BWW Reviews: NEW YORK CITY BALLET Looks Forward to the Future
To jumpstart their 50th anniversary at the David H. Koch Theater at Lincoln Center, the New York City Ballet began their Spring season not looking back but rather looking forward, presenting works from 21st century choreographers and showcasing the Company's ever-evolving mastery of their art.
The Saturday evening performance on May 3rd featured a diverse range of ballets that highlighted the versatility, artistry, and excellence of the Company. Sonatas and Interludes was a quirky pas de deux set to John Cage's score for prepared piano and choreographed by ballet master and Associate Artistic Director of the New York Choreographic Institute, Richard Tanner. Created for NYCB's Diamond Project, Vespro, choreographed by Mauro Bigonzetti with music by Bruno Moretti, took a new, dynamic approach to exploring shape and movement in ballet. Benjamin Millepied's Two Hearts, with music by Nico Muhly, was a playfully romantic piece that ended with a sensually elegant duet by principals Tiler Peck and Tyler Angle. The performance concluded with Acheron by 27-year-old Liam Scarlett, a visual wonder set to the Concerto in G for Organ by Francis Poulenc.
Perhaps the greatest risk taken was opening with the world premiere of Les Bosquets by Parisian street artist JR, where two completely opposite worlds collided. However, unlike many ballet and hip hop fusions, this was an ingenious blend that was both pure ballet and pure hip hop. The bold composition by New Woodkid set the tone for the piece, inspired by the 2005 riots in the housing projects of suburban Paris. From the beating of the drums to the stark shadow play on the backdrop to the contrasting military marching and gritty gesturing, Les Bosquets roused the audience.