Tag: Ballet

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Diana’s Beautiful But Aloof Prima Russian Swan, and A Snubbed Marcelo!

So, last night I went to see ABT‘s Swan Lake, starring my favorite (Marcelo Gomes OF COURSE), and the Russian ballerina ALL the critics are talking about, Diana Vishneva, who divides her time between the Kirov Ballet, in St. Petersberg, and ABT. I was really looking forward to seeing these two together, and particularly to Ms. Vishneva, since I’ve seen so little of her.

I just WANT so badly to love her. She just didn’t really do it for me here. I do think she’s a great ballerina capable of really taking your breath away at points. In the third Act of the ballet (the famous black swan pas de deux), she whipped around those fouettes around like I’ve never seen anyone do before — I’m not a counter but I swear it seemed they numbered in the triple digits, and she was spinning so fast I felt my own head spin just watching her. She looked pleased with herself, for once (I think she’s very, very hard on herself). But artistically, and I almost feel badly criticizing her for this because I feel kind of like it’s a Russian thing, but I feel that she’s a great solo dancer, a great prima ballerina, but one who works magic on her own, not with a partner.

In fact, she wasn’t working with my Marcelo at all! Near the beginning, Marcelo’s Prince Siegfried has just been given a crossbow at his coming-of-age party and now is out in the woods dealing with the fact that he’s about to become king and must get over his childishness and pick a bride. He sees the beautiful swan and of course, like a dumb boy, starts to take aim, when she suddenly transforms into the beautiful girl, Odette, that she is (pre-spell cast by the evil von Rothbert). When she does so, he is stunned, immediately taken with her, and quietly watches her. She soon spots him and is afraid, and he makes clear he’s not going to harm her; to the contrary, he’s mesmerized. She then tells him her sorrowful story of the spell and what must be done to relieve it.

So, I feel like I only saw this story from Marcelo’s point of view. When he shows her he’s not going to harm her, his feelings are so clear; he acts it perfectly. But she hasn’t seemed fearful, so I’m totally confused. And I don’t see her transforming from swan to girl, back to swan — I see something lovely and ethereal, but that’s all, no story and no dual character. And then when they do the pas de deux (in which she’s supposed to tell him her sad story), I see a prima ballerina dancing gorgeously as a beautiful swan, but NOT a swan — a prima ballerina dancing as a swan. And, I don’t see her communicating in the least with him. It’s like the man is just a human elevator, just there to lift her ballerina / swan into the air so that she can shine up there, half way to the ceiling, gloriously. And I know there are those to whom this is what Ballet is: the man is not supposed to be seen; he’s just there to carry the ballerina all over the stage and keep her from falling during her turns and arabesques so that the illusion that she’s this ethereal being who can float in the air unsupported can be maintained.

But that’s not Ballet for me. The man is essential to me. He’s part of the story, and he’s an important character, and he’s not just a human transporter of ethereal ballerinas. He’s the man, he’s Marcelo, and he should be seen, dammit! 🙂

Okay, back to that third Act, the black swan pas de deux where she does the spectacular fouettes: Diana is now playing the evil von Rothbert’s daughter, Odile, whose mission is to seduce him so that he will not be able to save Odette from her swan fate. I felt this duet worked ever so slightly better since she’s now supposed to be kind of wickedly, meanly, seductively playing with his feelings, but it still wasn’t what it would have been if theirs was a true partnership. It was too much about her; she was still too aloof to be seductive.

Weird as this may sound, what I actually DO kind of like about her is what she brings culturally to ABT. She so Russian, the way she takes her mid-performance bows and then curtain calls in the end. It’s actually kind of fun to see that on an American stage — all of that slow, drawn-out melodrama and extreme seriousness. Russian ballet dancers take themselves and their art with all the seriousness in the world. And what I love so much about Marcelo is that he’s such a great partner, such a great guy, such a great overall human 🙂 that he just goes along with whatever his ballerina is doing. So, with her, he kind of became “Russian” too — standing in back of her and presenting her as if she’s absolute Royalty, all intense seriousness and melodrama right along with her.

