NYCB

Review by Celia Ipiotis

After experiencing a tumultuous political season, George Balanchine’s Concerto Barocco reminds us of the beauty and inspiration experienced from timeless art. Expressing a new dynamism in ballet during the 1940’s, Concerto Barocco feels both soothing and uplifting. Set to Johann Sebastian Bach’s evocative Concerto for Two Violins in D Minor, two ballerinas reflect the solo violin tracts. One male supports the ballerinas while eight female corps dancers embellish the neoclassical design and remain on stage the entire 20 minutes. 

Part of the allure is the harmony injected between the leads, Emile Gerrity and Unity Phelan. Much like an ancient Greek Chorus, the corps engages in a call and response with the soloists. They snake around and create frames for the conversation between Gerrity and Phelan. Every season,  there’s a bit of a “start up feel” and although the performance was secure, Gerrity and Phelan’s chemistry was shaky. On a few occasions, Gerrity did pierce the music with movement clarity.

A bravura work, Tiler Peck and Roman Meja sprint through Balanchine’s Allegro Brillante set to Tchaikovsky’s lush Piano Concerto No. 3. Originally built on Maria Tallchief (who will be honored later in the season) this remains a technically demanding ballet. Virtuosic yet expressive, Allegro spins through 13 minutes of incredibly speedy footwork and revolutions, traveling lifts and decorative patterns reminiscent of the Rockettes. Regardless of the demands, Peck still locates ways to insinuate herself into the musical nuances through  a lingering back arch or while ripping off a chain of turns that speed up into a state of suspension. A gallant supporter, Mejia continues to  refine his form.

For the finale, the company gathers to perform Brahmans-Schoenberg Quartet. Divided into 4 sections, it opens on an Allegro eagerly assumed by a blossoming Miriam Miller. Barreling in with grand leaps and spot on balances on pointe in arabesque, she extends her long limbs into infinity. In the pas de deux, Alexa Maxwell and her partner Peter Walker physically retain contact while traveling in tandem, pulling into a myriad of lifts and holds.

The next section features the expansive  and absorbing dancer Mira Nadon with her attentive and  partner Gilbert Bolden III in a romantic rumination of the music. Balanchine’s final section festively releases dancers in a gypsy style “revel” stomping and swirling through the upbeat music. Leading the spirited dance. Sara Mearns soars through the flamboyant arches and clipped leaps while Tyler Angle remains the always constant partner.

EYE ON THE ARTS, NY — Celia Ipiotis