What stood out? What has stopped? Who was still standing?
The New York City Ballet’s big spring event, the Stravinsky Festival, was packed and unveiled, but for some reason it wasn’t the most memorable. What was less curated was modern life. The six-week season that ended on Sunday wasn’t something that was born out of sweat, but I felt Heracles as a testament to my efforts. Complex castings, always with so many moving parts, have become even more modest with Covid’s domino effect and injuries.
A surprise debut was made (Georgina Pascogin as Polyhymnia in “Apollo”) and the debut was lost (sadly Ashley La Lacy as Polyhymnia in “Apollo”).As Pascogin wrote Prior to her performance on Instagram: “Wild Times. I can’t send love to my colleagues who prepared this role for a variety of reasons. I’m proud of you.”
The bumpy, landslide sensation really never gives up. Cast changes were so common that even in the morning of the program, we didn’t always know who was performing that night. Early on, one of the company’s rulers, Salamans, was injured and subsequently infected with Covid-19. (And judging from her post on Instagram, she wasn’t asymptomatic.) Other veteran principals, including Ashley Bouder and Megan Fairchild, were missing in all or many of the seasons. ..
But your heart really had to go to Lala Sea. After stepping into the main parts of the “Symphony in Three Movements” and the “Stravinsky Violin Concerto”, Larashi tested positive for the coronavirus and was expelled from “Orpheus” and “Orpheus”. Apollo. “
Lalassie, who has been a soloist since 2013, is celebrating her 20th year in city ballet.As she said, it is doubtful whether she will be promoted to principal Recent interview at WWD.. She may not be the strongest dancer in the company, but she does strange things like that witch. I wanted to know what she would do with her role in her “Orpheus” (1948). This is a ballet that still feels inactive. She brings extraordinary quality to almost everything she dances to.
What was my biggest disappointment this season? While traveling, I missed the premiere of Pam Tanowitz’s new “Law of Mosaic”. When I returned, it was completely canceled, another fallout of illness and injury.
On Sunday, the season ended with a farewell performance by La Masar, the glorious Pas de deux at Balanchine’s “Midsummer Night’s Dream” across from Sterling Hyltin. Due to his injury (partial tear in the quadriceps tendon), he shared his role with the principal, Andrew Weyett, who was in charge of the more subtle choreography.
It is a well-known fact that Ramasar spent several years of rough years. In 2018, he and two other male dancers were involved in a scandal of texting and photo sharing. He was dismissed from the company and returned after a ruling by an arbitrator. His performance after returning to Japan was not always easy to see. He took me out of the dance. And recently, he seemed to sway between two general moods: cheeky or humble.
On Sunday, he chose humility for his performance. The bow was completely different. Jumping off the stage, he roamed the crowd in search of a hug. His destination was a surprise. Peter Martins, a former artistic leader of city ballet who retired in 2018 amid allegations of sexual harassment and physical and verbal abuse. (Martins denied the accusation.) Another dancer in the photo-sharing scandal, Zachary Catazaro, was in a line of people hoping that Lamasar would work on stage. Throughout, the crowd roared its approval as if the past few years had never happened.
Still, this season’s city ballet was very good — the part that was actually involved ballet. And while it was a long six weeks, it also gave the new generation space to carry out the main part. The week of the “Midsummer Night’s Dream” performance ended with a lot of attention. This highly detailed ballet of 1962 may have been choreographed yesterday. A rare story ballet full of choreography and humor.
After being injured, Giovani Farlan, who took over the role of Ramasar’s conversion, captured the seamless flow of choreography with both his attentive romantic partner and noble dance. He was also outstanding in the Sarabande section of Balanchine’s “Agon”. But his presence is more valuable than any role or show. It reminds us that a new generation is emerging in city ballet. That’s amazing.
The words best summarize Indiana Woodward, who was shining all year long with more than her usual youthful vibrancy and enthusiasm — it’s a pleasure to witness her ever-growing depth. did. At Divertissement, she skillfully combined her discernment and splendor while dancing with Veyette, a veteran who has been looking good for years. Woodward is the name you want to see in any program. Her musicality illuminated Robins’ “Piano Pieces” and “Four Seasons” and made up one of the most handsome programs of the season.
Curiously, the season was dominated by the Stravinsky Festival (many selections of Balanchine’s most profound ballet, commemorating the 50th anniversary of the groundbreaking festival), but all that remains. It was a performance of two rare works by Robins. “Piano Piece” had a gorgeous “Goldberg Variations” at the beginning of the season.
Beautifully directed, delicate and rich, these ballets have given dancers vast qualities. The June Barcarolle Unity Ferran of “Piano Piece” was elastic, extraordinary and dancing in other territories. Anthony Huxley and Roman Messiah alternated in the same ballet, showing that the two approaches, one meticulously accurate and the other bold and bold, both brilliantly. And when it comes to brilliance, Ferrand, who made his debut as Titania in “Midsummer,” was just shining.
There was also a brilliant debut at the Stravinsky Festival. Especially, Isabella La Frenière of “Firebird”, a long-awaited incandescent performance using all angles of her long body. Her jump was fantastic, like an illustration of her courage. Her vast arms and back were wide and full. But La Freniere’s imagination is fascinating and vibrant, especially sparks that enhance her technique in areas such as Firebird, the Queen of “The Cage” and Helena of “Midsummer”. In the right role, her dance is an emotional reaction to music. She is a kind of soulful and independent dancer who evokes the spirit of the great Kyra Nichols.
However, there are so many dancers active now. Mira Nadon, Emily Jerity and Messiah seem to be ripe for promotion. And the promotion of Chun Wai Chan to principal-a noble and generous presence in every role he saw dancing-should be a good sign. Goodbye is not just goodbye, but a new beginning, a new start for a new generation led by dancers such as Chan, Farlan and Woodward. What did the spring season show us? Its talent is full of ranks. Evidence was on stage.