A VISIONARY’S LIFETIME ON THE MOVE
As we walk into the Spreckels Theatre, the anticipation begins to build. BALANCHINE MASTERPIECES 2019 is on the agenda for tonight’s presentation by CITY BALLET OF SAN DIEGO together with the CITY BALLET ORCHESTRA under the musical direction of John Nettles. First, though, Steven Wistrich, City Ballet’s esteemed Artistic Director for 26 years, presents an overview of the ballets on the program for this evening. Soon after this orientation, the curtain rises and the grand Spreckels comes to life again as it has many times previously in its 107 year history, originally built to celebrate the opening of the Panama Canal.
A second pause here (actually the session lasts far longer), my fascination with the tentacles of The George Balanchine Trust piques my interest in the upcoming ballets. This organization sends a “repetiteur” (here Nilas Martins assisted by Monique Meunier; Eve Lawson) to stage the ballets if permission is granted by the Trust for a particular performance. These representatives provide welcome explanations mostly about the history of these ballets. As a comparison to the control exerted by the Balanchine Trust, in the musical theatre, more and more choreographers of renown are demanding that their own choreography be reproduced if any new stagings occur (e.g. following the model of Jerome Robbins’ work for WEST SIDE STORY), although it is only required of the show’s Choreographer that she follow written instructions for these stagings. Conversely, in this arrangement for the Balanchine ballet choreography, there seems to be more of an iron fist approach to guarantee adherence to Balanchine’s vision. Admittedly, this serves as a significant benefit to both dancers and audience.
The evening’s program begins with Act II of the JEWELS ballet known as “RUBIES” which was devised by the Master during the Forties. The impact registers flashy and so “American” in its energy and jazzy elements. Clothed in ruby red garb emulating the original costume design, the dancers soar to the music of Paul Hindemith played with zip and pizzazz by the accomplished musicians. The audience applauds even as the curtain is hoisted, with the resulting din resounding even more when the Principals, Soloist and Corps de Ballet take their bows at its conclusion. Ariana Gonzalez and Iago Breschi dazzle in their execution and demonstrate a pairing that is sensitive, exuberant and polished. Soloist Megan Jacobs exudes charm and vivacity in her shining moments as well. The men and women in the Corps articulate the rhythms joyously and playfully with commendable technique. What a breath of fresh air to showcase the company!
After an intermission, the dancers take a step back to the real “Jazz Age” with the Igor Stravinsky ballet APOLLO, first choreographed in the Twenties. The Greek classic antiquity that informs the heart of this piece hardly defines the era with which it is normally associated. As with most of his ballets for the company that he mentored himself (i.e. his own NEW YORK CITY BALLET), he fashions abstract choreography totally distinct from the traditional story ballets.
A chamber orchestra plays the Stravinsky music in APOLLO. The rough outline of the Stravinsky libretto that accompanies his composition is notably threadbare. In short, Apollo is born, interacts with the Muses Calliope (Poetry), Polyhymnia (Mime) and Terpsichore (Music) on his journey to climb Mt. Parnassus eventually. That’s it, folks!, Its challenges for the dancers are front and center, although this viewer struggles to engage during this ballet. To my ear, the orchestral rendition seems indistinct in the early section of the ballet as well. In reviewing the history it seems that APOLLO didn’t debut at NYCB until the early Fifties. Perhaps, Balanchine regarded it as a youthful exercise until honoring its historic importance later. At any rate, Mr. Breschi heroically excels in his portrayal while the Muses (Tiffany Arroyo, Sumire Ito and Ariana Gonzalez) provide the inspiration to perfection. Intrigued I am that the de rigeur white tunic and tutus concept for this ballet are the creation of Coco Chanel. How’s that for trivia?
Another intermission (meant to be shorter, except that the audience wasn’t having it) follows before the other bookend of the evening’s program sets its marker. That next ballet moves us to the Sixties for THE FOUR TEMPERAMENTS. Mr. Nettles’ musicians, again as a chamber orchestra, tackle a new Stravinsky score with laudatory results. The basic black & white costumes of the entire company define the traditional Balanchine costume, if there is such a thing.
In medieval terms, these four temperaments express our nature in the following ways: Melancholic (Sad, gloomy), Sanguinic (Positive, Optimistic), Phlegmatic (Cool, Calm) and Choleric (Angry, Unhinged). As Balanchine himself explained, the “temperaments” (or “humors”) are just stepping off points for his abstract choreography.
In this section of the evening’s offerings, I am struck by the disciplined footwork of the entire company, together with the shifting groupings, recognizable adherence to appropriate spacing and the unbelievable energy of these dancers.They wear their joy on their faces; it is easily electric. All are rewarded with extraordinary applause at Bows.
It would be unfortunate of me not to highlight some exemplary contributions from these dancers with this piece including the following: the Karissa Myers and Adam Bloodgood pairing; Lucas Ataide plus Demi-Soloists Hannah Potter and Kendell Wood and a dedicated Corps as well; Geoff Gonzalez and Sumire Ito coupling; and finally, Bethany Green. In truth, though, all of the Principals and Soloists featured in this later Balanchine creation serve the material with distinction.
As the evening ends, this observer recognizes that he has gained a broader understanding of the legendary George Balanchine. Yes, his musical theatre impact is indeed notable, too as evidenced by his contributions to shows such as THE BOYS FROM SYRACUSE, BABES IN ARMS and ON YOUR TOES in the Thirties and Forties, but his canvas overall is huge and I look forward to other discoveries on my own journey as a dance aficionado. The next City Ballet performances feature Mozart’s REQUIEM at the Spreckels Theatre on May 10-12.
pc: Chelsea Penyak
