The Calatrava set is stunning. Industrial art meets the stage. Here's a picture of it opened up but much of the time its halves, which resemble big combs of steel, are closed together is one form or another:
It slowly turns and twists its
shape throughout the music - which is part of the choreography by Martins. It divides
and assembles. It raises and lowers. Steel silver for most of the ballet, it
takes on colors at the end. It's fascinating. Haglund thought that it was cool the way the backs of the costumes of Somogyi and her partner Jared Angle had vertical combs that connected the viewer's eye to the sculpture.
The music, clearly "new music," is much more than a violin solo for Josefowicz and doesn't strive to hurt the ears the way some new music does. It has depth and passion and melody and drama. But as with most new music, Haglund cannot recall 8 counts of it to hum.
NYCB's whole concept of the season's Architecture of Dance was a really good one, and Haglund hopes the company repeats it utilizing other architects or visual artists and more new musical compositions. But next time, let there be more actual collaboration among the artists - particularly the composers and choreographers.
Sunday is Darci Kistler's last dance. It will mark the
passing of an era as the last Balanchine-trained dancer leaves the company. The
symbolism of this retirement has been underestimated instead of underscored, but it will be honestly
felt come Sunday afternoon.
Haglund bestows this Calatrava-inspired Pump Bump Award to Jennie Somogyi for her lovely performance in Mirage: