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Oct. 19--Critics are charged with sifting through pros and cons, analyzing meaning, ferreting out nuance, saluting achievement and carping at failure.
But there are occasions that go beyond criticism, and so it proved Tuesday, with the opening of the New York City Ballet's engagement, an event 26 years in the making and an evening of dance (it turned out) worth cherishing for a lifetime.
Before the curtain, Peter Martins, now 60, stood on stage at the Harris Theater for Music and Dance beside longtime Chicagoan Maria Tallchief, 81, for a tribute. In a sweet, unforgettable tidbit of cultural history, two of George Balanchine's greatest dancers--his successor and his former wife--gingerly complimented each other's work.
The four Balanchine selections (to be repeated in a Thursday matinee and at Friday's sold-out evening concert) are among the greatest in the history of ballet. "Serenade," unveiled on an outdoor wooden platform in 1934 at a private estate in White Plains, N.Y., is Balanchine's first American ballet and signals much of the poetry and formal invention that would make his career so legendary. "Concerto Barocco" boasts revolutionary partnering, some of it involving two women, each assigned to one of two violins. "Duo Concertant" is a mysterious, innovative duet featuring electrifying footwork and onstage musicians who contribute to its otherworldly air. And "Symphony in C" is probably the most demanding, exhilarating and glorious celebration of ensemble ballet to be found in the art.
Each intricately details Balanchine's sublime affinity with certain great composers: Tchaikovsky with "Serenade," Bach with "Concerto Barocco," Stravinsky with "Duo Concertant" and Bizet with "Symphony in C."
Most exciting of all was the look at a whole new generation of major dancers in America. The company's deep bench and its approach to programming means that lead performers in one work rarely show up in another. The resulting display of variety and versatility of talent was almost numbing.
In a program touting one majestic ballerina after another, and the entire, luminous corps in "Serenade," among the most beguiling was Sofiane Sylve, magnificent in the renowned adagio in "Symphony in C." Surely her joints are made of some alloy including mercury, her awesome extensions seemingly executed without effort. But her technical prowess is only one of the achievements, and she glowingly masters the others, fluid, smooth and captivating throughout.
At first, Wendy Whelan and Rachel Rutherford seemed mismatched in "Concerto Barocco." Whelan is an expressive, lyrical dancer, while Rutherford boasts speed, ferocity and attack. But as the piece progresses, the partnership evolves nicely, never more keen than when the two dance furiously together.
The most eye-catching male performance came from Nikolaj Hubbe reveling in the footwork and complexities of "Duo Concertant," a ballet that featured Martins in its first cast. Hubbe and forceful, articulate Yvonne Borree seem to relish Balanchine's startling moves and gently surrender to the piece's incremental mysteries.
Attention should be paid to Joaquin De Luz, a showy, buoyant acrobat, and to the trio of leads in "Serenade," including Ashley Bouder, making a memorable debut in her role.
The New York City Ballet plays through Saturday at the Harris. For tickets, call 312-334-7777.
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Copyright (c) 2006, Chicago Tribune
Distributed by McClatchy-Tribune Business News.
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