NYCB: Firebird/Scotch Symphony/Sylvia Pas De Deux

Review by Celia Ipiotis

In honor of the legendary Native American ballerina Maria Tallchief, NYC Ballet prepared a handful of programs studded with ballets featuring her indomitable skills: Scotch Symphony, Sylvia Pas De Deux and Firebird.

Set to Mendelssohn’s lilting Symphony No. 3,  Balanchine’s Scotch Symphony buoyantly reflectsthe Scottish highland countryside and dances. Kilts and sashes adorn men’s outfits. Opposite them, women beam in black bodices cinched over  pink tulle skirts. The frisky lassies flirtatiously bound towards and away from the men, gayly entangling in turns and hops. Alston Macgill demonstrates a sprightlines and vibrancy in her cheeky solo, full of hip switches and nods to the audience.

The virtuosic Sylvia: Pas De Deux featuring Tiler Peck and Roman Mija to a score by Leo Delibes. lands between Scotch and Firebird. Originally created for the majestic Tallchief and her partner Francisco Moncion in 1950, Peck and Mejia do the honors in the tradition of the grand pas de deux. Powerhouse dancers, Peck and Meija, effortlessly performed the demanding athletics while simultaneously channeling the ballet’s musicality. 

Finally, the opulent and musically sonorous Firebird claimed the stage. Set to a clarifying score by Nijinsky and based on a Russian fairytale, Firebird was originally choreographed by Michel Fokine for Diaghilev’s Ballets Russes in 1910.  George Balanchine and Jerome Robbins  re-imagined it in 1949 with commissioned scenery and costumes by Marc Chagall (the great Karinska created the  costumes from Chagall’s designs).

Suffice it to say, this is a visual and aural feast.  While out hunting, Prince Ivan (Andrew Veyette), encounters an exotic red bird portrayed by the long limbed Ashley Hod. Decked out in bright red, this captivating creature expresses her exoticism through rippling arms radiating  a sense of enticement and repulsion. Hod’s length snakes through the space. Mesmerized, Veyette captures Hod. After a winged struggle, Hod convinces her captor to release her. In exchange for her liberation, Hod bestows upon Veyette a magical red feather. With this feather, the Firebird promises to come to Prince’s aid in times of dire need. 

And indeed, the Prince falls in love with the lithe, statuesque Miriam Miller (recently promoted to Principal), a princess who is under the spell of the wicked wizard  (Alec Knight). The grand spectacle begins when the Wizard and his minions battle the Prince. Throngs of dancers dressed in wildly colorful masks propped on top of their heads and/or over their faces parade onto the stage. They conjure fantastical, cubist creatures as they engage in a ferocious battle against the Prince’s troupe. When all seems lost, the Prince whips out the red feather and the Firebird magically materializes. She flaunts her power through slashing limbs and the signature arabesque jump : , arms out and head flung straight back.

Finally victorious, the village assembles in richly textured full length robes and gowns to pay tribute to the Prince and Prince’s union.   

EYE ON THE ARTS, NY — Celia Ipiotis