My ballet universe just would not be the same without Marcelo 🙂 He tells the story for me and makes everything real and human and relatable. Even just the way he sits on his throne watching all the would-be brides, taking it all in, humored by some of them at points, then thinking he sees Odette, remembering her, realizing how devastated he is, the way he first sees the swan and boyishly wants to take aim, then is overtaken by her transformation, the way he “talks” to her… Like I said, he just tells the whole story with his face and his actions. And even outside of the world of the story, the way you can see the dancerly concentration on his face, making sure he’s being a perfect support for the ballerina, just taking care of her onstage — it’s so endearing; makes him seem like a real guy and not a “dancer” — I guess the complete antithesis to her.

One other thing about her: I saw this posted on Ballet Talk. It’s her website and she has a page where fans can interact with her. One fan recently told her they were excited about coming to see her perform here, said they were really looking forward to seeing marvelous dancing. Her response: “good luck.” Hehe. She obviously has a fun sense of humor, another thing that makes me want to like her… Not like personality is a substitute for knock-out dancing, but it’s definitely not unimportant either… I will definitely keep going to her performances; there is something very intriguing about her; she has a real mystique, even if she hasn’t blown me away yet 🙂

Anyway, intermissions were fun-filled as well. I saw Anna Kisselgoff, former New York Times chief dance critic, in the ladies room. Then, I ran into Apollinaire in the lobby! She took me to the press office to get press packets — there’s a lot of very interesting info in these little packets: in-depth history and synopsis of the ballet, info on the choreography, the scenery and costumes, the music and the score broken down to each tiny piece of the ballet, all kinds of cool details. And there’s a whole little universe over there on the lower left side of the house, orchestra level — all these little nooks and crannies, little rooms and offices! Who knew?!

AND, while we were lounging outside of the press office, in the hallway, who should come blazing through the back door but the illustrious Roberto! I tried to stay all calm and act nonchalant and pretend I had no idea who he was, but, as they rounded the corner, his friend caught me staring at him all doe-eyed from behind. Oh well…

One last thing: here is Vitali Krauchenka, a corps dancer who danced von Rothbert:

Philip and I saw him at the gift shop at New York City Ballet a few days ago (albeit looking not like the pic above but like this :)) during the final performance there. Very strong stage presence! I really like him.

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So Excited: Tonight, Favorites Dancing Swans, and in the Future, a Portrait in Dance of Chuck Close!

Tonight I’m seeing Swan Lake performed by these two above — my favorite Marcelo Gomes and the ballerina EVERYONE’S talking about, Diana Vishneva. I’m so excited — my first time seeing them dance together 🙂

Also, I’m so excited about this. During their upcoming Fall season, American Ballet Theater will be premiering a brand new ballet by Finnish choreographer Jorma Elo set to Philip Glass’s piece “A Musical Portrait of Chuck Close,” with set designs by that oh so iconic artist. I just love Chuck Close and I’ve loved everything I’ve seen so far by Elo, and of course Philip Glass is Philip Glass — this is going to be a HUGE collaboration between three spectacular artists from three different fields and is one I just can’t wait to see!

They’ve also got a bunch of other very fabulous stuff on the Fall agenda, including another premiere choreographed by NYCBallet dancer Benjamin Millepied, an ABT premiere of another Balanchine I haven’t seen, and revivals of some of my favorites, including Tharp’s Sinatra Suite 🙂 Robbins’s Fancy Free 🙂 Stanton Welch’s Clear and Lar Lubovitch’s Meadow. Go here to see it all.

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Ashley Bouder's Absolute Gem of a "Ruby"

