NYCB continued to build steam on its second night of its wonderful All Balanchine program of Donizetti Variations, Haieff Divertimento, Valse-Fantaisie, and Stravinsky Violin Concerto. Cast changes revealed a new spectrum of principal artistry while a do-over gave many corps members a second chance to organize themselves on stage.
The biggest moment of the evening came when Christina Clark and Peter Walker debuted in Haieff Divertimento. The geometric beauty of this pair was undeniable; their length must be measured in kilometers. We finally understood the ideal for whom the male figure was searching in this ballet. When that ideal finally appeared before him, he would not be able to prevent her from eventually slipping through his fingers and disappearing into the shadows. That “slipping through the fingers” is figuratively speaking, of course, because Walker’s partnering was astonishing, and the debuting ballerina’s confidence and reliance on her partner was equally so.
When Christina Clark walked onto the silent, empty stage to begin her solo, there was an audible gasp from an audience member “She’s gorgeous!” Indeed. As we may have mentioned before, Clark has all of this Zakharova-stuff going on for her that demands our attention. And she can move like the wind, far faster than one expects a dancer of her blessed height. Walker seemed to delight in being the one to put this ballerina on everyone’s map much the same way Adrian Danchig-Waring knew that he was launching Isabella LaFreniere to the forefront in Chaconne in a recent season. These guys never get enough credit for ensuring the beautiful performances of the ballerinas.
Tiler Peck and Andrew Veyette led Donizetti Variations with great flair although the arabesque lines were more modest than needed. Veyette pulled out all of the pirouettes including a handsome set of accelerating single revolutions with arms out to the side. Peck’s speed, musicality, and hops on pointe were delicious. There is something slightly cruel about the choreography where the ballerina pirouettes in front of her partner who then picks her up in a little jumping turn from which she lands right on her toes. The ballerinas always smile through it but they must be thinking ouch, too.
The corps de ballet in Donizetti seemed spruced up — particularly the men. The young apprentice, Charlie Klesa, shook off his nerves from the opening night and really corralled our attention with his beautiful feet, strong lines, and significant height. Also in last night’s corps, the young Rommie Tomasini had much more success with her featured solos.
Valse-Fantaisie received an uplifting performance from Indiana Woodward and Roman Mejia. We love seeing Indiana fly around in traditional tulle and often think of how much we have missed her in Emeralds. When oh when oh when oh when oh when are we going to get back our Jewels? Roman’s full-out effort was admirable; however, he needs to find some discipline in his aerial lines. The corps women (Olivia Boisson, Meaghan Dutton-O’Hara, Olivia MacKinnon, and Mimi Staker) were stunningly beautiful.
Stravinsky Violin Concerto delivered the thrills to end the evening with the cast of Emilie Gerrity, Russell Janzen, Unity Phelan, and Taylor Stanley. It was so good to see Janzen who is still making his way back from his long injury layoff. We can all be as patient as needed. The ladies of the corps were sharp as could be whereas the gentlemen seemed out of sorts perhaps because of the strange assortment of sizes and their very individual musicalities.
So far this week, life at the ballet has been pretty darn great. Our second H.H. Pump Bump Award, a crystal-laden Louboutin that would look lovely on the feet of a Symphony in C second movement ballerina, is bestowed upon the blossoming Christina Clark for her striking debut in Haieff Divertimento.
I would also like to see the full "Jewels" back. Am tired of seeing bits of it -- Rubies here, Diamonds there (though no Emeralds).
Posted by: Allie Kenney | January 19, 2023 at 03:02 PM