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Two Symphonies and a Pavane

American Ballet Theatre
"Symphony in C," "The Moor's Pavane," "Symphony #9"
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, DC
April 9-10, 2013
 
by Alexandra Tomalonis
copyright 2013 by Alexandra Tomalonis

Watching Alexei Ratmansky’s “Symphony #9,” to the Dmitri Shostakovich work of that name, one can understand why Soviet authorities were so upset by its brilliant, rebel composer. The music is simply not predictable. There are quick changes in structure, tone and mood that would have been quite new in 1945. Today, it doesn't sound so rebellious, of course, but Ratmansky somehow captures that aura, and that era, and his choreography rides the music as though it is a big, beautiful wave.

Ups and Downs

New York City Ballet & Orchestra
"Carousel (A Dance)," "Glass Pieces," "Vienna Waltzes"
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, DC
March 30, 2013
 
by Alexandra Tomalonis
copyright 2013 by Alexandra Tomalonis

There aren’t many ballets that keep their opening night freshness for 20 years, but Robbins’ “Glass Pieces” (1983), which was the centerpiece of the New York City Ballet’s second program here, had first season clarity. If anything, it’s a stronger work today, as the dancers are now comfortable with both choreography and score.

Angst is still Cool

"Beethoven's 32 Variations," "OreloB," and "Your Passion is Pure Joy to Me"
GöteborgsOperans Danskompani
Nordic Cool Festival
J.F. Kennedy Center for the Performing Arts
Washington, D.C.
March 15, 2013

by Alexandra Tomalonis
copyright 2013 by Alexandra Tomalonis

The dance portion of the Kennedy Center's very interesting and comprehensive Nordic Cool Festival ended with two performances by Sweden's GöteborgsOperans Danskompani, formerly The Göteborg Ballet. The company changed its name in August 2012 to clarify that its repertory was contemporary dance rather than ballet. It's quite large for a contemporary dance company. There are 39 members, 16 of whom danced in Washington. The dancers are from all over the world -- Germany, Japan, Hong Kong, Israel among others; only one of the dancers on view here was Swedish, and the company had a very international feel. In fact, in the last piece especially ("Your Passion is Pure Joy to Me,") pictured above, it looked rather American.

An Imaginative “Alice”

“Alice’s Adventures in Wonderland”
National Ballet of Canada
Kennedy Center
Washington, D.C.
January 18, 2013

by Alexandra Tomalonis
copyright 2013 by Alexandra Tomalonis

Christopher Wheeldon has said in several interviews, including one with this writer more than a decade ago, that he is very much interested not only in design, but in returning to an aesthetic in which design and music are equal partners with choreography. That aesthetic is very much evident in “Alice’s Adventures in Wonderland,” Wheeldon’s very first three-act ballet, danced here this week by the National Ballet of Canada. The sets and costumes, by Bob Crowley, are not only stunning, but ingenious; they are crucial in helping tell the story and they manage to be the most memorable thing about this “Alice” without overwhelming it.

In Appreciation: Alan M. Kriegsman

Alan M. Kriegsman
February 28, 1928 – August 31, 2012

by Alexandra Tomalonis
copyright Alexandra Tomalonis
September 9, 2012

The thought of writing an appreciation of Alan M. Kriegsman, Critic Emeritus of the Washington Post who died last week at his home in Chevy Chase, Maryland, is very daunting, for Mike, as he was known to most in the dance world, was the master of that type of piece, writing some of the most beautiful appreciations of great artists imaginable. He always gave the subject his or her due, detailing their accomplishments and adding his own observations and memories. If you had loved the artist, you’d be in tears by the end of the piece; if you couldn’t stand the artist, you’d still cry, and probably feel a bit guilty that you hadn't discovered what Kriegsman's eloquent writing celebrated on your own. What was so astounding about these appreciations, besides their beautifully calm and measured prose, was the perfect combination of objectivity and personal observation that was one of the glories of Kriegsman's writing, as well as his total lack of sentimentality.