Okay, this has to be short and sweet because I have about five briefs to write before I go to bed tonight, but I just got back from seeing my second production of “Jewels” at NYCBallet— go here for my post on seeing this wonderful ballet for the first time. (By the way, I just started flipping through Terry Teachout‘s book on Balanchine and noticed he signed it and wrote, “To Tonya, in honor of her first Jewels.” Aw!!) This was my first time seeing ballerina Ashley Bouder in the main role in “Rubies,” as her debut in the part took place just last night (which explains what Alastair Macaulay was doing sprinting back and forth across Lincoln Plaza last night — if you don’t know what I’m talking about, go here, for my post on last night. Hehe, I hope I’m not revealing anything I shouldn’t be 🙂 — Arlene Croce said she used to do the same thing… and it does show how happening the NY dance scene is right now if the critics are running all around like mad people trying to see everything at once.) Anyway, as I said, Macaulay did not seem to have been successful in getting into Jewels last night, so I do hope he went back today because Ashley Bouder IS NOT TO BE MISSED IN THIS ROLE!!!! Oh my gosh, she completely knocked me out! She is such a powerhouse, just wizzing around stage in those turns this way and that, traveling at lightning speed and changing directions like there’s nothing to it. But she is not just an athletic, virtuostic marvel — she is known for that after all — artistically she was brilliant as well; she really brought to this role exactly what Balanchine must have had in mind when he created it. She perfectly exemplified the sexy, jazzy, sassy, flirty American with showgirly flair. She really brought Rubies to life for me, in other words. I can’t help but still love Diamonds best — just watching all of that beautiful partnering, the stage filled with couples at the end, the gorgeous pas de deux and the Tschiakovsky music… it just makes me nearly cry — but Ashley’s performance today almost made me reconsider my favorite “jewel.” It’s really too bad that today marked the end of the NYCB season (a lot of endings this weekend), but when they bring it back, you MUST go see this one in Rubies! You must!

I loved Emeralds just the same — it’s probably my least favorite of the “stones” but I think it’s slowly growing on me. And I’m loving Rachel Rutherford — last time I went on and on about her beautifully expressive wrists, this time I couldn’t get over her lovely en pointe tiny-stepped pas de bouree couru turns. Is she dancing the role that Balanchine originally choreographed on Violette Verdy I wonder? I’d love to see what Verdy looked like, not to compare, but just because the former history grad student in me wants to know. Philip, who accompanied me today, handed me his binoculars when Robert Fairchild took the stage! (He knows how much I like him 🙂 ) We were sitting near the front of the orchestra!! I said, I don’t think I need them to see him that close up! And Maria Kowroski was stunning again in Diamonds, as was her very leading-manly partner Charles Askegard (who I forgot to mention last time). Oh dear, I almost called him Charles Bushnell… Speaking of which, Candace Bushnell (his wife, and “Sex and the City” lady), was right when she told him he was tall for a ballet dancer. I usually sit in the fourth ring, where everyone looks a lot shorter, but sitting up front, as I have been lately, you can really see people’s real sizes!

Oh, also, Philip and I met up with some of his friends, Monica Wellington and her beautiful daughter Lydia (who is currently a student at the School of American Ballet, run by NYCB), and, at intermission, they took us to the patron club, called The Green Room. This was the first time I’ve been in there and it’s really lovely. It looks just The Green Room at the Victoria and Albert Museum in London, so called after 19th Century artist / designer / writer / philosopher William Morris. It looked like it was perhaps decorated with his wallpaper designs… Beautiful!

Oh, last note, happy Gay Pride day, everyone 🙂

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Farewell To My Favorite Ballerina

Last night was Alessandra Ferri‘s last night performing with ABT; she is now retired. Horribly sad night. I don’t even know what to say other than that I am very sad right now.

(Here she is with her two little girls).

But I have to say, the blow was lessened by Roberto Bolle, who played her Romeo. When I first heard she was bringing in someone from La Scala (Italy’s national ballet company) to dance the male lead in her final performance, I was so upset. Why wouldn’t she dance with an ABT dancer — why not Jose Carreno, who partnered her frequently? Actually, I was secretly hoping they’d bring back Julio Bocca (who was known as her long-time ABT partner and who retired last year), but no such luck. Why someone from outside, I thought? She said it was her gift to him (Bolle) — to let the world see him. Now I can see what she was talking about!

Seeing someone new, and with such promise(!!!), made you focus on a beginning, not an ending. And, oooooh, he was so amazing last night as Romeo; words cannot even describe! He was overall the best Romeo I’ve seen at ABT (excluding the aforementioned Jose, who I think all ABT fans know in their heart of hearts is going to be going soon) — he acted the part perfectly, he danced it spectacularly. And he is oh so gorgeous — such a beautiful beautiful man. He needs to come to ABT permanently! WE NEED HIM AT ABT!!!!! What is La Scala anyway? New York’s where it’s all at, right!! We so need a tall, dark and handsome romantic male lead. Of course there’s Marcelo, my love, but he is not enough. And, well, he is just different anyway. He’s like the down-to-earth college football-player boyfriend. Roberto is tall, dark, and foreign. (I mean, Marcelo’s from Brazil, but he just looks so American, and he’s been here since he was 13 so he basically is American). Anyway, we need Roberto!!! Oh please please please please please, Kevin, make him an offer he can’t resist! Puleeeease!

