Electric Letter Opener

Review: NYCB brings fireworks back to SPAC

America’s greatest dance company, the New York City Ballet, returned to the Saratoga Performing Arts Center Tuesday night with an electric program celebrating American composers. A day after the Fourth of July, NYCB’s unique brand of balletic fireworks lit up the season opener. The NYCB Orchestra also sparkled under music director Fayçal Karoui. “Stars and Stripes,” company co-founder George Balanchine’s 1958 love letter to his adopted country, erupted in the biggest, brightest display. Balanchine usually disliked dancers showing off, but he occasionally invited them to flaunt their technique in showstoppers like this great number, danced to Hershy Kay’s clever arrangements of Sousa marches. Petite Erica Pereira led a dozen women with quick leaps, legs shooting left and right, and wide-eyed Gwyneth Muller led another dozen in a march that shifted into a charming waltz. In both sections, high kicks and jazzy hip thrusts punctuated impeccable unison dancing. Daniel Ulbricht, leading a squad of cadets, launched a storm of entrechats, every crossing of his feet flashing like lightning. In Ulbricht’s dancing you see everything and still can’t believe it. In their individual variations each performed marvels. Veyette can leap like Baryshnikov and lope like Groucho Marx, all in the same solo, and Bouder dazzled with split-leg leaps, beating jumps and whirling fouettés. In the finale, with Old Glory unfurling behind all 41 dancers, Bouder leapt to Veyette’s shoulder and the applause thundered. The evening opened at fever pitch, with Peter Martins’ excellent 1990 “Fearful Symmetries,” to John Adams’ urgently chugging score. Teresa Reichlen and Sara Mearns, two tall but very different dancers, both reigned in this nonstop, driving ballet. Jonathan Stafford and Amar Ramasar took turns partnering them in a series of speedy, dramatic lifts that often tilted their bodies sideways, making their long legs pierce the sky. “Old Fashioned’s” best variations come early. First Adrian Danchig-Waring partnered Rebecca Krohn Astaire-style, then supported her in arabesques, whirled her in a vertical lift, and dipped her to the floor, showing off her supple back. Then a slow, romantic variation for Jared Angle and Maria Kowroski combined soaring lifts with a mysterious bourrée-and-chase.

America’s greatest dance company, the New York City Ballet, returned to the Saratoga Performing Arts Center Tuesday night with an electric program celebrating American composers. A day after the Fourth of July, NYCB’s unique brand of balletic fireworks lit up the season opener. The NYCB Orchestra also sparkled under music director Fayçal Karoui. “Stars and Stripes,” company co-founder George Balanchine’s 1958 love letter to his adopted country, erupted in the biggest, brightest display. Balanchine usually disliked dancers showing off, but he occasionally invited them to flaunt their technique in showstoppers like this great number, danced to Hershy Kay’s clever arrangements of Sousa marches. Petite Erica Pereira led a dozen women with quick leaps, legs shooting left and right, and wide-eyed Gwyneth Muller led another dozen in a march that shifted into a charming waltz. In both sections, high kicks and jazzy hip thrusts punctuated impeccable unison dancing. Daniel Ulbricht, leading a squad of cadets, launched a storm of entrechats, every crossing of his feet flashing like lightning. In Ulbricht’s dancing you see everything and still can’t believe it. In their individual variations each performed marvels. Veyette can leap like Baryshnikov and lope like Groucho Marx, all in the same solo, and Bouder dazzled with split-leg leaps, beating jumps and whirling fouettés. In the finale, with Old Glory unfurling behind all 41 dancers, Bouder leapt to Veyette’s shoulder and the applause thundered. The evening opened at fever pitch, with Peter Martins’ excellent 1990 “Fearful Symmetries,” to John Adams’ urgently chugging score. Teresa Reichlen and Sara Mearns, two tall but very different dancers, both reigned in this nonstop, driving ballet. Jonathan Stafford and Amar Ramasar took turns partnering them in a series of speedy, dramatic lifts that often tilted their bodies sideways, making their long legs pierce the sky. “Old Fashioned’s” best variations come early. First Adrian Danchig-Waring partnered Rebecca Krohn Astaire-style, then supported her in arabesques, whirled her in a vertical lift, and dipped her to the floor, showing off her supple back. Then a slow, romantic variation for Jared Angle and Maria Kowroski combined soaring lifts with a mysterious bourrée-and-chase. But Gould’s musical invention flags midway, and so does Robbins’ choreography, despite the best efforts of these four and two other NYCB romantics, Tyler Angle and Jenifer Ringer. Except for the final fugue’s brief Astaire-like solo for Danchig-Waring, “I’m Old Fashioned” revives only when Kern’s theme returns and all 24 dancers join in live, with Fred and Rita onscreen.

Electric Letter Opener | Erika Shultz

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