The David H. Koch building/ “New combinations” February, 1st, 2022; “Visionary voices” February 3rd, 2022; “Masters at work” February 8th, 2022; “Swan lake” February 15th, 2022.
Welcome back friends!
This week, friends, welcome to a review of four, terrific, and unique ballet shows, from the NYCB, seen, since the beginning of the month!
Yay!
What a treat!
I always enjoy reconnecting with the NYCB company, after their usual, three months hiatus, to find this vibrant ballet company, the NYCB, even more refreshed, rejuvenated, and electrified, than usual; and as always, featuring young new dancers, alongside seasoned principals; and all, dancing with great stamina, joy, and liveliness, as they did and do, in the fall, winter, and spring, in NYC, to exciting choreography, from various eras.
Yay! yay! yay!
And wow!
And as always, the NYCB dancing, performed in February, not only, of course, featured beautiful pieces from their rich and wonderfully varied and growing repertoire, but featured as well, unusual and exciting premieres of contemporary ballets, from young, and sometimes even, new choreographers.
Wow!
And yay! yay! yay!
So happy to view masterpieces, and discover new work as well!
1)And first, let me introduce you, for the February 1st evening, to “New combinations”: the new Justin Peck choreography of the evening, entitled “Partita”: welcome to a fun, modern ballet for eight (wonderful) dancers (Bradley, Coll, Kretzschmar, Peck, Chan, Hod, Mejia, Stanley), all wearing modern athletic gear: sneakers and comfortable shorts/leggings of various lengths, allowing thus, the stage, to be filled with even more energetic, youthful, stylish confidence, or swag.
Yay! yay! yay!
And a piece reflecting for me, at least, hopes, humor, and yearnings, of a youthful generation.
Yay! and Wow!
And of course, what appealed to me, in particular, was, of course, the incredible score, that the fun “Partita” Peck choreography was set to, which beautifully merged, with the gorgeous, colorful, abstract, geometric shaped, scenery graphics, imagined by Eva LeWitt, daughter of Sol LeWitt, whose own “drawing 305”, inspired, the acclaimed “a cappella” score by American composer, Caroline Shaw, the youngest Pulitzer prize in Music recipient (at 30) in 2013, for “Partita for 8 voices”, composed from 2009 through 2012, for humorously titled band/group/choir: “A Roomful of teeth”, and released on their 2012 Grammy award winning self-titled debut album.
Wow! wow! wow!
Yay! yay! yay!
And see below, picture of choreographer (Peck), composer (Shaw) and set designer (LeWitt).
Yay! yay! yay!
And Shaw, believe it or not, also, sings with/ as one of the singers of “A Roomful of teeth”, (she is dressed in black in the excerpt below).
Wow!
And now, let’s take a listen, as well, at this short excerpt, filled with wonderful, unique whispers, strange and eery sounds, and awesome, unusual, and beautiful, voice blends.
Yay!
Enjoy!
Just fabulous!
And probably, my favorite piece of the February 1st evening.
And now, let’s admire “Summerspace”, another timeless modern piece, also performed on February 1st, by the NYCB, and first performed by the Merce Cunningham Dance company, in 1958.
Wow!
And do pay attention, for a second, to Cunningham’s collaborative method, in which choreography (by Merce Cunningham), music (by Morton Feldman), including sounds, like buzzing insects at times, and “Pointillist” /”Dots”-like, abstract, and colossal in size, painting “set” (by Robert Rauschenberg), all, when combined so gracefully, give the impression of a wonderful poetic, summery, leisurely, warm day, in which the dancers move, with bursts of speed, like animals in nature, sometimes, do too.
Wow and yay!
And dancers “extraordinaire”: Alberda, Dutton-O’Hara, Jones, La Fresniere, Laracey, Villarini-Velez, were all spectacular, graceful, imaginative, and incredibly fun to watch.
Yay!
