THE HANGOVER REPORT – City Ballet’s thoughtfully-curated digital spring season continues with works by Balanchine, Peck, and Wheeldon

Since New York City Ballet’s digital spring season got off to a sparkling start on April 21 – with George Balanchine’s Allegro Brilliante, led by an impeccable Tiler Peck – the thoughtfully-curated “season” continued last week with works by Mr. Balanchine, Justin Peck, and Christopher Wheeldon. Each of these bi-weekly streams (scheduled at 8 p.m. ET on Tuesdays and Fridays) of filmed past performances is only available for a short 72-hour window on City Ballet’s YouTube channel, Facebook page, or company website. Catch them while you can.

The company of Justin Peck's "Rotunda", danced by New York City Ballet.

The company of Justin Peck’s “Rotunda”.

The presentation last Friday (May 24) was Justin Peck’s latest creation Rotunda, which is set to a newly commissioned score by Nico Muhly. The piece premiered just this past February at the David H. Koch Theater, the company’s home base (I was luckily able to attend in person). The ballet is comprised of eight short, rhythmically distinct movements, a structure which calls to mind Balanchine’s striking, angular “black and white” ballet Agon. As always, Mr. Peck’s principal concern is choreographing for the corps, which he continues to do with ingenuity. Nevertheless, there were some standout solo turns, particularly from the ravishing Sara Mearns and especially Gonzalo Garcia (the ballet begins and ends with him), who is dancing with a level of expressivity I haven’t seen before. Although the ballet features restlessly reconfiguring patterning for its 12 dancers, the ballet finds Mr. Peck’s craft more relaxed and less conceptually obvious than ever before; both are refreshing developments.

Taylor Stanley, Tiler Peck, Brittany Pollack, and Indiana Woodward in George Balanchine's "Apollo".

Taylor Stanley, Tiler Peck, Brittany Pollack, and Indiana Woodward in George Balanchine’s “Apollo”.

The following Tuesday (April 28), Taylor Stanley was featured in the title role in Mr. Balanchine’s early classic Apollo, a ballet which marked the beginning of an important, fruitful, and career-spanning collaboration between the choreographer and composer Igor Stravinsky. Since its premiere in 1928, Mr. Balanchine revisited the ballet numerous times, continuing to strip the coming-of-age narrative of theatrical artifice; it’s the final, distilled version that City Ballet performs today. Joining Mr. Stanley as the three muses of the arts were the beautifully-matched Tiler Peck (music), Brittany Pollack (mime), and Indiana Woodward (poetry). Both Mr. Stanley and Ms. Peck are stars of the company, and rightfully so. The performance – which was filmed in January 2019 – captures the thrilling musicality that have made them so compelling to watch over the years. As for Mr. Stanley, I wouldn’t be surprised if Apollo becomes one of his signature roles. He’s that exquisite in role.

Craig Hall and Wendy Whelan in Christopher Wheeldon's "After the Rain Pas de Deux".

Craig Hall and Wendy Whelan in Christopher Wheeldon’s “After the Rain Pas de Deux”.

Then just yesterday (May 1), I streamed a performance of yet another Balanchine ballet, Ballo Della Regina (set to music cut from Verdi’s opera Don Carlo), headlined by Megan Fairchild and Anthony Huxley. Filmed in May 2016 – shortly after Ms. Fairchild’s stint in the Broadway revival of On the Town – the performance was inspired. The work is both technically challenging and sprightly, characteristics that fit the ideally-paired Ms. Fairchild and the handsome, elegant Mr. Huxley wonderfully. Appearing on the Great White Way seemed to have done wonders for Ms. Fairchild, who has been dancing with command and an exciting sense of drama since returning to City Ballet. That newfound confidence was evident in her dancing here. A special bonus of the program was the inclusion of a 2012 performance of Christopher Wheeldon’s After the Rain Pas de Deux (set to Arvo Pärt’s Spiegel im Spiegel), featuring poignant dancing by the gorgeously statuesque Wendy Whelan shortly before her retirement, as well as the dependable Craig Hall (both continue their association with the company as Associate Artisitic Director and Ballet Master, respectively). Seeing them again here was a welcome reminder of their distinctive gifts as dancers.

The digital season continues next week with Balanchine’s Rubies from Jewels on May 5 (Tuesday) and Alexei Ratmansky’s Concerto DSCH on May 8 (Friday). The six-week season concludes on May 30, with additional programming announcements to come shortly.

HIGHLY RECOMMENDED

 

NEW YORK CITY BALLET SPRING DIGITAL SEASON
Dance
Available on New York City Ballet’s YouTube channel, Facebook page, or company website
Bi-weekly presentation at 8 p.m. ET on Tuesdays and Fridays
Each program is available for 72-hours

 

Categories: Dance

Leave a Reply