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At City Ballet’s Season Opener, Dancers Like Greyhounds Unleashed At City Ballet’s Season Opener, Dancers Like Greyhounds Unleashed
(12 days later)
George Balanchine’s choreography advertises dancers, glorifies dancers, gives dancers both their toughest assignments and their ultimate release. Balanchine (1904-83) was New York City Ballet’s founding ballet master, in 1948; when it dances his ballets, the most irresistible response is to talk about the dancers. It’s also the most superficial, but let’s attend to this surface level first. On Tuesday night, the company opened its six-week spring season at Lincoln Center with a program of three Balanchine ballets: Many dancers at all levels were like greyhounds unleashed.George Balanchine’s choreography advertises dancers, glorifies dancers, gives dancers both their toughest assignments and their ultimate release. Balanchine (1904-83) was New York City Ballet’s founding ballet master, in 1948; when it dances his ballets, the most irresistible response is to talk about the dancers. It’s also the most superficial, but let’s attend to this surface level first. On Tuesday night, the company opened its six-week spring season at Lincoln Center with a program of three Balanchine ballets: Many dancers at all levels were like greyhounds unleashed.
Nothing was more sensational than Tiler Peck’s performance in the opener, “Allegro Brillante” (1956). This ballet has been a first-rate vehicle for this intensely musical virtuoso for some years, but on Tuesday she broke through to a new fire-and-wind level of fervor; her brilliance was fueled by both abandon and vehemence.Nothing was more sensational than Tiler Peck’s performance in the opener, “Allegro Brillante” (1956). This ballet has been a first-rate vehicle for this intensely musical virtuoso for some years, but on Tuesday she broke through to a new fire-and-wind level of fervor; her brilliance was fueled by both abandon and vehemence.
The performances of Sara Mearns (Sanguinic) and Teresa Reichlen (Choleric) in “The Four Temperaments” (1946) were quite as vivid. Ms. Mearns, pouncing breezily through the knottily rapid-fire steps, devouring space elsewhere with Amazonian boldness. Ms. Reichlen, coolly explosive, was rage and fate combined. These women were already exceptional: What ever has got into them now? The performances of Sara Mearns (Sanguinic) and Teresa Reichlen (Choleric) in “The Four Temperaments” (1946) were quite as vivid. Ms. Mearns, pouncing breezily through the knottily rapid-fire steps, devoured space elsewhere with Amazonian boldness. Ms. Reichlen, coolly explosive, was rage and fate combined. These women were already exceptional: What ever has got into them now?
In the second movement of “Symphony in C” — traditionally the most prestigious of all Balanchinian roles — Maria Kowroski was regal, poignant, elegiac. Tall, long-limbed and quietly commanding, she’s the company’s senior ballerina. The third movement was led by the bright newcomer Alston Macgill, acquitting herself with élan (apart from a muddled final pirouette).In the second movement of “Symphony in C” — traditionally the most prestigious of all Balanchinian roles — Maria Kowroski was regal, poignant, elegiac. Tall, long-limbed and quietly commanding, she’s the company’s senior ballerina. The third movement was led by the bright newcomer Alston Macgill, acquitting herself with élan (apart from a muddled final pirouette).
Beside her was Harrison Ball, a soloist replacing Anthony Huxley at short notice, elegant and notably buoyant. Even after all these and the redoubtable but relentlessly pert Ashley Bouder (first movement), Brittany Pollack in the fourth movement set sparkling standards of top-speed precision.Beside her was Harrison Ball, a soloist replacing Anthony Huxley at short notice, elegant and notably buoyant. Even after all these and the redoubtable but relentlessly pert Ashley Bouder (first movement), Brittany Pollack in the fourth movement set sparkling standards of top-speed precision.
It’s always tempting to keep the talk on dancers; their performances change from one day to the next, and seasons contain alternative casts. But deeper than dancers are the ballets themselves. Most Balanchine ballets are like a demonstration of Plato’s theory of forms: They draw us into pure essence in a way that’s phenomenal by the standards of any art.It’s always tempting to keep the talk on dancers; their performances change from one day to the next, and seasons contain alternative casts. But deeper than dancers are the ballets themselves. Most Balanchine ballets are like a demonstration of Plato’s theory of forms: They draw us into pure essence in a way that’s phenomenal by the standards of any art.