An also, incredibly unique, and fabulous piece, “Summerspace”, even if I was less enthusiastic, about the, at times, “scratchy”-like music.
Oh boy!
Yet, in this excerpt, the music is not as challenging to listen to. At least to me.
Yay!
Enjoy!
So unusual and beautiful!
And what a fabulous idea, to have sets and costumes merge, so seamlessly!
So fun!
Wow!
Finally, with 2006, “Danse à Grande Vitesse” by Christopher Wheeldon, set to a wonderful score “Musique à Grande Vitesse”, by Michael Nyman, commemorating the inauguration of the fast/speedy, French TGV train, and beautiful costumes and scenery, by set/costume designer Jean-Marc Puissant, we are/were also entering an unusual universe, more man made, yet incredibly poetic too.
Wow! And yay!
And this intricate ballet features, believe it or not, 26 dancers shifting through various, raw, physical and industrial/ metallic landscapes, as found on (an often long) train journey.
Wow! And yay!
Let’s listen to the gorgeous music, and what the artists have to say, about their intentions for this unusual and beautiful ballet:
Yay!
Enjoy!
Just gorgeous!
2) Let me now, introduce you, for February 3rd, to the new choreography of the evening, the highly anticipated “Emanon-In two movements” by Jamar Roberts, the Resident choreographer of Alvin Ailey American Dance theater.
Wow and yay!
And this piece, set to a jazzy score, by Wayne Shorter, exuded a free flowing, spiritual and joyful sound; the eight dancers (Kikta, Phelan, Woodward, Von Enck, Fahoury, Furlan, Walker, and Huxley) were all shining brightly, in their purple, beautiful, and original costumes (by Jermaine Terry), delivering with ease and joy, feelings of hope, faith, and trust, in a better, upcoming future.
Yay! yay! yay!
Just stunning and incredibly engaging!
Yet, I probably enjoyed, even more, last February 3rd, the contemporary “Bartók Ballet” by Tanowitz, on music by Béla Bartók, with gorgeous, medieval-like, and golden, and shimmering costumes by Bartelme and Jung, a stunning recent piece, which had premiered in 2019, at the David H. Koch theater in NYC.
Wow!
And yay!
And the ten beautiful dancers (Bradley, Corti, Kikta, Miller, Nadon, Woodward, Alberda, Applebaum, Fahoury, and Henson), were all dancing with great feeling and intensity, to a terrific quartet playing on stage (2 violins, 1 viola and 1 cello).
Wow! And yay! yay! yay!
And finally, on February 3rd, “The Runway”, choreographed by Kyle Abraham, is a favorite recent ballet of mine, which had premiered at the 2018 NYCB’s Fall Gala, with music by Nico Muhly, James Blake, Jay-Z and Kanye West, and got the audience, last February 3rd as well, to pay attention immediately, to the drama on stage.
Wow!
And yay!
And its often “out of this world” costumes, by Giles Deacon are/were also incredibly fun and uplifting to look at, as were the modern steps, which also felt like/feel like, what you would see, in this day and age: free flowing, hip hop-like inspired dancing, from artists (whether professional, or not), seen on the streets/dance competitions/ nightclubs.
Wow!
And yay!
And wonderfully alive dancers (Le Crone, Grant, Mearns, Mejia, Pazcoguin, Stanley, Villarini-Velez and Walker) were evidently, all, enjoying themselves, and clearly, “awoke” the entire audience.
Wow!
Yay! yay! yay!
Let’s now, listen to what Taylor Stanley, a terrific and talented, and one of the most original and stylish, NYCB principal dancer, has to say about the imaginative storyline going through his head, as he is performing these unusual and modern, dance steps.
Yay! And wow!
Admire his unique movements, charisma and warm personality.
Yay! and wow!
Enjoy!
So astoundingly beautiful!
3) And now, let’s move on from that evening, and admire, from the February 8th evening, the first featured piece: a 1980 much more classical piece: “Walpurgisnacht Ballet” by Balanchine, on wonderfully vivid music, from Charles Gounod’s 1859, five act opera, “Faust”.