"Giselle" Restored to Life

"Giselle"
Paris Opera Ballet
Opera House
The John F. Kennedy  Center for the Performing Arts
Washington, D.C.
July 5-8, 2012

by Alexandra Tomalonis
copyright 2012 by Alexandra Tomalonis

In an interview with Marc Haegeman in the Spring 2001 issue of DanceView, Patrice Bart, Ballet Master of the Paris Opera Ballet, in response to a question as to why POB is the only truly classical ballet company in France, noted that there had been much discussion about the reasons for this. He said that in his opinion it was necessary because: “Classical ballet doesn’t stand mediocrity. It needs the best possible treatment. … In my opinion it is preferable to have a few great companies which act as guardians of these ballets and show them in the best possible way.” That POB does do this, as well as maintain an adventurous contemporary repertory, is a tribute to the company and the nation that supports it. Its production of “Giselle,” on view for a few days this week here in D.C., is astoundingly alive, and in it, the company delivered some of the most extraordinarily sophisticated dancing seen here in decades.

The Doll That Will Not Die

“Coppélia”
The Bolshoi Ballet
Opera House
John F. Kennedy for the Performing Arts
Washington, D.C.
May 29, 2012

by Alexandra Tomalonis
copyright 2012 by Alexandra Tomalonis

The Bolshoi Ballet stopped off in Washington for a week during its summer U.S. tour to bless us with its new revival of “Coppélia,” one of the few comedies in ballet’s classical repertory. That the dancing was extraordinary wasn’t a surprise – it had all the bravura, vibrancy and vivacity one expects from this company, and the character dances (the czardas and mazurka danced by the villagers) were at a level one seldom sees these days. But the sets and costumes were absolutely magnificent, and they, like the choreography, were revivals of the St. Petersburg production of Petipa’s day. This is an exceptionally colorful production, in every sense of that word.

A Welcome Hint of Spring

“Who Cares?”, “Fearful Symmetries,” “West Side Story Suite”
“Hallelujah Junction,” “Russian Seasons,” “Les Carillons”
New York City Ballet
Opera House
John F. Kennedy Center for the Performing Arts
Washington, D.C.
April 3, April 7 (evening), 2012

by Alexandra Tomalonis
copyright 2012 by Alexandra Tomalonis

The New York City Ballet brought two of the most interesting programs of the season to Kennedy Center’s Opera House this week. It really was a fresh, spring breeze. The company was dancing not only well, but with an edge, and we saw nearly all of the dancers in multiple roles. We saw a varied sliver of the rep, with works by Balanchine, Robbins, Martins (two ballets), and, best of all, two new ballets – Alexei Ratmansky’s “Russian Seasons” and Christopher Wheeldon’s “Les Carillons” – that show a clear path to a wonderful future.

A Disappointing "Snow White"

“Snow White”
Ballet Preljocaj
Eisenhower Theater
John F. Kennedy Center for the Performing Arts
Washington,  D.C.
March 30, 2012

by Alexandra Tomalonis
copyright 2012 by Alexandra Tomalonis

If last year was the year of the Swan, this year’s fairy tale heroine is Snow White. There are several movies and at least one TV show in which she’s a featured character. Unfortunately for Snow White, in many cases she’s caught up in the current fad – if one can consider something that’s been going on for 50 years a fad – of being a new !! look at an old tale. Angelin Preljocaj, who often choreographs interesting work, has produced a nearly two-hour ballet that has moments of beauty, and moments that are appropriately shocking (the Evil Queen stuffing the apple down Snow White’s throat in one brutal thrust comes to mind) but leaves both the magic and the moral of the story behind.

Of Mice and Manners

“The Nutcracker” (Alexei Ratmansky)
American Ballet Theatre
Opera House
John F. Kennedy Center for the Performing Arts
Washington, DC
Thursday, December 8, 2011

by Alexandra Tomalonis
copyright 2011 by Alexandra Tomalonis

Perhaps the most magical thing about Alexei Ratmansky’s very magical “The Nutcracker,” which American Ballet Theatre has brought to D.C. for a long weekend’s worth of performances, is that it has been so refreshed and reimagined that it feels brand new. You never know what is going to happen next, and there were delighted laughs as well as happy gasps of surprise throughout the evening on opening night. There is plenty of comedy and charm in this production, but there is serious dancing, too, including two absolutely gorgeous pas de deux, and there isn’t a cliché in sight.