(I am really sorry my pictures are so crappy — I was sad and my hand was shaking and people were bumping me right and left, so they’re blurry as hell, but, still, I have GOT to get a new camera!)

Of course there were 10,000 curtain calls. Here are a few more pics:

(Picking up her bizillions of bouquets, the conductor behind her)

The dancers came out one by one (just like with Julio’s farewell), to hug her. Of course I had to get a shot of Marcelo in the action!


Here comes Paloma in the flowing red skirt. David is behind Alessandra, diagonally and to her left. He was the first one out.

Aw, Kevin McKenzie (ABT Director) hugging her.

It’s raining confetti!


It goes without saying, the house was PACKED.

They had these enormous, blown-up photographs of her, taken by her husband, photographer Fabrizio Ferri, lining the walls of the lobbies.

There wasn’t as much curtain-call insanity as when Julio retired last year: no taking out a beer, letting it explode all over the stage, pouring it on yourself, then letting the crowd watch you slowly enjoy your beer, then letting David and Marcelo hoist you high over their heads and carry you all over stage, then coming out in your underwear at the end… but then again Julio is Julio… 🙂

About the two previous pics, taken with my cell phone: in the second one down, the poster is of Angel Corella and I think Diana Vishneva posing for Romeo and Juliet, not Roberto and Alessandra — it was just the only thing I could think of to take a picture of on the spot during intermission so I could gush on and on about how in love with Roberto I was!!!

And top pic below, I tried to take a picture of the Fabrizio Ferri photographs in the lobby with my cell phone, but, as you can see, it didn’t come out so well! I was very excited because I was sitting in orchestra, and this couple came down to the front and was looking for a pair of free seats (like there were going to be any on this night of all nights). I heard the guy behind me say, “Are you looking for seats? Well, the seat next to me will be free but only for the second act. My friend, who’s from the New York Times has gone over to NYCB to watch Jewels for this act, but he’s coming back over here for the final act.” Oh wow, I thought, I wonder who it is. The woman looking for a seat sat down. Then, a couple of minutes later, I hear, “Oh, sorry, the seat’s not available after all. Alastair is back.” Apparently the Jewels idea didn’t work out. Of course I whiplashed my head around. He didn’t look very old! Not that The Times is going to hire as their new chief dance critic an 80-year-old to replace the retiring 80-year-old, but still — he looked REALLY young. Of course I didn’t sit there and stare, but … he looked so normal! I just expected a chief critic to look like … the conductor in my picture above, or Gorbachev or something, big and hefty and aged and distinguished ha ha! And, also, he looked American — he was wearing a Polo-type t-shirt… (Macaulay is a Londoner). Maybe that guy was just goofing with everyone, trying to impress by pretending to know Alastair Macaulay and it wasn’t him at all, haha!

Anyway, ugh, it was obviously an unforgettable night and I am really really going to miss her. I think I included in this post practically all of the pictures I took, but in case I didn’t, here’s the album on my photo page.

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A Beautiful (and Emotional) Farewell to One of the Last of the Balanchine Ballerinas at NYCB

Last night marked the final performance of Kyra Nichols, the second-to-last still-performing ballerina to have worked directly with George Balanchine, and thus widely considered to be of the last of “the Balanchine ballerinas.” (The other Balanchine ballerina is Darci Kistler, also of NYCB). I’m relatively new to ballet and especially New York City Ballet, so I haven’t had many chances to see her dance, and I’m really feeling sad now, as I felt when I recently saw the legend Gelsey Kirkland perform (in a non-dance role) in American Ballet Theater‘s Sleeping Beauty, that I’ve missed out on an era. Ms. Nichols danced brilliantly last night; I was so overwhelmed and I wish so much I would have seen more of her over the years. Since I don’t know a huge amount about her, here’s an interview she gave recently to Gia Kourlas of Time Out NY, and here is Joel Lobenthal’s article in The Sun (I remember NYTimes’s Alastair Macaulay also wrote an article on the several retiring ballerinas but it’s impossible to link to because they only allow paying subscribers to access articles). Also, here is long-time NYCB fan Oberon’s review of last night.

