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New York City Ballet: The Sleeping Beauty 2017
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New York City Ballet: The Sleeping Beauty 2017

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New York City Ballet
(New York City Ballet Website)

The Sleeping Beauty 2017
(Ballet in Two Acts)

Founders: George Balanchine and Lincoln Kirstein
Founding Choreographers: George Balanchine and Jerome Robbins
Ballet Master in Chief: Peter Martins
Ballet Mistress: Rosemary Dunleavy
Children’s Ballet Master: Dena Abergel
Orchestra, Music Director: Andrew Litton
Resident Choreographer: Justin Peck
Managing Dir. Communications & Special Projects: Robert Daniels
Associate Dir. Communications: Katharina Plumb
Communications Associate: Kina Poon
The David H. Koch Theater, Lincoln Center
www.lincolncenter.org

Dr. Roberta E. Zlokower
February 15, 2017


(Read More NYC Ballet Reviews).

See Images Below from New York City Ballet’s Winter Art Series by Santtu Mustonen, Mixed Media: Projections and C-Prints on Aluminum.

The Sleeping Beauty (Ballet in Two Acts, 1991): Music by Peter Ilyitch Tschaikovsky, Libretto by Marius Petipa and A. Vsevolozhsky, after stories by Charles Perrault and others, Choreography by Peter Martins (after Marius Petipa) (Garland Dance by George Balanchine), Scenery by David Mitchell, Costumes designed by Patricia Zipprodt, Costumes executed by Barbara Matera, Ltd., Make-up, Hair, and Wigs designed by Michael Avedon, Lighting by Mark Stanley.

The Sleeping Beauty was premiered at Maryinsky Theater, St. Petersburg, January 15, 1890. George Balanchine made his ballet debut in Sleeping Beauty, as a dancer in the Garland Waltz and as a cupid. For NYC Ballet’s 1981 Tschaikovsky Festival, George Balanchine choreographed the Garland Dance. Peter Martins included this Garland Dance in his 1991 staging. This production includes more than 100 dancers, including students from School of American Ballet, and 250 costumes. David Mitchell’s scenes create a mystical world and fairy tales. Patricia Zipprodt’s costumes follow paintings of the courts of Louis XIV and Louis XV. (NYCB Notes).

February 9, 2017 (Conductor: Daniel Capps)
Cast:

Performed by: Megan Fairchild as Princess Aurora; Joaquin De Luz as Prince Désiré; Ask la Cour as King Florestan; Gretchen Smith as The Queen; Teresa Reichlen as The Lilac Fairy; Harrison Coll as Catalabutte; Sara Mearns as The Fairy Carabosse; Emilie Gerrity as The Fairy of Tenderness; Alston Macgill as the Fairy of Vivacity; Megan Johnson as The Fairy of Generosity; Sarah Villwock as The Fairy of Eloquence; Alexa Maxwell as The Fairy of Courage; Aaron Sanz, Peter Walker, Sean Suozzi, Silas Farley as The Suitors; Mary Elizabeth Sell as The Countess; Ralph Ippolito as His Attendant; Anthony Huxley, Ashley Hod, Ashley Laracey, Sara Adams as The Jewels; Claire Von Enck and Devin Alberda as The White Cat and Puss in Boots; Brittany Pollack and Daniel Ulbricht as Princess Florine and The Bluebird; Zoe Feigelson and Alec Knight as Little Red Riding Hood and The Wolf; Harrison Ball, Troy Schumacher, Joseph Gordon as The Court Jesters; the Company as The Cavaliers, The Lilac Fairy’s Attendants, The Court, The Maids of Honor, The Garland Dance Villagers, The Hunting Party, The Nymphs, and The Courtiers, and students from School of American Ballet.

February 15, 2017 (Conductor: Daniel Capps)
Cast:

Performed by: Sterling Hyltin as Princess Aurora; Chase Finlay as Prince Désiré; Andrew Scordato as King Florestan; Gretchen Smith as The Queen; Savannah Lowery as The Lilac Fairy; Sean Suozzi as Catalabutte; Sara Mearns as The Fairy Carabosse; Ashley Hod as The Fairy of Tenderness; Mary Elizabeth Sell as the Fairy of Vivacity; Megan Johnson as The Fairy of Generosity; Claire Von Enck as The Fairy of Eloquence; Meagan Mann as The Fairy of Courage; Jared Angle, Ask la Cour, Zachary Catazaro, and Taylor Stanley as The Suitors; Mary Elizabeth Sell as The Countess; Giovanni Villalobos as His Attendant; Joseph Gordon, Teresa Reichlen, Alexa Maxwell, Emilie Gerrity as The Jewels; Indiana Woodward and Cameron Dieck as The White Cat and Puss in Boots; Ashly Isaacs and Harrison Ball as Princess Florine and The Bluebird; Alessia Riera and Alec Knight as Little Red Riding Hood and The Wolf; Harrison Coll, Ghaleb Kayali, Troy Schumacher as The Court Jesters; the Company as The Cavaliers, The Lilac Fairy’s Attendants, The Court, The Maids of Honor, The Garland Dance Villagers, The Hunting Party, The Nymphs, and The Courtiers, and students from School of American Ballet.

