Piano Concertos and Emeralds last Winter. She danced a strong, classical and quiet, Symphony in Three Movments last weekend. She has been superb in Who Cares this Spring. Her Theme and Variations has in the past been the best in the company and the finest within memory -- She will dance Theme three times this weekend, Friday Night, and the Saturday and Sunday Matinees. She is at the top of her powers right now.

Bouder’s Firebird

Elsewhere, Ashley Bouder had the final Firebird of the season last night. It was a wonderful performance of Firebird, both by her and by the company as a whole. A strong rendition of an emotionally elevating work.

Firebird benefits from what I think Igor Stravinsky’s strongest, certainly his most harmonious and most musically accessible score. Despite some weakness in the production -– principally that which Leigh has identified in his formal review, that the monsters resemble the Muppets, so that one cannot really believe there is the least threat to the Prince and his Bride, you can’t really get worked up about a hero about to be pecked to death by the Muppets, hence no one for the Firebird really to rescue -- The company rendered the Ballet with strong emotional impact. This was due very much to James Fayette, who determinedly conveyed his role as if he really were threatened by a malign Supernatural Force and it really was the role of the Firebird to restore Harmony to the World through conquest of a Bestial order, to which she herself in fact belongs, through an act of generous sympathy or even empathetic grace towards the Prince. Though she, the Firebird, does not fully understand what she does.

Bouder was great in this, the best Firebird within memory. Having seen her first two performances, when she was thrown into the role due to injury to Margaret Tracey (I believe?), some years ago (which were not merely great debuts but some of the finest Firebirds I’ve ever seen) the difference last night was a full effacement of herself in the character, a much stronger Pas de Deux with the Prince in the opening section, and in the so much more mature classical style she now embodies. The performance was flawless Bouder – as classically perfect as I’ve ever seen Ashley dance and that is saying something. The final long bouree about the stage, as she clears the stage of the monsters and restores Order to the World, was so quietly liquid that it was like watching a raindrop move upon a bit of sailcloth. The gift she has of slowing down and freezing movement was perfected deployed in these bourees so that the final thee or four pas’s, at the very exit, existed both independently and as members of the final series. Because the theme of Celestial Order Restored in the ballet as a whole worked, the final Wedding Scene, with its fanfare of horns, was emotionally elevating and moving.

Andantino and Martins’ Concerto for Two Pianos

Elsewhere, Peter Boal and Yvonne Borree danced a lyrical and dramatically compelling Andantino. Peter looks in marvelous shape, rested and vital. Borree had the performance of some years time, calling forth multiple ovations to loud Bravos from the house, it was good to see.

Martins’ Concerto for Two Pianos got a very strong physical performance, at times a slightly idiosyncratic one, from Alexandra Ansanelli, partnered by Sebastien Marcovici and Amar Ramassar. Often in Martins' Ballets, I have the feeling that the dancers succeed despite the choreography and not because of it. Often I have the feeling that there are quite brilliant moments of dance, which surface and then disappear randomly in a sea of mere triteness or mere facility. I had both these feeling again while watching this Ballet. Alexandra gave a great performance. One wanted to cheer her vocally at the end -- but you couldn’t without cheering the thing as a whole. So you didn’t.

Sebastien Marcovici seems to be cultivating something rather Louche in his appearance these days. About Amar Ramassar’s attempts to partner Ansanelli, the less said the better. It really did seem to be an animal wrestling match. I have great hopes for Ramassar, having watched him since he was a gangly kid with limbs too long for his body. He’s now physically something of a God, but still has an innocent air. That innocent goodness is his strength, his character and type, not something to be effaced. To cast him in this, in a frankly Louche groin thrusting role (Peter is never subtle, is he?), is casting completely against type and presumably the powers that be know what they are about (???). Apparently they think he is a Bollywood heavy. He is also an inexperienced partner and Alexandra, who likes to throw herself around a bit, needs the strongest partners. Marcovici handled her very very well.

[Alexandra]

Thank you, Michael -- I especially love the idea of Ivan being pecked to death by Muppets (a fitting End for a postmodern hero, not that Ivan is one) and the animal wrestling match.

[perky]

Thanks for the review Michael, the remark about casting Amar Ramasar againest type as a Bollywood heavy had me laughing . He really is more of the sweet but sexy kid next door type of Bollywood hero, more like Amir Khan or the great Dharmendera in his younger days.

[Michael]

Alas, Alexandra, I can't quite take full credit for either. The Muppets' analogy is Leigh's from DanceView Times and, as for the wrestling match, it's a paraphrase, rendered innocent and more innocuous, and I don't think anyone would want to be footnoted for the original. MP

[Alexandra]

Oh, yes, I remembered the line from Leigh's review (which you'd sourced), but I liked the way you used it

[Leigh Witchel]

I freely cede it I made the analogy, you ran with it! (And I'm sorry I missed you, M - I saw you on the promenade, but couldn't break away from a prior conversation.)

I recall Concerto for Two Solo Pianos from when Heather Watts originated the part two decades ago. Ansanelli redefined the ballet completely; I'm impressed with what she managed to reshape out of what was a deliberately sour and sarcastic work. Watts was knowing to the point of decadence in the role. Ansanelli changed it into another one of her enchanted princess roles through sheer force of will and steely technique. She was whacking off what I think were quadruples. An enchanted princess with a will of iron. There's a thought!

[GeorgeB fan]

Michael you are so right about Miranda Weese! She has always been one of my favorite ballerinas. But this spring season she's been out doing herself. You used the word abandon and I can't agree more with that description. She seem to be allowing herself the freedom to put her whole self in the dancing and the music. And if its possible this lovely dancer is becoming even more lovely to watch and I think that has alot to do with her new find abandonment in her dancing. If fact the entire company seems to be dancing better then they have been in some time. This is turning out to be a fantastic dance season!

[oberon]

6/15 - THREE BEAUTIES at NYCB...Miranda seemed a tiny bit nervous at the beginning of RAYMONDA but within seconds she was in complete command. What a beautiful dancer she is, just a total pleasure to watch. Near the end of the ballet she took one enormous balance, longer than any ballerina I have seen in 25 years of going...she just STAYED THERE! Nilas was an amiable cavalier, and the five soloists were very fine, especially Faye Arthurs in what looks to be the toughest of the solos. I was sorry that Amanda Edge had been replaced, by Fairchild. Bouder danced her solo beautifully but later in the coda she was dancing too emphatically, spoiling the romantic atmosphere which the other girls had created.

Borree was at her best in ANDANTINO...her tender partnership with Boal made this short ballet especially satisfying tonight.

CONCERTO FOR TWO SOLO PIANOS gave Ansanelli one of her brightest opportunities, a role in which her daring style was infused with a fresh sense of control and tiny touches of humour. Dropped into full splits, tossing off myriad turns, she lets her body "sing" the music. She is now extremely thin and supple, a former whiz-kid on her way to becoming a potent dramatic ballerina. The men were ideally contrasted, Marcovici pale & rather austere and Ramasar dark, sexy and jazzy. Marcovici's ever-improving partnering was evidenced in the long duet with Alexandra, and there is alot of star-quality in Ramasar, flashing about the stage in his red body tights. And he is tall...

In a lovely gesture, Peter send individual bouquets to each of the corps girls and I could see him in the wing, applauding them. Alexandra got a massive bunch of roses. I enjoyed the ballet itself, which I had not seen before. A masterpiece? Not by a long shot, but any ballet which provides showcase roles for 3 impressive dancers can't be all bad.

I admit to skipping FIREBIRD (which I saw last week with the same cast) in order to go home and watch the Pistons clobber the Lakers.