By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
In George Balanchine's 1951 reimagining of Ivanov's second and fourth acts, there was no betrayal, just an unachievable love traced through poetic dancingthe artist-seeker and his elusive muse. In 1975, Balanchine said to Nancy Reynolds, "Why don't I do Giselle? Why don't I do Swan Lake full-length? Because they're impossible, absolutely impossible. It's difficult to explain." Balanchine's successor Peter Martins has no such qualms; his retooled Swan Lakecreated for the Royal Danish Ballethas nested at the New York City Ballet (whose sea son at the New York State Theater ends June 27).
And, lord, how she's dressed and what a palace she's landed in! Why would anyone used to the elegance of white feathers want to join a court whose wood-paneled throne room resembles a hotel lobby and where the prince's women friends wear emerald green, while the men leap about in red and orange? (The prince clashes in royal blue, and his buddy Benno shows sympathy with blue slashes on his red blouse.) On the other hand, Per Kirkeby's wintry lake side backdrops are compelling abstracts evoking rocks, roots, and tangling vines; and the costumes by Kirkeby and Kirsten Lund Nielsendespite that opening color schemedeck the story gorgeously.
Martins preserves much of Balanchine's "after Ivanov" choreography, as well as what we assume to be Petipa's classic pas de deux in which the look-alike Odile vamps the prince. This version, however, has been condensed into two acts and packed with dancing. Courtiers do not eat or drink. When the celebrants at Prince Siegfried's birthday bash finally get gob lets, they do a nice little polonaise with them. The pared-down atmosphere notwithstanding, Martins's ballet reveals his upbringing in Den mark's Bournonville tradition as much as his neoclassicism, especially in the low-keyed conviviality of the ensemble and the attention to individual character. Tiny, fancily attired children weave with aplomb through the festive Act I patterns. Benno dances the pas de trois with two girlfriends: "My, you're lovely." "Ah, but so are you." At the fateful ball, each of six princesses trotted out for the prince's approval emerges from the waltzing bevy for a few seconds to show the hero she too can dance on her toes. The jester's loquacity with pirouettes and beating jumps exhausts him; he's always looking for a throne to nap on.
The tragedy becomes a lesson for Siegfried. In the last scene, black and white swans form a shifting curtain before him, as if to say, "Why couldn't you tell the difference?" The power of love causes the sorcerer Von Rotbart to shudder out of his flashy orange satin cloak and slink away, but be cause Siegfried broke his oath to marry Odette, she remains a swan.
A lot of the choreography is new. And fine. And so is the company's per forming. On opening night, Darci Kistler encountered Siegfried (Damian Woetzel) stunningly: a trapped creature fluttering and flailing in panic. But from then on, injury and perhaps nerves made this most radiant of dancers cautious in her attack; one minute she'd be blooming, the next introspective as if consulting her body. It was as if a veil kept descending between her and the role. No passion built up between her and Woetzel's prince. Another night, Monique Meunier and Jock Soto heated things upshe magnificently powerful and sweeping, he grave and intense. Miranda Weese, slightly wilder and more febrile as Odette, brought an especially electrifying intensity to the role of Odile (she performed the Live From Lincoln Center telecast with Woetzel). All the swan queens are, at this point, a little even in their timing, wary of rubato.
One reason for doing this repertory staple is that it offers meaty roles to a number of casts. Among the many standouts: Benjamin Bowman as the jester, Adam Hendrickson flashing his legs like knives in the same role, Benjamin Millepied as Benno, Soto as a demented Von Rotbart, Yvonne Borree in one cast of Martins's ingenious pas de quatre and Sébastien Marcovici and Pascal von Kipnis, her legs flying, in another, Maria Kowroski and Charles Askegard in a sultry Russian gypsy dance costumed skimpily à l'arabe (James Fayette excelled in this too), Albert Evans in the czardas, Marcovici and Christopher Wheeldon as impeccably fierce look-alike Spanish dancers, and those four little wind up swans, Amanda Edge, Carrie Lee Riggins, Janie Taylor, and Elizabeth Walker.
The NYCB's 50th anniversary is being celebrated not only by the unusually rich and ambitious season, but by a book, Dance for a City: Fifty Years of the New York City Ballet (Columbia University Press, 236 pp., $50); an exhibit of the same name at the New-York Historical Society; and related panels and film showings. Lynn Garafola and Eric Foner edited the book and curated the exhibit, which runs until August 15.