And the skill of their construction is such that you keep finding new facets in them. I began watching “The Four Temperaments” 40 years ago, but only now am I struck by how the image of physical slumping — the torso falling forward heavily, the knees buckling, the arms hanging loose — occurs at least once for the lead dancer of each temperament (Melancholic, Sanguinic, Phlegmatic, Choleric). It’s an image of dejection, torpor; it seems anti-ballet, and especially alien to the outgoing luster of Balanchine ballet.And the skill of their construction is such that you keep finding new facets in them. I began watching “The Four Temperaments” 40 years ago, but only now am I struck by how the image of physical slumping — the torso falling forward heavily, the knees buckling, the arms hanging loose — occurs at least once for the lead dancer of each temperament (Melancholic, Sanguinic, Phlegmatic, Choleric). It’s an image of dejection, torpor; it seems anti-ballet, and especially alien to the outgoing luster of Balanchine ballet.
Yet it occurs in a few other Balanchine works, notably the early, seminal “Apollo” (1928); I would guess that for this choreographer it’s a portrait of the artist’s exhaustion. And it’s always temporary. Each of the lead dancers of “The Four Temperaments” has a collapse of this kind — artists drained of inspiration — which then adds drama to their recovery. Each in a singular way shows the rebirth of inspiration.Yet it occurs in a few other Balanchine works, notably the early, seminal “Apollo” (1928); I would guess that for this choreographer it’s a portrait of the artist’s exhaustion. And it’s always temporary. Each of the lead dancers of “The Four Temperaments” has a collapse of this kind — artists drained of inspiration — which then adds drama to their recovery. Each in a singular way shows the rebirth of inspiration.
No such slumps occur in “Allegro Brillante” or “Symphony in C.” Balanchine called “Allegro Brillante” “everything I know about classical ballet in 13 minutes.” You could pack a book with a close analysis of its expertise about the management of centrifugal stage space, gender, exuberant energy, numbers (just 10 dancers, but how many combinations?) and inflamed classicism. Yet “Symphony in C” — grander, more formally hierarchical, in four marvelously contrasting movements — shows how much else about classical ballet Balanchine already understood.No such slumps occur in “Allegro Brillante” or “Symphony in C.” Balanchine called “Allegro Brillante” “everything I know about classical ballet in 13 minutes.” You could pack a book with a close analysis of its expertise about the management of centrifugal stage space, gender, exuberant energy, numbers (just 10 dancers, but how many combinations?) and inflamed classicism. Yet “Symphony in C” — grander, more formally hierarchical, in four marvelously contrasting movements — shows how much else about classical ballet Balanchine already understood.
Central to the construction of every Balanchine ballet is its intimate dialogue between dance and music, sometimes like question and answer, sometimes like spirit and flesh, sometimes like a pianist’s right and left hands. This isn’t the only way in which Balanchine makes ballet a revelation of pure form — these ballets have no scenery, and their costumes (even the shining white tutus of “Symphony in C”) are subordinate to their physicality — but it’s the foundation of the Balanchine experience.Central to the construction of every Balanchine ballet is its intimate dialogue between dance and music, sometimes like question and answer, sometimes like spirit and flesh, sometimes like a pianist’s right and left hands. This isn’t the only way in which Balanchine makes ballet a revelation of pure form — these ballets have no scenery, and their costumes (even the shining white tutus of “Symphony in C”) are subordinate to their physicality — but it’s the foundation of the Balanchine experience.
“Temperaments” is to a score Balanchine commissioned from Paul Hindemith; “Symphony in C” is to a score by the young Bizet that was rediscovered only 12 years before Balanchine choreographed to it; “Allegro Brillante” is to one movement of an otherwise unfinished piano concerto by Tchaikovsky. I have heard musicians argue about just how good each of these scores really is (the Tchaikovsky is the thinnest), but the choreography Balanchine gives them makes the best case for their excellence. To mix metaphors, he leads you deep into their workings while putting wind in their sails.“Temperaments” is to a score Balanchine commissioned from Paul Hindemith; “Symphony in C” is to a score by the young Bizet that was rediscovered only 12 years before Balanchine choreographed to it; “Allegro Brillante” is to one movement of an otherwise unfinished piano concerto by Tchaikovsky. I have heard musicians argue about just how good each of these scores really is (the Tchaikovsky is the thinnest), but the choreography Balanchine gives them makes the best case for their excellence. To mix metaphors, he leads you deep into their workings while putting wind in their sails.
Andrew Litton, Tuesday’s conductor and the company’s music director, isn’t invariably a natural accompanist. When I think of his most celebrated predecessor, Robert Irving, I see Irving’s face, so often upturned to the dancers. But Mr. Litton keeps raising the City Ballet’s orchestral playing. Dance and music meet as shining equals.Andrew Litton, Tuesday’s conductor and the company’s music director, isn’t invariably a natural accompanist. When I think of his most celebrated predecessor, Robert Irving, I see Irving’s face, so often upturned to the dancers. But Mr. Litton keeps raising the City Ballet’s orchestral playing. Dance and music meet as shining equals.