Oh boy and wow!
And keep in mind, that ghostly souls of the dead, are released to wander at will, in this ballet excerpt.
Oh boy! Wow!
A ballet danced initially, in 1925, by the Diaghilev Ballets Russes, for whom Balanchine choreographed this piece then.
Wow!
And one of NYCB ‘s most awesome principal ballerinas, Teresa Reichlen, last February 8th, was particularly moving, especially while dancing with Tyler Angle, as they always dance, so well together, and we knew, in the audience, that this was one of the last times, we would get to admire Reichlen’s unique dancing technique, as she is retiring soon from the NYCB, at the end of the month. She will be sorely missed, of course, but dance careers are often shorter than the audience expects; and of course, we all wish her the best, with her next exciting professional adventures.
Yay!
And here, let’s admire a “lively” excerpt of this great, Gounod, “ghost like” ballet, with this time, another wonderful NYCB principal, Sara Mearns, here, leading the rest of the company.
Enjoy!
Love the energy, and beautiful longing of all of these ghost “souls”.
Wow! And yay!
And now, let’s admire, still from the February 8th evening, the gorgeous and unique, short and beautiful, excerpt/picture, from the 1954 “Ivesiana” ballet, composed by Ives, entitled “The Unanswered question”, an unusual classical piece, for two dancers, especially at the time, choreographed by Balanchine, in which the composer, was trying to communicate, that the human spirit evolves with the ever-growing realm of nature.
What a concept!
Wow! And yay!
Just beautiful!
And fabulous and beautiful dancers, Ashley Laracey and Harrison Coll, took everyone’s breath away, last February 8th, as did the background dancers, dressed in black, like “puppeteers”, holding Laracey in various dangerous, gorgeous and awesome positions.
Wow! And yay! yay! yay!
So fairytale like!
Yay!
And from last February 8th, my favorite piece, was probably the silent “Moves” choreographed by Robbins, so fun and modern, and above all, just stunning.
Yay!
And let’s listen here, to the “silence”, during the ballet, and watch an excerpt of this intense ballet, which makes everyone pay close attention to any movement, to all the moves, to the sounds of life, all of which provide an incredibly different experience, than watching a “musical” ballet, set to either, beautiful, relaxing, intriguing, arresting, or simply, uplifting music.
Wow! And yay!
And dancers (Gerrity, Grant, Boisson, Clark, La Freniere, Miller, Coll, Mejia, Sanz and Villarini-Velez), were all incredibly “present”, and danced as “one”, last February 8th, and delivered us, truly, exceptional, cheerful, and blissful pizzazz!
Yay! yay! yay!
Enjoy this except from a few years back, still by the NYCB!
So original and captivating!
Yay!
And finally, let’s admire, the last piece, of last February 8th evening of ballet, and let’s watch a fun excerpt, of the crowd pleaser “Slaughter on tenth Avenue”, choreographed by Balanchine for the NYCB, in 1968, and set to gorgeous music, by Richard Rogers, from the fun, silly, and wildly entertaining, 1936 musical, “On your toes”.
Wow! And yay! yay! yay!
And this time, Sara Mearns (who nails the part every time I see this piece, and I have seen it, quite a number of times), and Tyler Angle (always wonderful, including as a tap dancer, were awesomely beguiling, last February 8th, as were all the secondary dancing roles.
Wow!
And yay! yay! yay!
Let’s now, listen to what Mearns has to say, about her part, in this fun excerpt, which she dances here, with another great partner, and awesome principal dancer (Andrew Veyette):
Yay!
Enjoy!
So entertaining, free, and filled with joyful charm!
Yay!
