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Russian Roots and Spanish Dancers

“Andantino,” “Opus 19: The Dreamer,” “Piano Pieces,” “Les Noces”
New York City Ballet
New York State Theater
New York, NY
May 9, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

Jerome Robbins’ version of “Les Noces” reentered the repertory at New York City Ballet after a decade, this time with live music rather than a recording, and as Stravinsky intended, the four pianos, percussion and chorus were all behind the dancers for an imposing spectacle. Painted icons towered over the rough-hewn set with the musicians and chorus lined up in the back all in black as if it were possible for them to be inconspicuous in their mass.

Robbins made the ballet for American Ballet Theatre in 1965 without having seen Nijinska’s production.  His “Les Noces” has the look of someone who studied old photographs and tried to imagine them three-dimensional and moving, but with his imagination helplessly caught in his own era.  Robbins himself said that if he had known that Nijinska’s ballet were able to be revived (The Royal Ballet brought it back one year later through Ashton’s championing) he would never have made his.  He was right; the Nijinska version is close to a perfect match for Stravinsky’s music and sadly for choreographers, there probably won’t be a need for another “Les Noces” for generations to come, if ever.

The Custom of the Country

“Serenade,” “Rubies,” “Ballet Imperial”
Kirov Ballet
New York City Center
New York, NY
April 18, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

It takes guts to bring an all-Balanchine program to New York.  The scene at City Center on the Friday night opening of the program was thick with present and former New York City Ballet dancers, including Peter Martins, all there to watch, and perhaps to judge. If bringing coals to Newcastle is going to be done, it might as well be by a company like the Kirov that has a completely different tradition. Watching the Kirov do Balanchine is like wandering into a Japanese grocery and marveling at Western dishes transformed by native tastes; Ronzoni spaghetti is next to packages of spaghetti sauce mix – cuttlefish flavor.

Assimilation

“Steptext,” “Approximate Sonata,” “The Vertiginous Thrill of Exactitude,” “In the Middle, Somewhat Elevated.”
Kirov Ballet
New York City Center
New York, NY
April 15, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

In 2004, the ballet of the Mariinsky Theater (we still call it the Kirov when it comes to visit) decided to propel itself into the late 20th century – better late than never – with an all-William Forsythe evening.  For the Mariinsky, it was a bold move. All Forsythe evenings aren’t a new thing; Paris Opera Ballet presented one in 1999 that included two of the works performed here (“In the Middle, Somewhat Elevated” was also commissioned for them by Nureyev in 1989) but also with two new works.  There were no commissions in St. Petersburg. By 2004, Forsythe wasn’t making dances on ballet companies.  We’ve seen some of these works in New York for more than two decades.

Entrance Exam

“First Position,” “Brahms Paganini,” “Hey-Hay, Going to Kansas City”
Kansas City Ballet
Joyce Theater
New York, NY
March 13, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

Kansas City Ballet, which is celebrating its 50th anniversary, chose to start off its next half-century with a risky proposition – a New York season at the Joyce Theater.  The company, founded by Tatiana Dokoudovksa and also run by NYCB alumni Todd Bolender, has been directed since 1996 by William Whitener, himself a former member of the Joffrey Ballet and Twyla Tharp’s company.  Whitener brought his familiarity with modern dance and its choreographers of that time with him. That is reflected in the repertory choices; the company has performed five dances by Tharp and next season it will commission a work by Karole Armitage. Kansas City Ballet needed a New York appearance more than we needed to see them; they’re a decent municipal company doing what they ought to be doing.

The first question for a company contemplating a New York season is inevitably, “What to bring?”  A dance by Tharp was an obvious choice; the company brought “Brahms’ Paganini,” made in 1980 with Whitener himself dancing the first section alternating performances with Richard Colton.  Whitener set that section on the company; Shelley Freydont set the quintet that makes up the second half. 

The Other Half

“Cloven Kingdom,” “De Sueños Que Se Repiten,” “Esplanade”
Paul Taylor Dance Company
New York City Center
New York, NY
March 12, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

“De Sueños Que Se Repiten” (Spanish for “of recurring dreams”), the second premiere of the Taylor season, is both part of a diptych and autonomous – meant to be seen alone or with its companion work “De Sueños” in either order. 

This new piece is one of Taylor’s that defies facile classification. It’s easier and always fun to put each new dance in boxes marked “Dark” and “Light” but this one keeps wriggling into and out of both boxes. Besides “De Sueños,” the closest relative to “De Sueños Que Se Repiten” is “Fiends Angelical” from 2000. They share musical performers; both dances were created to recordings by the Kronos Quartet.

Vanity Act

“Pierrot Lunaire,” “F.L.O.W.,” “Three Point Turn”
Diana Vishneva: Beauty in Motion
New York City Center
New York, NY
February 23, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

From Anna Pavlova to Rudolf Nureyev, star dancers have assembled their own small groups to showcase their talents.  Now it’s Diana Vishneva’s turn and she cooked up an evening using dancers and musicians from the Mariinsky Theater. Three choreographers made works for her, but as often happens in these ventures, the dancer is more important than the dance.

Closing Day

“Serenade,” “Mozartiana,” “Tschaikovsky Piano Concerto No. 2”
New York City Ballet
New York State Theater
New York, NY
February 24, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

A program with “Serenade,” “Mozartiana,” and “Tschaikovsky Piano Concerto No. 2” is a great program to close the season.  Happily there was one great performance, but some of the principal dancers who led the last show of the New York season on Sunday have danced better and sadly, seen better days.

Nrityagram

“Pratima: Reflection”
Nrityagram Dance Ensemble
Joyce Theater
New York, NY
February 20, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

The “for export” product is often quite different than what is made at home. “Odissi is characterized by sensuousness and lyricism” the program for Nrityagram Dance Ensemble explained.  We got more lyricism than usual in the current offering, “Pratima: Reflection,” which had its world premiere at the Joyce, and it gave a different impression.

Inspirations

“Divertimento from ‘Le Baiser de la Fée’,” “Rococo Variations,” “The Chairman Dances,” “Stars and Stripes”
New York City Ballet
New York State Theater
New York, NY
February 7, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

Christopher Wheeldon’s work in the classical idiom seems to be wrapped up in some sort of search. Perhaps it’s for relevance; maybe for a specific voice – what marketing geniuses would call “branding” – I wouldn’t put it past Wheeldon to think of branding as well.  “Rococo Variations,” Wheeldon’s new ballet to Tchaikovsky’s cello variations of the same name, was ultimately frustrating because of the search for a brand, yet there was no product on display at the end. 

Discovering New Roles

“The Goldberg Variations,” “Tschaikovsky Pas de Deux,” “Western Symphony”
New York City Ballet
New York State Theater
New York, NY
January 26, 2008

by Leigh Witchel
copyright © 2008 by Leigh Witchel

Now that New York City Ballet has adopted theme programming, the naming of programs passeth all understanding. The ballets in the “Spirit of Discovery” program aren’t new; it’s a Robbins and Balanchine program.  Next season we’ll be treated to “All German and some Tharp,” which gets points for accuracy if not felicity in phrasing. Still, in “Spirit of Discovery” there was something to discover; several dancers made debuts in their roles.