Stars of the International Ballet Stage
As seen at New York City Center, New York. Photographs by Steven Pisano
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Though the New York City Ballet’s Spring Gala featured two premieres, the real buzz of the season belonged to the revival of Balanchine’s “Tzigane”—now titled the more politically correct “Errante”—after a 30-year absence. It was created for the high priestess of the Balanchine ballerinas, Suzanne Farrell, during the 1975 Ravel Festival. (The original title was not an ethnic slur then, but language, like choreography, is mutable). Farrell owns the rights to “Errante,” and she came back to stage it for City Ballet’s 75th anniversary season herself. The uber-muse was estranged from the company for a period while Balanchine was alive (“Errante” was the first role he made for her upon her return) and then again after he passed, but relations have thawed in recent years. She has coached a select few of her signature roles, but this personal staging is a giant leap forward.
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As seen at New York City Center, New York. Photographs by Steven Pisano
PlusWhile Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.
PlusLet’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.
PlusIn Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.
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Welcome back Suzanne Farrell, I hope you are staying for a long time.
I was lucky enough to see Farrell’s repetiteur rehearse Domenika Afasenkov in a run-through of the role. Different, but equally stunning. Can’t wait to see her onstage, although I am not sure the ballet comes back in 2024-2025.