Tag Archive: Balanchine

The New York City Ballet Opens the New Ballet Season with an All-Balanchine Mixed Bill, and Some More Comic Programming

New York City Ballet in Balanchine-Stravinsky Symphony in Three Movements. Photo from nycballet.com.

When do you ever see a bill outside Carnegie Hall or Lincoln Center with no other names but “Hindemith,” “Webern” and “Stravinsky?” And at that with an extremely well played concert behind it with energy and seriousness and intelligence? Only at the ballet it seems.

Balanchine’s Allegro Brilliante and Stravinsky Violin Concerto and Robbins’ Cage and Andantino at the New York City Ballet

The style of the New York City Ballet is almost tree-like, branching and spreading in a floral rather than faunal manner, achieving a harmonious whole that is not purely rational or classical or athletic or anything covered by a single label. Their pure and natural variety of grace certainly suits Balanchine’s choreography, bringing out its best qualities. Allegro Brilliante, as the title might suggest, opens with style and grace, there is a certain abstraction with this stylish dancing before a plain blue screen and following no definite plot or action. We have Tchaikovsky’s music speaking to us very eloquently through Clotilde Otranto’s baton and Elaine Chelton’s fingers, music with fairly strong and definite, but not heavy, emotions. The costumes, the women’s light dresses in gentle hues and secondary colors and the men’s loose sleeves and waistcoats, do not place them absolutely as characters, but are enough to complement simply the movements. Yet there is a sense of a social entity, of mute social forces at work, drowned out by the music perhaps, and even a suggestion of court in the group scenes in their almost 17th Century style of abstraction, as they blur the lines slightly between social and theatrical dancing; the interactions of the dancers on stage are absorbing and interesting, brought across by their dramatic sense, their sense of theatre. The dancing doesn’t borrow openly from any real historical form but somehow the push and pull of social dancing is suggested. The piece at least gives the feeling of being indoors. Megan Fairchild and Andrew Veyette dancing the leads give a particularly strong sense of conversation in their dancing together in the pas de deux and also amongst the larger group. Nothing happens, the ballet remains abstract, yet it develops in an arc into something very moving and ineffable beyond the music, as if the entire piece, developed into a whole wishes to give something to you, and the performance succeeded in this and the lack of downrightness was very refreshing.

The New York City Ballet’s All Balanchine and Stravinsky Festival

From Balachine's Firebird. Photo by Paul Kolnik.

The New York City Ballet began its fall season at the David H. Koch Theater with a three-program tribute to the legendary choreographer/composer duo of Balanchine and Stravinsky. The first installment (which this reviewer unfortunately did not see) featured the classic Greek trilogy of Orpheus, Apollo, and Agon. The second program comprised the most overtly Russian collaborations of the two artists, drawing upon their common background in rich folk and fairy tale traditions.

The English National Ballet On Tour Spreads The Queen’s Diamond Jubilee Festivities

They dance with a keen sense of drama with a very fine feeling for the gestures on which a ballet turns. They have a special sense for the overarching form and thrust of the choreographer’s idea for each piece they danced, so the build-up of dramatic tension could be gradual, the feelings brought to each movement fitting and those important gestures could fit in in a restrained, even understated way. The dancers tend to give as much attention to their port à bras, which was very plastic, very tactile, as if pushing against the thickness of the atmosphere around them, as their leg- and foot-work, also with a careful attention to line, especially in the groupings at the cadence of a scene. They are extremely absorbing, giving something much more than the display of a Gala performance, despite the over-excited opening night audience.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.