The company’s queen of amplitude is of course Sara Mearns, whose reign over “Chaconne” is still unchallenged. She may not dance with the same clarity in the steps that she once had, but no-one can yet challenge her authority or sense of theater. The opening, set to the “Dance of the Blessed Spirits” from Glück’s “Orfeo ed Euridice,” is one of Balanchine’s walking dances, like the pas de deux in Diamonds and Emeralds. Mearns and her partner Tyler Angle paced around the stage, their eyes downcast, as a breeze caressed Mearns’s long hair and chiffon skirt. This opening is filled with otherworldly sadness; eventually it builds toward a dramatic diagonal of gliding lifts. The woman’s free leg stirs the air, as if propelling her, and her partner, forward, like a Zeppelin.
Then, as in Balanchine’s “Mozartiana” and “Scotch Symphony,” the mood changes completely. Balanchine had no interest in continuity. After a break, “Chaconne” becomes a courtly divertissement, closing with a regal pas de deux. Mearns returned, sliding one toe against the floor as she walked, a mannered flourish that announced that the lady will do exactly as she pleases.
Just before, Megan Fairchild, who has announced that she’ll be retiring at the end of the ’25-’26 season, polished off yet another “Tschaikovsky Pas de Deux,” partnered by a somewhat underpowered Joseph Gordon. “Apollo” aside, this program is a tribute to some of Balanchine’s greatest ballerinas: Merrill Ashley, for whom he created “Ballo;” Suzanne Farrell, the originator of “Chaconne;” and the joyful Violette Verdy, for whom he made “Tschaikovsky Pas.” In a way, their dancing still inhabits the steps. I sensed a little bit of Verdy in Fairchild’s performance. There was the playfulness, the joy, the sparkle.
To follow this comment about D’Amboise. In the film, Balanchine’s Classroom, D’Amboise talked about his first time as Apollo, when he confided some anxiety to Balanchine who then talked him through and explained his ideas about the role. Oh, to have been a fly on the wall.
Nice review of a stellar program! Many wonderful Apollos indeed, each with distinct individuality. Your description of Roman’s approach and the special moments you cited make me almost see it, and wish I could have! Going back a bit farther, Jacques D’Amboise was definitive in the role during his era, and taught the ballet to me for his traveling concerts. I never performed it with NYC Ballet, but of course have enjoyed and revere those who have successfully delivered all roles in the ballet for the company. I treasure having a depth of knowledge about it.