The David H. Koch building: “Serenade” (Tchaikovsky), “Orpheus” (Stravinsky), and “Theme and variations” (Tchaikovsky). Tuesday October 10th, 2023.
Welcome back friends!
Yay!
Welcome this week, to the dazzling world of ballet, and to three remarkable, truly dazzling neo-classical Balanchine ballets, from various eras, danced beautifully by the NYCB.
Yay!
1) With “Serenade”, the 1933, first original ballet Balanchine choreographed in America, as a teaching tool, this sleek, deceivingly simple ballet, plotless for some, imaginative for others, and incredibly romantic Balanchine ballet, is iconic. It is one of my favorite Balanchine ballets for its unique, upbeat, youthful, “rehearsal like” atmosphere, mixed to a few “Giselle” like dramatic scenes.
Wow!
And I adore the opening “pose” of the corps de ballet (with one extended arm) which is absolutely stunning and arresting.
Yay!
And “Serenade”‘ simple and graceful gestures reflect the challenges of choreographing a ballet for a large group of dancers, including for example, late entrances or exits from various dancers.
Wow!
It is breathtakingly beautiful, and reminds one of a Degas painting, or a traditional ballet class.
Wow!
Of course, Tchaikovsky’ score adds to the “drama” of the gorgeous gestures, as do the strong and fast dancing from all performers.
Yay!
Interestingly, the women’s long white tutus twirl incredibly slowly, comparatively, and yet so beautifully, letting us linger on the various ballet movements that much longer.
Yay!
On the other hand, I disliked the “pyjama looking” costumes for men, which I did not find elegant enough.
That’s ok.
Let’s now, take a look at what, one of the NYCB principal dancers, Ashley Bouder, has to say about “Serenade”, and pay particular attention to the ravishing Tchaikovsky score:
Just delightful.
And I especially enjoyed the corps de ballet’s joyful performance, as well as Miriam Miller’s precise and graceful dancing, last Tuesday.
Yay!
2) Now, let’s turn our attention, to the second Balanchine ballet, on a Stravinsky score, presented last Tuesday evening, by the NYCB, the striking, dazzling, 1948 “Orpheus” ballet, with beautiful, simple, and eye-catching scenery, and costumes by Isamu Noguchi.
Wow!
And here, Balanchine chose to tell a straightforward, uncomplicated version of this myth, for this stunning ballet.
Yay!
Orpheus, is introduced on stage, dancing with a lyre, and the audience quickly realizes that he is a musician-poet. Orpheus actually happens to be the son of a Muse (probably Calliope, Muse of poetry), and either of Oeagrus, the king of Thrace, or of Apollo, who would have given him his lyre.
Wow!
Orpheus’ singing and playing are so beautiful, that animals, and even trees and rocks, felt compelled to “dance”.
Wow!
Admire in this picture, the gorgeous, simple, and symbolic depiction of Orpheus’ musical mastery.
Wow!
Grief stricken over the death of his wife Eurydice (by a snake in some versions of the story, and which may have influenced the dancers’ costumes), Orpheus’ wonderful music making, quickly leads him to meet a dark angel, who soon after, will lead him, blindfolded, underground, to Hades, the king of the Underworld.
Oh boy.
And quick aside comment: the way the dark angel and Orpheus, both walk with difficulty in the Underworld, in this 1948 “Orpheus” Balanchine ballet, as in slow motion, reminds me of course, of the stunning, superb and surreal 1950 “Orphée” movie by Cocteau, and specifically, evokes for me, the dark and poetic scenes, of Orphée, accompanied by Death, walking in slow motion as well, in the Underworld.
Wow!
Enjoy the great trailer of this Cocteau “avant-garde” film/masterpiece:
And of course, I don’t know for sure, but I would like to imagine, that Cocteau had seen Balanchine’s 1948 “Orpheus” ballet, as Cocteau dreamed up his own images, for his 1950 “Orphée” film.
Wow!
Let’s now, get back to the story: once Orpheus gets to the Underworld, his gorgeous music quiets the Furies (goddesses of vengeance and retribution, who punished men for crimes against the natural order).
Wow!
Orpheus’ stunning music keeps on being heard in the Underworld.
Wow!
And his music then, comforts the “Lost souls”.
Wow!
And finally, the beauty of his (Orpheus’) music is such, that, even more importantly, it convinces Hades (king of the Underworld) as well, to return Eurydice to him, (Orpheus), under one harsh condition: Orpheus cannot look back at Eurydice, until they reach the upper realm on Earth.
Oh boy.
Eventually, unfortunately for them both, Orpheus will be persuaded by the loving, yet irresponsible Eurydice, to tear off his mask, and Eurydice will immediately, disappear back into the Underworld.
Oh no!
The ballet later, ends as Apollo invokes the spirit of Orpheus, as the God of song.
Oh boy!
And principal dancer, Joseph Gordon, was spectacular and especially moving, as the grief stricken Orpheus, and I especially liked as well, Peter Walker, as the dark angel, a role probably fun to dance, I would imagine.
Here is what Joseph Gordon has to say about this wonderful “Orpheus” ballet, which he dances here in this short excerpt, with great passion (with Sterling Hyltin, as Eurydice).
Enjoy:
Just gorgeous.
And here, is another excerpt of the “Orpheus” ballet, danced a few decades ago, and edited, to summarize the plot:
Enjoy once again, not only the dancing, but also Stravinsky’s gorgeous score.
Yay!
So heartbreaking.
3) With “Theme and variation”, Balanchine’s third and final neo-classical ballet featured last Tuesday, requiring shimmering technique and heroic stamina, including traditional looking costumes by Karinska, the audience was truly impressed by all of the dancers’ performances.
Yay!
And “Theme and variation”, as a ballet was intended, as Balanchine wrote, “to evoke that great period in classical dancing when Russian ballet flourished with the aid of Tchaikovsky’s music.”
Wow!
Let’s take a look at a short excerpt, at a rehearsal by a different company, of this ballet, and once again, listen to the grandiose Tchaikovsky music:
So impressive.
As is the final movement of this ballet, culminating in a “polonaise” in the Imperial style.
Wow!
So beautiful to watch.
Yay!
And I especially enjoyed the grandeur of the Russian ballroom setting, and the virtuosity of the wonderfully talented principal dancer, Megan Fairchild, perfectly paired, with charming and delightful, principal dancer, Anthony Huxley.
Yay!
Just gorgeous.
And even if this last ballet was perhaps a tad too traditional for me, yet, like all, I was utterly impressed by the wonderful technique displayed, and the unending pirouettes.
Wow!
So, to sum up my feelings, about “All Balanchine V”, performed beautifully by the NYCB, last Tuesday, in great company: what extraordinary, beautiful, quintessential, Balanchine neo-classical choreographies, set to an array of superb Russian music.
Just grand.
Not to be missed!
Until next time friends!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies 😊