NYC Ballet Spring Season Week 2The Soloists Have Taken Over the Franchise

. . . or so it seems.

 

Last week’s second installation of the Masters at Work program was masterful to the fourth power. Brilliant choreography, magnificent selection of music, dazzling dancing, and dynamic conducting made the four performances of Divertimento No. 15, Afternoon of a Faun, Allegro Brillante, and The Four Temperaments the life-affirming experiences that we can only count on New York City Ballet to deliver.

 

First the music. Of course we’re looking forward to the Stravinsky Festival this week and next. And we always love the Tschaikovsky programs when they are scheduled. But last week’s musical honey fest of Mozart, Debussy, Tschaikovsky, and Hindemith was the bees’ knees. All those light, sunny violins in Divertimento, the poetic flutes in Faun, the piano that raced to a Derby finish in Allegro Brillante, and the forceful pondering of the strings in 4Ts with the answering piano were an uplifting musical offering that produced much joy in the soul. Conductor Clotilde Otranto fed the dancers everything they needed in order to perform brilliantly in each piece. She just seems to know how to take the performance to its highest level.

 

Both principal casts of women in Divertimento No. 15 were sublime, elegant beauties who favored the heirloom rose by the same name. The costumes are probably Haglund’s most favorite costumes in all of ballet: pale yellow bodices atop cream tutus with little blue bows. The mere sight of them brings on happiness and optimism.

 

The always polished Sara Adams danced the first variation in both casts with a sophisticated stylishness. Her low port de bras presentation of small développés to the floor possessed a modesty that one doesn’t often find in other Balanchine choreography. Ashley Hod and Erica Periera alternated in the Second Variation; both were lovely and in complete control of the challenging turn combinations. Ashley Laracey and Unity Phelan made poetry out of the Third Variation’s tendues to the front-point back with sweeping port de bras in opposition. Emilie Gerrity and Emily Kikta each boldly danced the Fourth Variation that required grander developpes and a series of pirouettes where the passe preparation was turned-in instead of turned-out. At all four performances, Indiana Woodward beamed brilliantly in the Sixth Variation with her racing piques, prickly point walking, a beautiful diagonal of en dedans/en dehors pirouettes.

 

Except for some musical confusion at the very first performance, all of the men were sensational as well. Principals Joseph Gordon and Peter Walker were equally commanding in their lead variations. It has been so satisfying to watch each of these dancers, who began as wet-behind-the-ears rather skinny corps men not so many years ago, develop into confident, gallant, powerful partners as principal dancers. Their variations included phrases familiar to us from what the ladies had danced, but they were of course done in a more weighted, powered manner.

 

Daniel Applebaum & Sebastian Villarini-Velez and Harrison Coll & Aaron Sanz danced the very challenging Theme at alternate performances. The corps de ballet, except for the first performance, were picture perfect and beautiful in their white and blue tutus.

 

Robbins’ Afternoon of a Faun was performed at alternating performances by Sterling Hyltin & Adrian Danchig-Waring and Unity Phelan & Christopher Grant. The pairs had different interpretations of the ballet but each of their performances captivated the viewer. In his role debut, Adrian communicated the narcissism that compelled the dancer to continually gaze at himself in the mirror. While we don’t know for sure, we guess that this was a challenge for the seemingly humble being who focuses on his art without inviting the self to interfere unduly. In a highly individual interpretation, Christopher Grant fixated his eyes on Unity in astonishment and wonder at the beauty of the being who entered his life for this brief interlude. It was as though he was in the middle of a wild dream and he just let it carry him wherever it wanted to go. At bows, he expressed relief and flashed a smile — this guy has a million dollar grill that he all but hides from us.

 

Sterling and Unity chose different interpretations for their roles. Unity’s was more typical of what we see: a beautiful woman, somewhat aloof and distant, intermittently communicative — more of a dreamy vision than a real person. Sterling, on the other hand, was a woman who was very real and present as compared to Adrian’s dream-like quality. Both interpretations were enjoyable.

 

We’re grateful for having had the opportunity to see Tiler Peck in four performances of Allegro Brillante in one week: two opposite Roman Mejia and two opposite Tyler Angle. She seemed in much better, less fragile condition than over the winter season, which is good to see. Sometimes the arabesque drooped a bit but plenty of times it was strong and clear. She delivered great speed and lovely turns although she chose to opt out of triple pirouettes on a couple of occasions.

 

What Roman lacks in line, he makes up for with energy and excitement. Allegro Brillante is the closest he will get to Don Q at NYCB. So why not throw the head and hair in the downstage corner when the opportunity presents itself? We’re not really complaining. He did a fine job and performed with his signature fire and fury. His partnering is much improved, but he still has a ways to go to match Tyler Angle’s skills which are still supreme.

 

The Four Temperaments was absolutely thrilling at each performance. Both casts of Sanguinic — Ashley Hod with Peter Walker and Emilie Gerrity with Gilbert Bolden — tussled magnificently. The Sanguinista Guerrillas (Lauren Collett, Gabriella Domini, Quinn Starner, Rommie Tomasini) wore take-no-prisoners expressions as they marched ferociously behind Ms. Sanguinic.

 

Amar Ramasar signed off on Phlegmatic with a huge performance. One sensed how he savored every moment like he was trying to store away treasure for safekeeping. A well deserved solo curtain bow sent the loving audience into a tizzy. 

 

Emily Kikta’s Choleric shot out of a cannon to land mid-stage and then she used her powerful limbs to gun down everything in her way. This lady was angry, no two ways about it. We were glad that she got it out of her system in time to deliver such beauty at the next performance in Divertimento No. 15. It has been such a pleasure to see this artist finally unleashed. Haglund still remembers when Peter Martins introduced her to us almost ten years ago in Brahms-Schoenberg Quartet. She had joined the corps the prior summer and made such an entrance and impression in the ballet that we simply could not stop thinking about her and looking forward to her every performance. She has shone spectacularly in every role she has danced. 

 

Our H.H. Pump Bump Award, Alexander McQueen’s pale yellow crystal embellished sandal, is bestowed upon Emily Kikta for her bold, beautiful dancing in Divertimento No. 15 and in Choleric.

 

 

 

Comments

[M]

Thanks for this review. Loved Adrian’s Phlegmatic as well.

[Haglund]

I did, too!

[Jeannette]

Thanks, Haglund. As much as I truly admire Kikta, Colleen Neary will forever be my Choleric #1…those lightning-fast chaine turns into the wings!

Boy, did I love those Masters at Work programs. NYCB at its very finest.