At one time or another, we’ve all picked up the phone only to be surprised to hear someone who we haven't spoken with for a long time and have missed. "It’s good to hear your voice again," we say.
When a beloved dancer returns from a long absence – especially an absence with an uncertain outcome – and waltzes out onto the stage communicating in her unique artistic voice, we have the same response. “It’s so good to see that again,” we say to ourselves. The distinctive musical pulses; the special scent of perfume that she, alone, wears; the balletic patina acquired through years of careful polishing – all make us especially receptive to that artistic voice.
And so it has been over the past couple of weeks that we’ve welcomed back the unique artistry of Jennie Somogyi only to have to say Farewell under much happier circumstances than those previous occasions when she limped off the stage for long absences. She’s been part of the NYCB family for all of her adult life and most of her childhood having begun as a 9-year old at the School of American Ballet before embarking on a 21-year career. She was among the earliest of a new breed of dancers who could make any kind and most any quality of choreography look fetching and worth watching. She had the artistic sense to mold steps in a way that made them look valuable.
So, it is our hope that Jennie, who has already expressed interest in passing down her NYCB heritage to the next generations, won’t go far.
Preceding yesterday’s Farewell celebration, the audience was treated to a simply spectacular, transformative performance of Tschaikovsky Suite No. 3. The Elegy, performed by Rebecca Krohn and Russell Janzen, conveyed the sweeping sadness of loss like few, if any, other performances of this section that Haglund has seen. Mr. Janzen on stage in a dramatic crisis is becoming something to look forward to, if that doesn’t sound a bit odd to say. By the way, count us among those who love his darker hair color. His handsome features and expression now pop like never before.
Continuing with the Valse Melancolique, Megan LeCrone and Justin Peck discovered the urgency within the music. Ana Sophia Scheller, partnered by Antonio Carmena, in the Scherzo was burning-brilliant in technique while retaining the playfulness of the music. Tiler Peck and Andrew Veyette delivered the Tema con Variazioni just the way we like it. Ferrari fast. Tiler now challenges this music to keep up with her in terms of speed and articulation. Every performance has new and varied musicality, breathless musicality. What a ride her career is giving to all of us! Andy’s foot was on the accelerator the whole time, too. He gave his all including a brave series of double tours with double pirouettes interspersed with singles with no margin for error while moving at Conductor Paulo Paroni’s blessedly blazing tempo.
Liebeslieder Walzer closed the program tenderly, joyously, a little sorrowfully. Haglund can’t claim to be any kind of an expert on operatic voices, but the singers sounded wonderful to him. Boya Wei (soprano), Black Friedman (tenor), Melissa Fajardo (mezzo), and Zachary James (bass) gave strong, heartfelt performances.
Sterling Hyltin with Jared Angle, Ashley Laracey with Justin Peck, Sara Mearns with Ask la Cour waltzed at Jennie Somogyi’s party. Tyler Angle, her partner, has never looked more gallant and chivalrous. He threw himself at her feet in gratitude when delivering the Farewell flowers to her at the end of the night. Jennie seemed genuinely moved by the reception from everyone in the theater. Maybe she didn’t quite realize how happy she has made us over the years. Let’s hope she won’t go far.
Our House of Borgezie First Position Pump Bump Award for Jennie Somogyi: