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Balanchine Revisited
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Wendy Whelan in Agon.
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By Don Kolman
It is always a pleasure to see the choreography of George Balanchine danced by the company he founded--The New York City Ballet. Mr. B. may have been gone since 1983, but if one wants to see his choreography danced the way it is supposed to be danced, one must see it danced by HIS company. Other companies may have Balanchine pieces in their repertoire, but it is not the same. The dancers that Balanchine trained to dance his works may no longer be dancing, but they are still there to train and coach young dancers on how to do it, and it shows. Peter Martins is to be commended, not only for maintaining the quality of the Balanchine repertoire, but also for avoiding the obvious trap of allowing the company to become a living fossil to the Balanchine memory. This is a company that is alive and well.
This 50th Anniversery visit to Southern California opens with the familiar Balanchine ballet, Agon, with music by Igor Stravinsky. It illustrates all of the Balanchine trademarks: beautiful choreography for the women, great displays of strength for the men, and the reminder that the master utilized his dancers to display the choreography, never the choreography to display the dancers. However, even considering the above, one could not help but be dazzled by the brilliant dancing of Wendy Whelan and Albert Evans.
Peter Martin's Fearful Symmetries followed. Though the music by John Adams is initially difficult for the listener to enjoy, one quickly becomes immersed in the intensely dramatic choreography that Martin creates. Especially impressive in this piece were Alexandra Ansanelli and Benjamin Millepied, who formed an inspired partnership.
Tschaikovsky's Pas De Deux with choreography by Balanchine was third on the program. This bravura piece displayed the outstanding dancing of several company pairs, this evening featuring Miranda Weese and Damian Woetzel. They did not disappoint. Miss Weese is lovely, precise, and fleet of foot. Woetzel provided strength and attentive precision also, and he is fast, fast, fast.
The evening program ended with Western Symphony, music by Hershy Kay and choreography again by Balanchine. This piece was the obvious favorite of the opening night crowd. It combines fun, western-flavored music and western-style costumes and backdrop within the framework of the classical school of ballet. Here we are reminded afresh how Balanchine could make fiendishly difficult dancing look easy.
Orange County Performing Arts Center,
600 Town Center Drive, Costa Mesa.
(714) 708-5555.
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