New York City Ballet brings Balanchine to Kennedy Center
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New York City Ballet dancers Ashley Bouder and Taylor Stanley perform George Balanchine's "Square Dance."
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WASHINGTON D.C. -- George Balanchine's preferred programming generally consisted of a choreographic appetizer, a more substantial entree and a fun-filled dessert. That was hard to achieve when New York City Ballet brought to Kennedy Center "Black and White Week," a thematic reference to Balanchine's collection of ballets that were performed in what amounted to practice clothes -- yes, simple leotards and tights -- but in a concert format.
He tried this first in 1951 when he eliminated the costumes for "Concerto Barocco," which led off the last of three programs last week. But it has since become a signature of Balanchine's contemporary neoclassical style.
That meant that the eye went almost immediately to the choreography at Kennedy Center, although it was easy to quickly note the subtle Grecian drape to the goddesses' skirts in "Apollo" and the wide black belt (now favored by first lady Michelle Obama) in "Agon." And the audience gasped when the curtain opened on a long diagonal of women with ponytails and white leotards for "Symphony in Three Movements," almost like a sleeker version of the Willis in "Giselle."
But the lack of costumes, or scenery for that matter, wasn't the only challenge for an audience outside of New York, where they have experienced two Stravinsky Festivals, a Ravel Festival and more. This program contained, as expected, a preponderance of entrees, with mostly Stravinsky accompaniment among the 11 ballets. And both Kennedy Center and NYCB thought it important enough to bring along the company's house orchestra to tackle the difficult scores.
What was surprising was the edgy energy associated with these works, even though Balanchine died in 1983 and the baby ballet of the bunch, "Duo Concertant," was about 40 years old. Or the way the dancers could still astonish on the simplest of terms -- a flippant wrist or a perfectly timed flex of the foot -- causing a ripple of knowing laughter in the audience.
Balanchine could not only create dazzling dance sequences, but really knew how to edit.
So what were the highlights amid this acknowledged collection of masterworks? I loved the way Maria Kowroski opened the week, picking through the dual ballerina roles of "Momentum pro Gesualdo" and "Movements for Piano and Orchestra." And the Hindemith closer, "The Four Temperaments," boldly delivered emotional "humours" within its vast dance landscape. In between there was "Episodes." Set to the pointillistic renderings of Anton von Webern, it was still full of humanity and wit, like the very dry British kind.
First Published April 12, 2011 12:00 am
