Interludes

VIEWPOINTS – City Ballet stars making their mark: TILER PECK nightcaps with Hilary Hahn at the NYPhil and MIRA NADON debuts in “Swan Lake”

• By drediman
• February 28, 2025
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Two of New York City Ballet’s brightest stars — star principal Tiler Peck and arguably the company’s current “it” girl Mira Nadon — made indelible impressions in their recent appearances over the past week or so. As always, read on for my thoughts.

MIRA NADON IN SWAN LAKE
New York City Ballet

Last weekend, the stunning young New York City Ballet principal Mira Nadon exceeded expectations in her recent debut in the dual role of Odette/Odile in Peter Martins’ divisive, dance-driven staging of Swan Lake (HIGHLY RECOMMENDED for Nadon’s performance alone), which closes out the company’s winter season. Although there’s obviously room to grow — there were spots in Act Three and Act Four where she rushed the performance a tad (perhaps due to understandable exhaustion or first night jitters) — but as a harbinger for what’s to come, I was bowled over by her overall maturity and thoughtful musicality. Throughout, Nadon let the drama and music dictate the way she approached each step and position, which with her luxuriously long lines and honest manner of moving, was a majestic vision. Also, what a natural actress she is! As the swan princess Odette, she started off in Act Two a knot of fluttery anxiety as she is hunted and pursued by Prince Siegfried. But as the threatening tension between them turns to adoration, a joy and radiance permeated her every passing gesture and glance. In Act Three, she underwent a striking transformation into the conniving princess Odile, her movements pronouncedly sharper and less lyrical than in the previous act. As her prince, fellow principal Peter Walker looked the part and was physically well-suited to Nadon, although he was clearly going through some balance issues during the performance. Nevertheless, I was left moved by both of their commitment to the tragic drama of the final act. As the Jester, dynamic soloist KJ Takahashi seemed tailor-made for the energetic and showy role. In a similar vein, the rest of the company pushed hard through the performance with City Ballet’s trademark vigor and athleticism, an approach which at times seemed at odds with the romanticism of this most beloved of classical ballets.

TILER PECK & HILARY HAHN
New York Philharmonic

Last night at David Geffen Hall, I also had the great pleasure of attending a late night presentation curated by Grammy Award-winning violinist Hilary Hahn and New York City Ballet principal Tiler Peck (RECOMMENDED). Known for her astonishing musicality, Peck has become a widespread favorite amongst dance fans. Given her popularity, she’s had increased offers as of late to pursue opportunities beyond dancing for City Ballet to showcase her distinctive talents — e.g., partaking in New York City Center’s inaugural Artists at the Center season, successfully taking a hand at choreographing (her Concerto for Two Pianos was one of the more notable new works to debut last year). Now you can add to the list appearing in New York Philharmonic’s Kravis Nightcap Series — alongside fellow City Ballet dancers India Bradley and Roman Mejia — on her night off from her high profile gig in Swan Lake across the plaza to continue her inspired collaboration with Hahn. These intimate hourlong performances provide a nurturing salon-like environment for artists like Peck and Hahn to kick around simmering creative ideas. Ever the dynamic perfectionist, it was nice to see Peck in a more introspective and exploratory mode, trading in her alert attack for a softer and laidback sensibility. Last night’s session was clearly led by the music-making, with Peck’s choreography providing lovely accents to four out of the seven musical selections. Aside from Hahn, the evening’s other musicians included fellow violinist Amaryn Olmeda, pianist Conor Hanick, and cellist Parker Woods. In various combinations, they produced an enticingly eclectic chamber music set, one of the centerpieces being Jessie Montgomery’s Musings, an exciting suite for two violins (marvelously played by Hahn and Olmeda, sans choreographic accompaniment).