4) And finally, let’s get to last February 15th, evening of ballet:
That evening, we were supposed to see, the original, razzle-dazzle, Tchaikovsky “Swan Lake”, (not the 1877 initial Bolshoi ballet, choreographed then, by Reisinger, in two acts); instead, the NYCB was to dance a revived/revised, 1895 Bolshoi four acts version, choreographed then, by Petipa and Ivanov (and which most ballet companies today, generally base their stagings from).
Wow! and yay!
Yet, the NYCB changed its program, a few weeks ago, and from a sole rendering of the classic 1895 “Swan Lake” after Petipa and Ivanov, decided instead, to feature an abbreviated “Swan Lake” version from two choreographers: a 1996 “Black swan Pas de deux” choreographed by Martins, followed by a final act, to this folk tale, in a 1951 “Swan lake” piece, choreographed by Balanchine.
Wow!
And believe it or not, but the NYCB also decided to feature that evening, along and before, these two “Swan Lake” pieces, two standard Balanchine ballets, which premiered in 1946 initially, for “The Four Temperaments” ballet, and in 1975, for the “Sonatine” ballet.
Wow!
So let me start by telling you about these two Balanchine short ballets, before moving to the two abbreviated “Swan Lake” pieces.
Yay!
So, “the Four Temperaments” by Balanchine, set to a 1940 commissioned score, by Hindemith, is a classic abstract Balanchine, black and white ballet (which does not particularly develop the notion, that the human organism is made of different “humors” or “temperaments”, even if that was the inspiration for this piece).
Wow!
It is designed and choreographed for a huge number of dancers, which allows to showcase most of the ballet company’s younger (Corps de ballet) dancers’ technique, featuring often, crisp, beautiful, simple and awesome, group gestures (I particularly enjoy the wonderfully majestic port de bras), and gorgeous, precise, simple and harmonious group footsteps.
Wow ! And yay! yay! yay!
So riveting!
Yet, I am not a fan of the music, so, despite the often interesting choreography, in particular, the very last “tableau” or variation’s finale, which is fantastic, I did not really enjoy that piece, as much as usual.
That’s ok.
On the other hand, I was mesmerized by the “Sonatine” ballet by Balanchine, set to a gorgeous “Sonatine for piano” piece, from 1906, by Ravel, which was presented, as the opening ballet of the New York City Ballet Ravel Festival, during the 1975 Spring Season, and which marked the 100th anniversary of the composer’s birth.
Wow! and Yay! yay! yay!
Let’s listen first, and watch as well, a gorgeous short excerpt of this ballet, also danced by two other wonderful NYCB principals, Megan Fairchild and Joaquin De Luz, a few years ago.
Enjoy!
Is it not just grand?
And most certainly, this “Sonatine” classic Balanchine ballet, is what I most enjoyed from the NYCB, last Tuesday February 15th.
Yay!
And beautifully performed as well, by Ashley Laracey, and wonderful principal dancer, Taylor Stanley.
Wow! And yay! yay! yay!
And now, let’s get to “Swan lake”, and the two abbreviated ballet versions, featured last February 15th evening.
And first, let me summarize for you quickly, the “Swan lake” plot, to enjoy the ballet pieces, even more!
Yay!
The story of “Swan lake” originates from Russian and German folk tales, which in a nutshell, tell the story of Odette, a princess turned into a swan, by day, and retransformed as a woman, at night, by an evil sorcerer’s curse (the sorcerer Von Rotbart).
Oh boy! oh boy! oh boy!
The princess Odette will then meet a prince (prince Siegfried), and have the opportunity to reverse the curse, if true love is shown.
Oh boy!
And of course, there are many variations to the story, but initially, prince Siegfried, is to be married soon, and is sad to learn, that he cannot marry for love, but has to choose a wife, among some of the distinguished aristocratic bachelors invited, to a ball, soon to be given to him, to do so.
Oh boy!
One evening before the ball, prince Siegfried goes out with friends, to hunt after a flock of swans. As prince Siegfried gets to the lake, the swans have disappeared, but the prince Siegfried meets Odette (the princess who has just “transformed” back into a woman), and as they speak, they fall fast in love, as princess Odette explains to the prince, her curse.
