Bal­let dancers per­form ably in so-so pro­gram

Fi­nal work does little to in­spire, mo­ti­vate.

Palm Beach Daily News - - TODAY - By SU­SAN FULKS

Mi­ami City Bal­let opened the fi­nal pro­gram of its 2017–18 sea­son at the Kravis Cen­ter on Fri­day night. It was a solid evening of dance in a less-than-thrilling pro­gram.

The com­pany pre­sented Apollo (cre­ated by Ge­orge Balan­chine in 1928), Con­certo DSCH

(an Alexei Rat­man­sky bal­let from 2008) and La Valse (chore­ographed by Balan­chine in 1951). It was a plea­sure to have the il­lus­tri­ous Ormsby Wilkins, who serves as mu­sic di­rec­tor at Amer­i­can Bal­let Theatre, as a guest con­duc­tor for Pro­gram IV.

The troupe’s pre­sen­ta­tion of Apollo is in­ter­est­ing from a his­tor­i­cal per­spec­tive. No­table as Balan­chine’s ear­li­est ex­tant work, Apollo’s com­po­si­tion is a rev­e­la­tion of the chore­og­ra­pher’s unique abil­ity to tell a story (in this case based on Greek mythol­ogy) through the use of min­i­mal­ist cos­tum­ing and sets, sculp­tural poses and sim­ple ges­tures. As noted in the pro­gram, Mi­ami City Bal­let re­stores to the bal­let its orig­i­nal birth scene and orig­i­nal stag­ing for the fi­nal as­cent to Mount Olym­pus.

These ad­di­tions make the bal­let feel more com­plete. Re­nan Cerdeiro danced the role of Apollo, ac­com­pa­nied by Tri­cia Al­bert­son, Jen­nifer Lau­ren and Emily Bromberg as Terp­si­chore, Poly­hym­nia and Cal­liope, re­spec­tively. The four dancers per­formed their roles ef­fec­tively.

The sec­ond work, Con­certo DSCH, was set to mu­sic by Dmitri Shostakovich. The piece was tech­ni­cally chal­leng­ing with a great deal of clas­si­cal part­ner­ing for the men and quick foot­work for the women. Iron­i­cally, this work ap­peared more dated than it is.

Per­haps the cos­tume de­sign — which con­sists of dance dresses for the women and Greco-Ro­man-style uni­tards for the men — gives the im­pres­sion the bal­let was cre­ated in the 1970s or 1980s rather than in 2008. Re­gard­less, the dancers com­mit­ted to the work as they typ­i­cally do.

The bal­let was per­formed with pre­ci­sion and at­tack by the en­tire cast.

Si­mone Mess­mer and Jo­vani Furlan were the high­light of DSCH, per­form­ing the cen­tral pas de deux.

La Valse was an an­ti­cli­mac­tic way to close the sea­son. Had the fi­nal piece been more dy­namic, it may have changed the over­all im­pres­sion of Pro­gram IV. While the cos­tumes and scenery are beau­ti­fully ex­e­cuted, the mu­sic and chore­og­ra­phy do little to in­spire or mo­ti­vate. The in­tro­duc­tion of a “death fig­ure” and the en­su­ing strug­gle and con­se­quence add a touch of drama and cu­rios­ity to the bal­let, but over­all, La Valse de­flated what might have been a grand fi­nale of the com­pany’s sea­son.

Mi­ami City Bal­let’s fi­nal per­for­mance of this pro­gram is at 1 p.m. to­day.

Cour­tesy of the Kravis Cen­ter

Miami City Bal­let dancers fin­ish the sea­son’s fi­nal pro­gram at the Kravis Cen­ter with a per­for­mance at 1 p.m. today.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.