New York City Ballet's Nutcracker
The New York City Ballet helped inaugurate the holiday season with a sterling sweet production of its annual "George Balanchine's The Nutcracker." Though it was not the first full-length "Nutcracker" ballet performed in the United States (that honor belongs to the San Francisco Ballet in 1944), the New York City Ballet's version has set the standard for the others and is perhaps the most perfected and recognized.
In past seasons, The New York City Ballet's "Nutcracker" has had its uneven moments in dance, with music performed at a breakneck speed, and children who looked quite over rehearsed. This presentation however, beginning uncharacteristically late, had a gentle fairy tale quality about it that was delightful to behold. From the opening notes, the orchestra under conductor Maurice Kaplow was melodic and serene. Instead of sounds and chords so crisp and brisk that they seemed to shatter the mood, we could drift into enchantment. And all did.
The party scene was lovely to behold, with a mischievous Fritz in Sebastian Peskind and a determined little Marie in Clara Ruf-Maldonado. Robert La Fosse, to our full enjoyment, repeated his zany, quirky Herr Drosselmeier with the amazing and elegant Ghaleb Kayali as the Nephew and Little Prince. Both performers have perfected their roles wondrously, leaving a shining example for others to follow (which we hope is not too soon).
Aaron Severini's Soldier Doll, along with Harlequin and Columbine (Georgina Pazcoguin and Stephanie Zungre) were properly placed and steady in their work. Henry Seth added some cute and quirky personality to the multi-headed Mouse King of some particularly animated and delightful mice this year.
The ballet began well, and kept getting better and better throughout the evening. The Snowflakes were so fluid in their dancing, performing full out, landing securely and offering the best show of ensemble work that evening. They danced with abandon, but never lost their technique, appearing air-blown and airborne with every movement. What heavenly magic they created this opening night.
Wendy Whelan as The Sugar Plum Fairy, with Nikolaj Hubbe as Her Cavalier, kept the level high with perfect solos and faultless pas de deux work, topped off with an effortless look to their performances. One runs out of superlatives with dancing such as this. The audience could relax and watch them without being nervous that a lift might go awry or a fumble destroy the mood. These consummate professionals did not disappoint us, and reminded us of the high art that in inherent in classical ballet.
The dynamic Sofiane Sylve as Dewdrop elicited gasps from the audience again with the height she achieves in all her ballon, appearing to hesitate in the air before her picture perfect, noiseless landings. This exquisitely musical dancer whipped off a series of endans pirouettes ending in arabesques, easing her last two turns to a divine slow-motion display of strength and control. Her work flows from her center. One is aware of her incredible balance, ballon and extensions, but never feels she is dancing 'trick' moves or showing off just for the sake of showing off.
0The angels again all but stole Act II from everyone with their radiant faces and mystical gliding steps. This year, their costumes were so perfectly adjusted that one could not see those tiny feet flying across the space, creating the look of skimming the stage.
More than honorable mentions go to Sterling Hyltin as the Marzipan Shepherdess soloist. Following in the superb footsteps of Jennifer Tinsley, Hyltin made this role her own with her fine technique and beautiful performing face. Ellen Bar and Jonathan Stafford added polished energy to Hot Chocolate. These two were a well-matched pair, quite suited in style and movement to each other. Christian Twozyanski seemed to exude energy from the wings as one of the liveliest Mother Gingers to date. Stopping short of outrageous buffoonery, he played his role fully.
The little Polchinelles seemed fresher than in the past. Their echappe- changements- passé combination was quite, quite precise. The Candy Canes seemed much more polished and exceptional in both their technique and in their ensemble work. Only "Coffee" seemed either miscast or misdirected. Instead of the sinuous movements of former Coffees such as Whelan, this interpretation was a bit jerky and jangly, needing less bounce and prance and much more calm control.
This was a "Nutcracker" to remember for all the best reasons, from the overture to the final flying sleigh, this year's holidays couldn't have had a better opening.