Interludes

VIEWPOINTS – New York City Ballet’s winter season continues with a pair of symmetrically structured “Swan Lake” programs

• By drediman
• February 21, 2022
• No Comments

Over the last week or so, New York City Ballet continued its winter season, which is currently in full swing at the company’s home base at the David H. Koch Theatre at Lincoln Center. Recently on the docket were a pair of symmetrically programmed evenings, both of which included George Balanchine’s streamlined – and polarizing – one-act version of Swan Lake, as well as a Balanchine classic, a rarely-performed Balanchine pas de deux, and another pas de deux set to the music of Tchaikovsky. As always, here are my thoughts.

On Tuesday night, I attended the company’s “Swan Lake I” program, which opened with a top-notch performance of Balanchine’s beloved Black & White ballet The Four Temperaments. Particularly wonderful were the company’s up-and-coming female corps and soloists, who attacked the post-modern choreography with energy and style. Star principal Taylor Stanley exuded his trademark musicality and sensitivity in a rare performance of Balanchine’s pretty if unremarkable Sonantine. As an appropriate appetizer for the main course, Mira Nadon and Chun Wai Chan – both sensational new soloists at the company – fought off some nervous energy (and perhaps some under-rehearsal) in Peter Martins’ Black Swan Pas de Deux to give a taste their undoubted future greatness in the iconic roles. Unfortunately, both principals Tiler Peck and Joseph Gordon seemed bored in Balanchine’s Swan Lake, both failing to inject much-needed fire and distinctive point of view in the otherwise over-choreographed and dramatically inert one act version of the classic ballet.

The all-Balanchine “Swan Lake II” program, which I caught on Saturday, featured the same thematic structure as Tuesday’s performance, commenced with a lovely rendition of Balanchine’s timeless Serenade, which was notable for the soulful work of Emilie Gerrity (as the Dark Angel), Erica Pereira (as the Russian Girl), and the always dependable Sterling Hyltin. In Balanchine’s rarely performed Andantino, soloist Harrison Ball – who in the past has been pigeon-holed in certain supporting roles – got the chance to shine in the main spotlight, displaying how great of a technician and partner (to an excellent Indiana Woodward) he can truly be. In the dynamic Tschaikovsky Pas de Deux, principal Unity Phelan and soloist Jovani Furlan struggled through some apparent fatigue to ultimately deliver the requisite goods with relative finesse and freedom. The evening also marked the retirement of the spectacularly long-limbed principal dancer Teresa Reichlen, who concluded the evening – and her career – by leading Balanchine’s Swan Lake with the kind of exquisite remoteness (for which Ms. Reichlen has become known) that’s a perfect match for the famously mysterious role of Odette.

RECOMMENDED

NEW YORK CITY BALLET: SWAN LAKE I & SWAN LAKE II
Dance
David H. Koch Theatre
Both approximately 2 hours, 15 minutes (with two intermissions)
The winter season concludes on February 27