Last night was breathtaking. Peter Martins (NYCB Director) put together a gorgeous program for her. First on was Serenade, what to me seems to be classic Balanchine — involving oodles of beautiful ballerinas in gorgeous flowing baby blue chiffon, and one or two men overwhelmed by them all! (which is largely, it seems, Balanchine’s take on ballet 🙂 ) It was mostly abstract but with a slight narrative in which Nichols poignantly danced the main character. (I will definitely be reading more on this splendid ballet in Terry Teachout’s book on Balanchine, but more about that in a minute…) Second was Balanchine’s “ballroomy” piece for four couples set to Robert Schumann’s “Davidsbundlertanze” (try saying that several times in a row!), which I’ve seen before and loved, and set to lovely onstage piano music. And, my favorite of the night (can’t help it, I’m a ballroom dancer!), “Der Rosenkavalier” from Balanchine’s Vienna Waltzes, a shortish piece in which the stage is overtaken with waltzing couples — the men in elegant black long-tailed tuxes and the women in long lavish white gowns — one of the most exquisite sights I think I’ve ever seen on a stage, and one that rekindled the passion I felt for Standard Ballroom upon attending my first competition. Not that several couples waltzing their own routine on a ballroom floor could look anything like this (even if those couples are at the level of Mirko Gozzoli and Alessia Betti or Jonathan Wilkins and Katusha Demidova…) — it takes a genius choreographer, not just a few great dancers, to create such a sublime spectacle. And one thing I love about ballroom is how it seems to convert little boys into mature gentlemen — Robert Fairchild and Tyler Angle looked so dapper whisking their ladies all around the floor — so charming! It just takes you to another time and place, to a fairytale land…

Anyway, although it was the end of an era in the ballet world, for me it was a time of new beginnings, of meeting new people and making new friendships. I met up with critic and writer extraordinare Apollinaire Scherr, who introduced me to the illustrious critic and writer and author of several books, Terry Teachout, who gave me a copy of his biography of Balanchine!!

The three of us met up during intermissions, then all went out afterward and chatted all about the ballet world, and the dance critic world — so very interesting for newcomer me! Mr. Teachout is so brilliant. He’s a former jazz musician and has been writing for so long about the worlds of classical music, ballet, and now theater, he’s just like a walking encyclopedia of the New York arts scene. It’s so amazing. I can’t wait to start reading his book — which I’m going to begin this afternoon (in between trying to finish two briefs for work by the end of the month — I’m going to get it all done I swear…) Meeting him was so fun, and so educational, and I’m sure his book is going to open up a new world to me (and, he even said he liked my blog 🙂 :)) — thanks so much, Apollinaire!

There was so much going on last night, every ballet fan in the universe (or at least those lucky enough to have got tickets) must have been there — but somehow I was also able finally to meet Sarah, who frequently comments on The Winger as well as Philip‘s and my blogs, and Bob, who comments a lot on our blogs as well! That was fun, and I’m completely amazed that in that massive crowd people were actually able to recognize each other. I sat next to Susan, who also is a big blog and Ballet-Talk-commenter (and met her nice husband), and Philip and Wei (who I also met beforehand at the stage door and hung out with. Philip is great fun to lurk around the stage door with because he knows everyone and everything at NYCB … he should be a tour guide, if there was such a thing!) We all looked for Carbro at Ballet Talk, but couldn’t find her.

Anyway, it was a really amazing night, amazing experience. Oh, we also spotted Kristin Sloan onstage filming — so her video’s going to be a lot of fun to watch when she finishes it. I think it’s so magnificent that we now have this technology that enables us to preserve these monumental events in this way. First those excellent “Tragic Love” videos documenting Martins’s new Romeo + Juliet and now this — NYCB is just going to HAVE to expand it’s website’s broadband to make room for all these awesome videos Kristin’s making!

