Hannah Fischer, Steven Loch and Mayumi Enokibara in the world premiere of "Coincident Dances." Choreography by Pam Tanowitz. (Photo by Alexander Iziliaev).
The sound of an oboe tuning an orchestra has always made me happy. The sound of a full orchestra supporting the Miami City Ballet’s “Winter Mix” was dizzying. In an era of rap and other bass-supported sound, hearing a full orchestra support the dancers was a balm for the soul. Thank you MCB for employing live musicians for your work.
Mayumi Enokibara and Ashley Knox in "Coincident Dances." Choreography by Pam Tanowitz. (Photo © Alexander Iziliaev).
MCB presented three pieces at the Arsht Center for the Performing Arts in Miami with its opening night on Friday, Feb. 14.
The contrast between the dances was astounding. Two pieces were traditional from the repertory of George Balanchine, a master choreographer long gone but clearly not forgotten. The third was a new piece, having its world premiere by choreographer Pam Tanowitz.
Miami City Ballet dancers in "La Valse." Choreography by George Balanchine © The George Balanchine Trust. (Photo by Alexander Iziliaev).
The opening, "Walpurgisnacht Ballet, " was created by Balanchine in 1975 with music by Charles Gounod (1818–1893 who is best known for his operas, including "Faust.")
Walpurgisnacht is a German holiday and is also known as Witches' Night. It's a celebration of the transition from winter to spring. The corps de ballet was in full view throughout and what skilled dancers they were. Credit must be given to the rehearsal directors as the dancers moved as one.
Steven Loch and Hannah Fischer in La Valse. Choreography by George Balanchine © The George Balanchine Trust. (Photo by Alexander Iziliaev).
The soloists, too, were beautiful and engaging dancing fully into and out of the wings. The costumes were extraordinary and through a bit of research, I discovered that they are virtually exact copies of the original ones created by Karinska, one of Balanchine’s favorite costume designers. The ponytailed women’s skirts formed a full circle when they turned. Toward the end of the piece, the women took their hair down and their long, swirling hair matched their skirts while spinning.
After an intermission came the world premiere of "Coincident Dances."
Here the men of the company were given more of the spotlight. The male and female dancers were paired in matching bodysuits of assorted pastel colors. According to the program “Coincident Dances" combines material from sources as varied as 19th-century ballet, early modern dance, American jazz and the movement of pedestrians.
All of this vocabulary can be recognized and relished in new forms. As the ballet unfolds, they are moved against one another, layered, pulled back, reconfigured, turned around and brought into the light. And it was fun trying to pick out the various styles during the piece. Percussive movement of the hands, heads and feet, crawling, flexed feet, pinwheel arms, crab walking were all a part of it. I even caught one couple doing a time step.
Miami City Ballet dancers in "Walpurgisnacht Ballet." Choreography by George Balanchine © The George Balanchine Trust. (Photo by Alexander Iziliaev).
The music was by contemporary composer Jessie Montgomery.
Although I found the music harsh at times, the ballet suited the composition very well. Toward the end of the piece a dancer in red filled the stage. Although it was difficult to tell from the program, the dancer may have been Dawn Adkins. Tall and lithe with excellent technique, she danced full out as she weaved around the stage. Elegant and clown like, you got the feeling she was flying.
Miami City Ballet dancer Samantha Hop Galler in "Walpurgisnacht Ballet." Choreography by George Balanchine © The George Balanchine Trust. (Photo by Alexander Iziliaev).
The final dance was "La Valse" with choreography by George Balanchine, music by Maurice Ravel and costumes by Karinska. It’s interesting to note that the performance of "La Valse," a Balanchine® Ballet is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique®, Service Standards established and provided by The Trust.
So again, credit is due to the rehearsal directors whose job it is to re-create the work. The same kudos must be made to the MCB costume shop. The original costumes must be built to exact standards and colors as the originals.
"La Valse" is a dark piece, both in theme and execution. Although the lighting too reflects the original, I would have appreciated more light. The male dancers were dressed in black, and it was difficult to appreciate their technique with the dim lighting. This ballet has more of a story to it with “death” being a character eerily danced by Steven Loch. Principal dancers Hannah Fischer and Cameron Catazaro shone as the lovers.
It was recently announced that Artistic Director Lourdes Lopez will be leaving the company after thirteen years. She has certainly been a boon to MCB over the years. I hope her replacement will continue her very good work.
Miami City Ballet's "Winter Mix" continues at the Broward Center for the Performing Arts, Fort Lauderdale, and at the Kravis Center in West Palm Beach.
IF YOU GO:
WHAT: Miami City Ballet’s "Winter Mix "
WHEN: 7:30 p.m. Saturday, Feb. 22, 2 p.m. Sunday, Feb. 23
WHERE: Broward Center for the Performing Arts, 201 SW Fifth Ave., Fort Lauderdale
ADDITIONAL PERFORMANCES: Kravis Center for the Performing Arts, 701 Okeechobee Blvd., West Palm Beach; 2 p.m. and 7:30 p.m. Saturday, March 8; 1 p.m. Sunday, March 9
TICKETS: $25-$225
INFORMATION: 305-929-7010 or miamicityballet.org