An inveterate balletomane, I attended two performances this week of Peter Martins’ full-length The Sleeping Beauty. Peter Martins’ two-act version is somewhat synthesized, but the set is sumptuous, as the traditional story unfolds, with a castle on high, that seems to shift and change with the time of day (constellations appear and evolve at night). Seasons are marked (autumn is depicted with blazing golds and oranges), and the inevitable brambles that enclose the sleeping Kingdom appear. David Mitchell’s fantasy-styled sets, Zipprodt and Matera's elegant tapestry and flowing and frothy costumes, and Avedon's wigs and hair are all uniquely theatrical. Daniel Capps conducted the Orchestra on both February 9th and 15th with the dramatic flair and filmatic technique that made the story flow with added fascination.

Megan Fairchild and Joaquin De Luz were Princess Aurora and Prince Désiré on the 9th, while Sterling Hyltin and Chase Finlay took the roles on the 15th. While Ms. Fairchild and Mr. De Luz were breathtakingly daring and rapturous in the Wedding scene fish dives, leaps, and lifts, Ms. Hyltin was hampered with some physical difficulties Mr. Finlay seemed to experience in the renowned virtuosic choreography. This is supposed to be a soulful and spellbinding ballet, but Mr. Finlay seemed more prone to posing and prancing than performing. However, Ms. Hyltin glowed in the Vision scene, as her Prince, Mr. Finlay, was introduced to her by the Lilac Fairy. Her Rose Adagio was flawless and requisitely balanced, as was Ms. Fairchild’s. Yet, Ms. Hyltin’s presentation was less streamlined, more sensual. Mr. Finlay did partner her with care, front and center. But, it was left to Mr. De Luz, on the 9th, to display compelling spins and dashes, to and fro, especially in the Vision and Wedding, while partnering Ms. Fairchild.

Of the two Lilac Fairies, Teresa Reichlen on the 9th, Savannah Lowery on the 15th, both were resplendent, with Ms. Reichlen sparkling and seasoned and Ms. Lowery ebullient and embracing. Each danced with a different level of command, and each was convincing in her rescue of Aurora, as an infant and at sixteen, in response to the curse from Fairy Carabosse. That Fairy Carabosse, danced by Sara Mearns on both nights, was truly a full-time star of the ballet, perhaps for the first time, ever. Carabosse is a critical role to the ballet’s theatrics, but never before did we see a Carabosse with so much vulnerability, revenge, dynamic. Ms. Mearns, out of character, was wild and devilish, using every dramatic nuance she could muster. She tremendously delighted in this role. Catalabutte is another key character, the King’s assistant, who forgets to include Carabosse at the Christening. On the 9th, Harrison Coll, and on the 15th, Sean Suozzi, were both perfect, blundering and bungling against the wrath of King Florestan. On the 9th, Ask la Cour and Gretchen Smith, and on the 15th, Andrew Scordato and Ms. Smith were all convincing and regal as King Florestan and the Queen.

Of the featured Fairies, who dance at the Christening and Wedding, Emilie Gerrity, on the 9th, was a superb Fairy of Tenderness, Alston Macgill, on the 9th, was excellent as the Fairy of Vivacity, Claire von Enck, on the 15th, was outstanding as the Fairy of Eloquence, and Meagan Mann, on the 15th, was exceptional as the Fairy of Courage. In the scene called “The Spell”, when Aurora dances her Rose Adagio with the four Suitors, before Carabosse arrives disguised and sneaks a spindle to the birthday celebrant, all four Suitors (listed above) from each performance were attentive and dramatic. At “The Wedding”, Brittany Pollack and Daniel Ulbricht, on the 9th, were the effervescent duo of Princess Florine and The Bluebird. On the 15th, Ashly Isaacs and Harrison Ball, however, drew gasps, as Mr. Ball is a rising star in the Corps, with pronounced elevation and magnetic demeanor, and Ms. Isaacs rose to the occasion. Claire Von Enck and Devin Alberda, on the 9th, were most possessed as the White Cat and Puss in Boots with detailed comedy, yet Indiana Woodward and Cameron Dieck, on the 15th, were also entertaining.

Mr. Martins has added a dance of four Jewels to the Wedding, and Anthony Huxley was mesmerizing as Gold on the 9th, while Teresa Reichlen sparkled as Diamond on the 15th. Although Mr. Martins’ choreography for this Beauty is synthesized, with scenes shortened to fit this story ballet that’s almost a half-hour less than other versions, that ravishing Wedding scene is fully satisfying for the viewer, with additionally choreographed dances for Little Red Riding Hood and The Wolf and The Court Jesters. Mr. Martins’ pas de deux for Aurora and Prince Désiré is also extra spontaneous with added flourishes in Aurora’s lunges into her Prince’s arms.

Kudos to Peter Martins for this fine rendition of a favorite ballet.



Megan Fairchild and Joaquin De Luz
in Martins' "The Sleeping Beauty"
Courtesy of Paul Kolnik




Sterling Hyltin in Martins' "The Sleeping Beauty"
Courtesy of Paul Kolnik




Sara Mearns in Martins' "The Sleeping Beauty"
Courtesy of Paul Kolnik




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower


For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net