Okay, time for rest and relaxation (and brief-writing) until tonight … when a ballerina whose career I HAVE followed and whom I love, retires as well — there were many teary eyes in last night’s audience; tonight is going to be my night for being a hysterial wreck…

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I am a Crazy Czarist Russian, Who Knew?: Balanchine’s "Jewels" at NYCB

Whew, am so busy with work (law work, that is), writing stuff, and ballet-going, I’m badly behind on blogging… I’ve seen so many things over the past few days at New York City Ballet — after suddenly realizing that, between ABT‘s Met season and the Blackpool Dance Festival, NYCB’s spring season is practically over and I’ve seen hardly anything but Martins’s ROMEO AND JULIET, so am trying to make up for lost time… I plan to blog on everything I’ve seen as soon as I can catch up, but for now, I’ll start with JEWELS, the most breathtaking ballet I’ve seen in a while, and one that really drove home to me like nothing else George Balanchine’s magic. This was my first time seeing it and as a result I now want to devour everything written about that man, and plan, as soon as I get time, to run to the store for the biographies by Terry Teachout and Robert Gottlieb.

JEWELS is divided into three “acts,” or parts, each one representing a specific period and style of classical ballet. Of course the ballet’s not literally about precious stones; the jewels are a metaphor for each period, each of which, near and dear to Balanchine’s heart, is its own unique kind of gem. Premiering in 1967, the ballet was considered a radical departure from the long-dominant big story ballets and is recognized as the first full-length abstract (ie: narrative-less) ballet.

Part I, Emeralds, is Balanchine’s celebration of French classical dance, and is choreographed to Gabriel Faure’s concert suites from 1889, used in that year to accompany French adaptations of Shakespeare plays. This first piece is, to me, characterized by quietness (at least in contrast to the latter two!), fluidity, elegance, the beauty and charm of simplicity, and by subtle expressiveness. Rachel Rutherford captured my attention with her gorgeously expressive wrists. (She also captivated me yesterday in CONCERTO BAROCCO, but more on that in a later post…) With those beautiful wrists — ahhh, I wanna see HER do BAYADERE now! Also entrancing me was a certain R. Fairchild … Robert Fairchild aka “Romeo” Fairchild 🙂 Seriously, where did this kid come from? Was he seen onstage before Martins cast him earlier this season for the world premiere of his R&J? He’s spectacular — everything he does — turns, jumps, everything is marked with amazing precision. And he has that extra something that is undefinable that makes him stand far out in a crowd. (I saw him yesterday in BRANDENBERG and TRIBUTE looking very charmingly James Dean-esque … but more on that later… methinks he may be the Angel Corella of NYCB?…) Well, Peter Martins surely has a knack for uncovering talent, of that I am sure!

As Philip rightly noted, (and part of the charm and the fun of this ballet is, I think) everyone has their favorite part. Philip’s is this first part, and I can why with its soft, elegant beauty and quiet, subtle charm.

Going into the ballet and knowing as little as I did about it, I was sure the second part, Rubies, would be my favorite. This is Balanchine’s panegyric to America, his adopted country. Choreographed to lively, late 1920s piano music by Igor Stravinsky and using spicy red short-skirted costumes, this is Balanchine’s vision of what American dance, of what America, the New World, is — high-spirited, fast and energetic, jazzy with jutting hips, showy, full of zest and flavor, fun, cheery, endlessly upbeat, overflowing with youthful optimism. This part is the one most often performed when companies use it in mixed repertories, and you can see why — it is the most “Balanchine-esque” — this vision of America, this combination of classical ballet with what we already had here, with what was uniquely American, was the stylistic hallmark of his oeuvre, and, since he is the father of American ballet, it is in turn our national style…

Yvonne Borree, looking, to me, physically not like herself (has she perhaps dyed her hair darker?), was super fun to watch– she was cute, sassy, charming — she was PERFECT for the American part! As was Theresa Reichlen, who looked very Firebird-y. And is there any NYCB male dancer more perfectly suited for the all-American guy-role than Mr. AMERICAN IN PARIS, Damian Woetzel?!

