City Ballet: Vespro, Spectral Evidence and Acheron
First on the bill was Vespro,
a Mauro Bigonzetti ballet set to a Bruno Moretti score that was commissioned by
NYCB for this ballet. I found Vespro
to be incredibly fascinating. It was like a Pinter play—it means whatever it
means to you. I feel like I would interpret this differently depending upon my
mood. I was in a good mood on Saturday, so this is the Vespro I saw.
Vespro starts with
a single dancer (Andrew Veyette) on stage. He marks time and seems to be
exploring the space, testing the boundaries. An ensemble makes its way out
(throughout, they help to transition from section to section), as do two
couples: Maria Kowroski + Tyler Angle and Ashley Bouder + Gonzalo Garcia.
The dichotomy of the two couples is stunning. They do some
of the same choreography but differently and to different accompaniment,
telling different stories. One, Bouder and Garcia, is angry and staccato,
knees bent, feet flexed, modern. There's an aggressiveness to their movement,
a back and forth sparring going on. The music complements this, with a mezzo-soprano
singing with the piano, her words short and repetitious.
For the other couple (Kowroski and Angle), several of the
movements are, skeletally, the same but the way they take shape is so
different. This couple’s movements are legato, smooth, harmonious, more
classical execution. Long pointed legs, languid arms, a melding of their
bodies. Once again, the music reinforces this difference, with a soprano
saxophone building to a beautifully overwhelming swell, a “something’s coming”
kind of swell, heralding a new dawn. (And with just two instruments—the piano
and sax.)
Throughout, Veyette is almost like a metronome and the
conductor—keeping time, controlling relationships (even interacting with the
musicians and playing a little piano himself!). It’s outwardly athletic
choreography and he proves himself up to the challenge. Veyette notes in a
behind the scenes video about Vespro
(see below) that unlike most ballets, the choreography for this one starts with the arms
and upper body; his legs are simply trying to keep up with what’s going on from
the waist up. This difference is palpable.
(Also of note: Mark Stanley’s gorgeous lighting design,
especially the final tableau, is terrifically evocative.)
Next, I revisited Angelin Preljocaj’s Spectral Evidence once again. (I saw the premiere performance atthe fall gala, as well as an encore performance later in the season.) Once again, I was thoroughly entranced, getting completely caught up in the “hunt” and the way the women own their seductive powers. I think I’ll be thrilling over this one for years to come.
The final piece was the new Liam Scarlett ballet, Acheron, which celebrated its premiere
just over a week ago. To be honest, I’m not entirely sure what to make of Acheron except that it is beautiful to
look at. (Scarlett, 27, is an artist in residence at the Royal Ballet, where he
was a corps dancer.)
It’s an intense and intimate ballet, with light, revealing
costumes to match. (Thank you, Scarlett, for dressing the men in nothing by
tight, cropped tights/leggings. It was quite the scenic delight.) Rife with
incredible—incredible—lifts, Scarlett’s ballet also includes fast and
furious dancing, which is NYCB’s specialty. (Particularly impressive lifts came
courtesy of Sara Mearns + Adrian Danchig-Waring and Rebecca Krohn + Tyler
Angle; Ashley Bouder and Amar Ramasar were also featured.)
But it was difficult for me to fully focus on the dancing,
and not because of the half-naked men. (Although, hello boys!) The Francis
Poulenc score prominently features an organ, and I guess I just don’t like
organs. I found the organ to be distracting, a bit garish, even, and ominous,
all of which seemed incongruous with the pretty, classical dancing. However, in
reading about the composition, I’ve learned that it was written at a time of
mourning. Clearly the ominous tones were intentional and not owning solely to
the organ.
Thinking about Acheron
in that light, perhaps it’s more elegiac than the prettiness belies. Perhaps
some of those ethereal movements (in particular: the section featuring Krohn
and Angle) were meant to be a memory of something. And, perhaps like Vespro,
the meaning is left up to the interpreter. (After a schedule change due to
Peter Martins delaying—once again—his latest work, it turns out I’ll be
seeing Acheron again this season.)Interpretation aside, one of the highlights of Acheron was seeing Mearns and Danchig-Waring partner. They don’t typically partner together, but after seeing them in Scarlett’s ballet, I hope that changes. They have an exciting chemistry on stage, appearing completely in synch, dancing as one.
(Read about Acheron and Scarlett's creative process in both The New York Times and Time Out New York.)
The New York City Ballet winter season continues through the beginning of March. Visit nycballet.com to learn more and to purchase tickets.
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