Besides all the blissfully clear dancing in the performances of Scotch Symphony, Sylvia: Pas de Deux, and Firebird, all of which Balanchine created for Maria Tallchief, one other thing was crystal clear: he deeply loved this woman’s artistry. He loved her technical brilliance, her imperial stateliness, and her fire. That love shone in every step of the choreography — most of which was created after the annulment of their marriage in 1952. Annulment rather than divorce. Tallchief wrote that the marriage with Balanchine, who was twice her age, did not enjoy the love and passion that infused their professional relationship. Their marriage occurred at a time when widespread anti-miscegenation sentiments included Indigenous people among those who whites should never marry. Even if there were not laws in a particular state, there was scorn.
This season New York City Ballet is celebrating the centenary of Tallchief’s birth and her spirited dancing with its own spirited dancing. This particular program, viewed on its first date, included a gloriously danced Scotch Symphony by Indiana Woodward that reflected the spirit of Violette Verdy a bit more than Tallchief. But we could still see where the originator would have illustrated her strength in grace and her understanding of the Romantic style. Woodward’s lush Romanticism left us feeling as though we were watching a dream. None of this would have occurred without Jovani Furlan’s ardent partnering. The soloist in red kilt, Baily Jones, danced efficiently. Among the corps, both Samuel Melnikov and Owen Flacke were standouts for their crisp, elongated lines. Melnikov has undergone a physical transformation much like Russell Janzen did. We no longer wonder whether he has the partnering strength to move into bigger opportunities. Flacke, oh my, barely out of SAB diapers but oh such a watchable, beautifully trained, and compelling dancer already. Stand him up behind Miriam Miller and watch the Disney magic bloom.
In Sylvia: Pas de Deux danced by Megan Fairchild and Joseph Gordon, we had a little trouble connecting the performance to Maria Tallchief who we’re pretty sure didn’t dance it with a cutesy, pixie vibe. Fairchild's technical skills were tops but the dancing was lightweight. The tiny tutu didn’t exactly convey grandeur. It seems ABT has more closely followed Balanchine’s original concept of Sylvia by casting its statuesque ballerinas in the role. Gordon dazzled every moment he was on stage. It is so gratifying to watch him try to squeeze as much as he possibly can out of every moment he is on stage.
The evening ended with a glorious performance of Firebird. Ashley Hod in the title role embodied the mythical Firebird with glamour and electricity. Obsidian-sharp cool lines, the ability to instantly warm those lines into deep mesmerizing curves, a face that invites attention, beautifully lifted saute de chats, and a well-earned authority all served to make this a commanding performance. Andrew Veyette as Ivan, Miriam Miller as his Bride, and Alec Knight as Kastchei completed the strong cast.
The scenery and costumes by Chagall and Karinska are some of the most overwhelmingly beautiful on NYCB’s stage. Given their continued emotional effect on the modern day audience, it is difficult to imagine how the audience of 1949 might have felt. And what might they have thought about Balanchine’s one-eyed wink by putting a big red feather on the head of his Native American ballerina? Boy, did she ever wear it.
The H.H. Pump Bump Award, flame throwing feathers by Stuart Weitzman, is bestowed upon Ashley Hod for her beautiful performance in Firebird
4 responses to “NYCB 2/5
NYCB celebrates Maria Tallchief”
Word to Haglund for this lovely look of Tallchief. Scotch Symphony remains a fabulous.
Word to Haglund for this lovely look of Tallchief. Scotch Symphony remains a fabulous.
Thanks, Jeannette!
Thanks, Jeannette!