BWW Reviews: NEW YORK CITY BALLET Reveres Its Great Masters
Halfway through celebrating its 50th year at the David H. Koch Theatre in Lincoln Center, the New York City Ballet showcased three diverse pieces influenced by the Company's greatest artists - Jerome Robbins, Peter Martins, and of course, George Balanchine. The Saturday evening performance on May 17th presented an evening of "Tradition and Innovation."
The night began with Christopher Wheeldon's A Place for Us, a pas de deux dedicated to Jerome Robbins. Set to music by André Previn and Leonard Bernstein, the ballet featured principals Tiler Peck and Robert Fairchild playfully and romantically dancing along to the piano and clarinet. Filled with long, extended limbs sweeping through the air, arms wavering through the space, and even a signature hip swivel from when Tony and Maria first met at the gym in West Side Story, it was a fitting tribute to Mr. Robbins.
The second piece of the evening was Todo Buenos Aires, a piece by Peter Martins. Originally part of the Diamond Project, which commissions new choreographic works, Todo Buenos Aires explores the sensuality of Argentinian tango, cleverly entangled in the effortless grace of ballet. With the bandoneon playing music composed by Astor Piazzolla and arranged by Ron Wasserman, costumes by Holly Hynes, and lighting by Mark Stanley, audiences were transported to a nightclub in Buenos Aires. Amidst the high kicks was high drama, heightened especially by two arousing tango trios, filled with dynamic partnering and gravity defying lifts.