New York City Ballet HK Cultural Centre Grand Theatre Reviewed: Mar 5
New York City Ballet ended its second Hong Kong programme in triumph with Alexei Ratmansky's Concerto DHSC. Set to Shostakovich, with whose music fellow Russian Ratmansky has a special affinity, the piece is joyous, exuberant and quirky. Musical choreography makes intelligent use of the company's celebrated speed and attack to generate an exhilarating energy. Filled with sly wit, the piece encourages the dancers to express their personalities.
The cast performed magnificently, led by the scintillating trio of Ashley Bouder, Joaquin De Luz and Gonzalo Garcia.
The evening opened with George Balanchine's 1935 masterpiece Serenade, where, conversely, a little less attack would have been welcome. The first half was taken so fast that it missed the lyricism with which the choreography responds to Tchaikovsky's music. The second half was better, bringing out more of the romantic, mysterious character of the piece and the final tableau was stunning.
The programme was completed by two lesser-known Balanchine pieces that were an odd choice for this historic first appearance in Hong Kong. The choreography for Mozart's Divertiment No 15 is musical, as is all Balanchine's work, but lacks originality - the occasional out-thrust hip fails to take it beyond the level of classical pastiche. The best section is the pas de deux work, always a Balanchine strength. Despite the technical virtuosity it demands, the piece fails to strike sparks. It was, however, well performed by a strong cast headed by the outstanding Megan Fairchild.
In Stravinsky's Duo Concertant, Balanchine has a violinist and pianist perform on stage together with two dancers, who alternate between listening and dancing. The choreography is fluid and inventive, although the ending is marred by an uncharacteristically schmaltzy coda. It was danced beautifully by Robert Fairchild and Sterling Hyltin (below) and the music was played superbly by Kurt Nikkanen (violin) and Cameron Grant (piano).