Lifted Spirits
Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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George Balanchine’s “Ballo della Regina” and “Kammermusik No. 2” were created approximately at the same time and premiered by New York City Ballet in January 1978. Both pieces are concise and small in scale; both are fascinating and unique; yet neither belongs to the pantheon of Balanchine’s greatest creations. Nevertheless, each ballet, precious in its own way, adds to our understanding and appreciation of the craft of the great ballet master. Dance critic Arlene Croce aptly summed up her attraction to “Ballo della Regina” in particular—and to a Balanchine ballet in general—simply and clearly: “Who cares if it isn’t great? The greatest Balanchine ballet is the one you happen to be watching.”
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Megan Fairchild in George Balanchine's “Tschaikovsky Suite No. 3.” Photograph by Paul Kolnik
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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