MOZART TAKES FLIGHT
The jewel of City Ballet’s Spring program in 2019 at Spreckels Theatre downtown is MOZART’S REQUIEM; that accomplishment by itself would comprise a satisfying evening of dance for San Diego aficionados of the art form. In this instance, though, that audience is treated to two distinct pieces that speak to different, yet allied elements of ballet: four PAIR and BATTU. Both of these presentations whet the appetite for the main event in singular ways.
The opening taste of a Claude Debussy piano suite (four PAIR) illustrates in its interpretation in four movements the unique colorings of his distinctive palette, a revolt against the strictures of conservative musical composition as the 1800’s come to an end at the turn of the century. Choreographer Geoff Gonzalez chooses four couples to explore relationships within the bond of their own unique connections. Pianist Mark Polesky ably abets the four duets with his sensitive musicianship.
Sumire Ito and Iago Breschi dance the “Prelude” movement of the “Suite bergamasque”, demonstrating why they are among City Ballet’s finest dancers. Strong connection. Fluidity in execution. In tune to each other’s style. Next, Lucas Ataide and Rony Lenis effectively interpret the “Passepied”, a sort of fast-paced, staccato minuet that captures a fashion of those times leading up to the debut of this piano suite in 1905 (although initially it was an earlier, less refined effort). Actually this is normally the fourth movement, although here it is danced as the second.
Thirdly, Bethany Green and Megan Jacobs dance the “Menuet” movement, staying true to its playful touches, yet engaging in its mystery as well. Finally, Tiffany Arroyo and Brian Heil give full expression to the most famous of the suite’s sections, the “Claire de Lune” movement. Inspirational to be sure. All of the couples succeed in creating their particular relationships with aplomb if audience response provides a reliable measure. While the Paul Verlaine poem which influenced Debussy’s entire suite may not be a reference point that could influence audience appreciation, the music itself provides a comfy pillow upon which to rest.
BATTU, a World Premiere again choreographed by Geoff Gonzalez, sets in motion the beat for the second part of the program preceding the intermission. How many times will viewers be likely to experience dance as instigated by a drum repertoire of unique sounds (here marvelously articulated by drummer Adam Larocca)? So, the landscape here inspires a great deal of angular, muscular interpretation fully in the mold of the contemporary ballet idiom, aided by the stunning costumes of Karin Yamada. Composer Nicholas Martynclow dazzles and surprises with this creation. This reviewer celebrates the precision and full-throated, joyous execution by the capable ensemble: Rony Lenis, Danielle Archuleta, Madison Browning, Timmorie Freeman, Athena Nikolakopulos and Jessie Leigh Olson. These dancers are on fire!
It is fitting to acknowledge the expertise of the 26-pc City Ballet Orchestra under the baton of Conductor John Nettles along with Associate Conductor Diego Guerra, in anticipation of the evening’s centerpiece: MOZART’S REQUIEM. The delectable sounds of this accomplished orchestra underscore the rich banquet of dancing in evidence on the Spreckels stage. Not only that, the luscious shadings of the nearly 100 strong Pacific Coast Chorale, under the directorship of Jim Tompkins-MacLaine, add an impressive component to the main event as well. Thanks also to the artistic leadership of Steven Wistrich, steering the contributions of scores of City Ballet supporters, LIVE music is able to elevate the dance experience for all of us to enjoy.
What a fantastic vehicle to display the accomplishment of the City Ballet of San Diego principal dancers (Ariana Gonzalez, Geoff Gonzalez, Sumire Ito and Iago Breschi) along with its amazing Corps de Ballet! This masterpiece, mainly under the hand of Mozart himself was commissioned by a Count Franz von Walsegg supposedly in tribute to his deceased wife. Later, since Mozart himself was dying, it increasingly became evident that it would serve its purpose on behalf of the Master. It lay unfinished at his death in 1792 and was completed by a disciple (Franz Xaver Sussmayr) at the behest of Mozart’s widow. The Artistic Director, Steven Wistrich, offers these historical details in a pre-show grounding for audience appreciation. Very welcome indeed.
Choreographer Elizabeth Wistrich shapes the funeral Mass, laying bare the bones of its grand design with both quiet moments and glorious explosions of a potpourri of combinations which – at times – leave the onlookers breathless. One is struck by the majesty of the piece as interpreted by the accomplished Corps, pressed to the limits of its endurance. This reviewer is struck as well by the expertise of Choreographer Wistrich’s ability to navigate the demands of the rhythms of the music by manipulating scores of Corps de Ballet members to and fro according to the varied demands of pacing and the hills and valleys therein. Chesea Brown and Tamlin Henahan’s costumes enable a kaleidoscope of coloration to engage with each movement. Stephen Judson’s lighting keeps up with the onerous dance requirements, too.
The physical demands of this artistic enterprise are clear and unrelenting for all. This critic can just imagine the energy and intellectual acumen required for these balletic goings-on. Yes, there certainly are moments of exhaustion in evidence as the requiem wends its way to the “Agnus Dei”, yet always the dancers seem up to the challenge.
So, what is the asterisk on the evening’s program? This reviewer seems overwhelmed with the pinnacle of achievement in MOZART’S REQUIEM in D minor, but also celebrates the fresh perspectives of BATTU in particular. It certainly means an animated discussion on the way home.
Kickass Dancing…Commentary on Pirouettes, Hippin’ ’n Hoppin’, Splits, Tutus and Any Rhythmic Gyrations Guaranteed to Get the Toes Tappin’ or the Heart a – Thumpin’
