It’s George Balanchine’s birthday and the NYCB is celebrating it. The season continues amidst a backdrop of allegations of physical and sexual misconduct against Peter Martins, who has stepped down as Ballet Master in Chief. The company is under the collective management of an interim artistic team and a group of Ballet Masters. The backdrop is one I would like to ignore, as it seems likely NYCB boards may have been these many years. The scandal persists, and an email in which NYCB’s board thanks Martins for his service and leadership, and says they are independently investigating seems more problem than solution.
At any rate, New York City Ballet was only under his stewardship; the NYCB always belonged to Mr. B.
Even the dancers who never had a chance to work with Balanchine honor him when they dance. This Saturday was all Balanchine, including Apollo (from 1928) and Cortège Hongrois (1973) as well as Mozartiana from 1981.
As Jared Angle and Megan Fairchild said in introducing the January 27th 2pm program, it covered over 50 years of Balanchine’s interpretations of music. The choreography was brilliant, of course.
Apollo, Balanchine’s first internationally recognized triumph, created when he was just 24 years old, is a collaboration with his friend Igor Stravinsky. The latter provides the music for an idyllic god of prophecy and art and his hand-maidens to captivate. On Saturday, Adrian Danching-Waring was the jazzed-up god as Tiler Peck took on the role as his dancing muse, Terpsichore. Indiana Woodward carried Calliope’s pad and pen, while Ashly Isaacs was Polyhymnia. This dance has never before been a favorite of ours; at Saturday’s performance we had a decided change of heart. Looking forward to a reprise this afternoon!
In Mozartiana, where Tschaikovsky pays homage to Mozart, we have the dual authorship of two outstanding composers, as it were. It is a soothing, elegant work, and the elegant Sara Mearns was joined by Chase Finlay as her leading man, and Troy Schumacher as well as an able corps, and students from the School of American Ballet.
Cortège Hongrois, on the other hand, mesmerized us when last we saw it. Yesterday. it was an agreeable dance-piece. Balanchine set it to Alexander Glazounov’s Raymonda, music that is varied and stirring. Cortège Hongrois opens with a grand processional, and has a rousing Finale. The frantic and gorgeous activity of the Czardas and its Variations is followed by the relatively restorative Pas de Deux, performed by Ashley Bouder and Russell Janzen on Saturday afternoon. One the dance regains its composure we witness a full cast frolic that is typical Balanchine, and therefore a perfect end.
Winter 2018 season the New York City Ballet is on now through March 4th. Visit http://www.nycballet.com/ for schedules and ticket information.