I was so excited by Rubies, I thought the third section, Diamonds, would bore me in contrast. Boy was I wrong. It completely blew me away to such an extent I almost cried at the end, which I haven’t done since nearly a year ago when Jose Manuel Carreno‘s Romeo woke up thinking Alessandra Ferri‘s Juliet dead at the Met… Diamonds is Balanchine’s homage to his homeland, to the grand, sweeping, large-scaled classical tradition of the Russian Ballet. Returning to 1875 and using Tschiakovsky’s Symphony No. 3 in D Major — anyone who has ever been to the ballet more than once instantly recognizes Tschiakovsky music, even if they’ve never heard the exact score before, as THE quintessential classical ballet music. The choreography here, a tribute to the great Russian story ballets of the 19th Century, with its dramatic lifts accompanying the orchestra as the music builds to a climax, the many men dashingly courting their ballerinas around the stage at once narrowly missing sideswiping each other as their paths criss-cross, the large ensemble dancing in perfect unison, the gorgeous pas de deux and the solos for that most pristine and celebrated of creatures — the Russian ballerina, is equally instantly recognizable.

This is actually what confuses me about my own reaction to the ballet: I’m really not a Petipa-head — I don’t really go for those huge-scale, five-hour-long ballets like SWAN LAKE and SLEEPING BEAUTY just drenched with pomp and circumstance so overwrought you can’t enjoy the basic beauty of the actual dancing. But then, I had to remind myself that this is Balanchine’s version of Petipa, of the grand tradition of Russian ballet — scaled down and with all of the elements he didn’t care for so much taken out, with only what he truly loved left in. Oftentimes the tribute shines far brighter than the original. And this is a most endearing encomium, a diamond obviously being the most valuable of all stones and that enjoying never-ending life…

Ballerina Maria Kowroski (who danced the principal female role in Diamonds the night I went) wrote a little blurb in the Playbill about the ballet:

“Jewels is undoubtedly one of Balanchine’s greatest masterpieces, and, during my career, I’ve been lucky enough to dance in each of the ballet’s parts…

“The first of the ballets I danced was Emeralds. This ballet has a very specific quality, a real perfume, and it has a fluid and effortless style…

“When I saw Rubies for the first time, I knew right away I wanted to do the soloist part. It’s so daring and fast — its flashiness appealed to me…

“But Diamonds is my favorite. I don’t even know how to describe it, except to say that it’s heavenly. First of all, that costume, with the beautiful headpiece, makes you feel like a million bucks. Then the ballet starts off very slowly, with a beautiful pas de deux, and the music takes you to a different place, as if you’re just floating along. When I dance Diamonds, I feel like royalty, like I’m in a beautiful palace of music and movement. Near the end, there’s a thrilling moment when the music slows down almost to a stop, and then it starts up again for the big finish, with the stage filled with dancers all moving in unison — I always get chills, and sometimes, I come close to crying. It’s just so gorgeous.”

I can assure you, it feels the same exact way watching it! The season is, horribly, nearly over, but hopefully, hopefully please please NYCB will perform this gem again, many times — and not just the Rubies section, but the ballet in its entirety. I feel that each section informs the others and that each part reveals its true beauty and magic only in contrast to the others, so I strongly feel the ballet should be put on in whole and not split up. You have only a few more opportunitities to see this masterpiece next week — on Thursday, Saturday night and next Sunday’s matinee, when NYCB will end its season with it. Visit their website for tickets. Do not miss it!!!

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Carlos Who?

I’m such a goof. This evening I was at New York City Ballet and during intermission I saw a guy on his cell phone in the lobby all distressed, shouting, “Gomez is out? Gomez is out?!” I thought, oh NO, what’s wrong with Marcelo???? At the same time I thought it was kind of cool that someone was so upset about a dancer s/he called his/her spouse, friend, etc. via cellphone from just across the plaza with the news.

Then I got home and saw the sports news… I’m so out of it regarding sports!

I am going to blog about the NYCB repertory I’ve seen over the past couple of days, by the way, just need to get a free moment!

 

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I’m Pretty Sure That…

Angel lives in my neighborhood since this morning was my second sighting of him there during “off-hours.” This morning he did not look at me and smile as I passed by though 🙁 — which he usually does not because I’m special but because he does that to everyone 🙂 He appeared very serious and focused and had a somewhat concerned look in his eyes. I hope he’s not coming down with cruise-ship ABT flu … He was probably just perturbed at this pathetic excuse of a summer we’re having — it’s FREEZING outside!!