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San Francisco BalletMarch 2004 San Francisco, War Memorial Opera House by Renee Renouf |
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Square Dance (1957)
Music: Antonio Vivaldi, arranged by Corelli Musicians: Roy Malan, Janic McIntosh, Marianne Wagner, Craig Reiss, violins; David Kadaraunch, cello.
Tina Le Blanc, Joan Boada
Gone are the kerchiefs, the caller and the small orchestra on stage remembered from the Joffrey Ballet's production of the earlier Balanchine version when Denise Jackson danced the role Patricia Wilde created. In its place are the men's grey tights, a lemon tee shirt for Boada with similar hued short tunic for Le Blanc and ecru for the women and men in the corps. One of the delights of Square Dance is the call and response between principal and corps de ballets, now particularly for the men. Boada introduced the phrase, echoed by Garrett Anderson, Rory Hohenstein, Jonathan Mangosing, Steven Norman, Pablo Piantino and Hansuke Yamamoto, Mangosing and Yamamoto staying the course through all three ballets. The Boada solo, with epaulement, hand on the hip, shoulder thrust slightly forward as part of the de rigeur presentation of a sarabande, is wonderfully elegant; Boada provided a restraint quite distinct from his ebullient Basilio. The partnership with LeBlanc was a model of courtesy and attentiveness, an interesting cross between aw shucks square dance gallantry and classical deportment. Le Blanc's classical delivery glinted at the edges, responding with her consistent charm and good humor to the Boada presentation. Stravinsky Violin Concerto (1972)
Music: Igor Stravinsky Violinist: Ray Malan
Muriel Maffre, Yuan Yuan Tan, Pierre Francois Vilanoba, Damian Smith This particularly dense Balanchine visualization of a score he particularly appreciated was given some preparatory explanations at the audience-invited panel prior to the performance, again led by Bernard Taper. Taper referred to sections which Stravinsky dedicated to his first wife, making it seem tremendously complicated. Cook, who staged the work, remarked that it was his task to indicate the feeling, but refrain from providing a story context. The two partnerships, Maffre-Vilanoba, Tan-Smith seemed particularly comfortable with their assignments; Vilanoba seemed to enjoy ‘getting' his part. (I'd love to see him essay one of the sailors in Robbins' On The Town.) He invariably looks good, but his expression frequently verges on concerned and apprehensive. No problems lurked for the other three principals. Who Cares? (1970)
Music and Lyrics: George and Ira Gershwin Pianist: Daniel White
Lorena Feijoo; Katita Waldo; Vanessa Zahorian; Stephen Legate Karinska had a talent for setting the tone of a ballet, and she caught the glitz of Broadway in the pink with sequins for the Feijoo costume. Balanchine inserted amazing bravura requirements to the seeming casual nature of Gershwin's music, which, of course, is not very casual at all. Stylistically, both musician and choreographer wove together something quite demanding. Before the performance, Sandra Jennings said she asked the dancers to learn the lyrics of the songs; the level of their response proved her point. What a telling end to this trio of Balanchine works, with its excellent portraits by the principals. Legate partnered the three women with his unusual understated aplomb, his thrust hand invitation to his partner a nicely toned echo of the Gershwin swing and pizazz. Katita Waldo's crispness with those elegant thin legs of hers flickered through her assignment liked a spirited filly, while the torso conveyed a savvy woman enjoying herself. Feijoo's warm sensuality found a splendid home not only in The Man I Love, but after Fascinatin' Rhythm finished, my friend Yoko Tahara exclaimed, "She owns the dance." Zahorian danced expertly, with pleasure to the complexities of My One and Only, and gave hints she may develop a sophisticated side.
Even more than Friday night's program, the range in this program was protean; at the end,this audience also shared birthday cake in honor of Mr. B.
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