Wow!
The evening of the ball arrives, and the evil sorcerer Von Rotbart arrives, with his own daughter named Odile, and herself under a spell, making her look like princess Odette (yet dressed in black). Of course, prince Siegfried had only eyes, for Odile, and agrees to marry her, blinded by the spell, and thinking it is princess Odette.
Oh boy!
The prince Siegfried’s declaration of his intention to marry Odile, of course constitutes an unfortunate betrayal, which condemns princess Odette, to remain a swan forever.
Oh no!
And basically, Martins “Black Swan Pas de deux” ballet, features the episode in the plot, during which, the evil sorcerer, Von Rotbart, arrives at the ball with his daughter Odile, herself “disguised”, and under a spell, to look like princess Odette, and during which, the prince Siegfried will agree to marry Odile, thinking she is princess Odette.
Oh boy!
And Mira Nadon, a wonderful young NYCB dancer, as Odile, was exceptional, showing off with sharpness and crisp movements, the evil spell, she was under, and NYCB soloist Chun Wai Chan, was absolutely charming, as the totally “love struck” prince Siegfried.
Wow!
And yay! yay!yay!
Then, and finally, for the last piece of the February 15th ballet evening, we admired the one act ending of “Swan Lake”, choreographed by Balanchine.
Yay!
There are various endings to this ballet, that are at times, tragic or at others, romantic, in which either, both the prince Siegfried and princess Odette, after forgiving the prince Siegfried’s unfortunate choice, die, and go to heaven together; or, where having forgiving the prince Siegfried, and showing true love to one another, the prince Siegfried and princess Odette, also defeat the curse, and get to live happily ever after.
Wow!
And in the NYCB/ Balanchine ending, as the prince Siegfried agrees at the ball, to marry Odile, he thus, condemns princess Odette to be called away into swan form, and Siegfried is left alone, in grief, as the curtain falls.
Wow! So sad, and of course, so typical of these tragic folk tales, from that part of the world!
And this time, for the one act Balanchine piece, the prince Siegfried, was beautifully danced by highly graceful, and also charming principal dancer, Joseph Gordon, while princess Odette, was performed with great spirit, by wonderful principal dancer, Tiler Peck.
Yay!
Of course, I loved this princess Odette role, danced a few years ago, by even taller NYCB principal, the amazing Maria Kowroski, whose long limbs, are perfect for that role, to symbolize even better, the huge and awesome wingspan of swans, which are such majestic birds, graceful, beautiful, and so arresting in size, and which are riveting to watch, especially when they are flying, and even more wonderful to admire, when they choose to gracefully “land” on water surfaces, with gusto, and such apparent fun, and joy!
And now, let’s listen at a short excerpt, from another wonderful principal, Marika Anderson, talk about what Balanchine’s one act “Swan Lake” means to her, and admire the beautiful dancing, melody and costumes.
Yay! yay! yay!
So beautiful, and what incredible music from Tchaikovsky, for his “Swan Lake”, from the very first bar to the very last: each time I am totally transported!
Yay! yay! yay!
And wow!
And the icy sets were fun, but could be more modern, if you ask me, and all twenty five Corps de ballet, swan dancers, were wonderful to watch, moving as one flock, incredibly gracefully, which is no small feat!
Wow! and yay! yay! yay!
So, to sum up my feelings, about the four NYCB ballets, admired since the beginning of February, at the David H. Koch building, in great company: what extraordinary, rich, beautiful and varied ballets, from various eras, celebrating the joy of dancing, we were/and are able to see, from the past and the present, and always performed beautifully, and providing us, in the crisp, bitter, winter, New York city cold, extra joy, warmth, and glee!
Yay!
Go see these four NYCB ballets if you can!
Yay!
And wow! wow! wow!
Just terrific!
Until next time friends!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies 😊